Soul Auction
Check out the Rare Soulman soul auction for all the best bargains available online. Be sure to check the closing date and time for each record to ensure to don’t miss out on the best bids. Our auction stock dramatically varies in price, with records ranging from £12-£700. Find the perfect soulful additions for your own collection.
The condition and authenticity of all the records in our soul auction section are always carefully and closely scrutinised. If you enjoyed our auction, then you may also enjoy checking out our latest soul additions.
Kenny Wells
Isn't It just a Shame / I Can't Stop
New Voice: 812 DJ (45s)
The Big Apple had few more accomplished teams than the one assembled by Bob Crewe in his endless search of excellence. Constantly servicing the Northern Soul scene with richly endowed productions of overwhelming class, beauty and inspiration. This example calls upon the skills of Gary Knight, Herb Bernstein, Artie "I Can't Help Lovin' You" Schroeck producing no one, but two spectacular mid-paced Northern Soul cruisers.
The obvious side the highly coveted "Isn't It just a Shame" has for decades been held in high-regard with the DJ's, Collectors and the dancefloors of more discerning NS events throught the last century, escaping the dubious fate of being bootlegged until the year 2000, when the magnificent flipside was passed over. How very refreshing, that it doesn't seem this captivating style is not the diet-list of the bootleggers to reproduce truly classy Northern Soul grooves. Which certainly adds to this 45's DJ kudos.
But for me it is that hidden delight that sits on the flipside, that raises the hairs on my neck, distilled Soul seeps from the grooves as the mysterious Kenny Wells is cradle by a male-harmony flow of beseeching validation of his despair.
Two utterly brilliant tunes, one a NS classic with a flipside that should be an essential part of Sunday chilling. Crafted by New York's finest..
Condition Report
Full gloss vinyl, revealing only the merest sleeve storage blemish, strong play perfect mint minus.
Ringleaders
Baby, What Has Happened To Our Love / Let's Start Over
M-Pac : 7232 (45s)
A record that speaks for itself, pure quality that needs no help from me to raise awareness...we are all so familiar with the seamless male vocals rolling out a gliding stream of harmonies, only interrupted by a killer sax-intrusion that elevates this song to yet anther level..
THIS IS NORTHERN SOUL at it very best and most enduring. "Baby My Lonely Cries - What Has Happened To Our Love" Cleethorpes memories come rushing back!
But you knew that already so perhaps we should perhaps mention, with the rising interest in quality vocal-group Soul harmony steppers, everyone should take time to listen to the flipside "Let's Start Over". Without question one of the finest recordings of this burgeoning genre..
Find a better example of vocal group Northern Soul if you can. This one endowed with a flipside to make you weep...
Condition Report
Clean a-side label, flipside label has a light sticker removal scar not affect any text, see images. The vinyl plays superbly clean
Clarence Jackson
What's So Good To You / If It Don't Fit Don't Force It
Valtone : V106 DJ (45s)
But surely today the side creating a real-stir is a spectacular hybrid of a Barry White styled vocal, woven into a "What's Going On" inspired arrangement. This side is begging for some more Sunday afternoon chill-out exposure. After Richard Johnstone debuted the disc at Newark’s “Feed Your Soul” a few years back. A recording that spun a few heads around with its warming soulful persona; that could have just as well suited the best Soul vocals on the planet, Walter Jackson, Barry White, Marvin Gate would all have wallowed in it's moody production. As it is, the virtual unknown Clarence Jackson delivers superlatively dreamy mid-tempo Soul at its most mesmerizing. Such a cool tune guided by "Cool Jerk" inventor Don Storball.
Flip it over for Poke's pick, Mr. "Cool Jerk" Don Storball re-enacts that potent "Cool Jerk" motivation into another piano-propelled dancer, featuring heavy bass guitar rhythms, peppered with Mike Terry-esque burping baritone sax prompts, so very DETROIT!
Squealing girls enhance the proceedings that unfolds, with timely shrill choruses. A very convincing slab of 1974 Detroit Northern Soul. Presented here as the very rare PROMO COPY in fine clean condition.
Two top sides on one disc, seldom seen as the elusive White demo.
Condition Report
Two crisp clean white demo labels, both sides of the vinyl are close to mint minus revealing only nthe merest hairlines under direct light. Plays without ba murmur.. nice copy inmdeed.
Showmen
Our Love Will Grow / You're Everything
Swan : S-4219-O / S-4219-Y (45s)
This 45 gives up the Swan S-4219-O / S-4219-Y mixes, General Johnson ever consistent voice soaring high above, backed up by most insistent male vocal choruses from a very well school "Showmen" adding layer upon layer to an already imposing song. Surely Norman Johnson's team must be considered one of the greatest Soul group's of all time, especially when you add their catalogue of "Chairmen Of The Board" releases to any already huge volume of work as "The Showmen"
Now check out those pristine PROMO labels, surrounded by Mint minus vinyl, emitting flawless sound.
This 45 has everything, the looks, the sound, the rarity, the panache to grace any DJ set... you can drop on any side you wish, Mr. Disc Jockey and the floor is yours.
Condition Report
Two flawless promo labels, vinyl shows only the faintest sleeve storage blemishes. a fine clean promo indeed
Chubby Checker
Looking At Tomorrow / You've Got The Power
Parkway : P-105 (45s)
But the real value lies in the extreme rarity this brief 1966 Philadelphia session spent as a release copy.
Try finding one! Especially in this previously unplayed condition, still in birth sleeve, micro-chards hanging from the centre hole dinking. You will not encounter a finer example of one of the rarest STOCK copy Northern Soul records.
That velvety vocal we have all grown to love through his numerous Northern Soul anthems "You Just Don't Know" "At The Discotheque" "Cu Ma La Be-Say" takes on an even more potent presence as he rides a typically muscular Jimmy "The Wiz" Wisner arrangement conveying Barry Mann & Cynthia Weil's optimistic lyrics. Produced by Cameo Parkway's main man Dave Appell. The result is powerhouse brass propelled Northern Soul of the most potent kind, whilst still retaining a silky flow of pure Northern Soul dance. Smoothed off to compliment this Soul crooner's man's wonderfully silky voice.
In contrast flipside is another Northern Soul stomper, that careers along destroying everything in it's path...
Two great songs, but the real value is in the eye of the beholder, most of who will have never seen a stock of this cool tune in the flesh before.
Rare indeed.. in pristine condition, we'd go so far as to say a STOCK copy "impossible"
Condition Report
Two perfect stock copy labels, utterly unblemished. Vinyl reveals only the merest sleeve storage blemishes when angled in direct light, obviously both sides play perfect.
Dorando
Didn't I / Listen To My Song
Music City : MC-45-894 (45s)
Two local Jazz/Soul artists collaborate on this inventive double helping of innovative Bay Area Soul. Ray Dobard's prolific Music City operation out of Berkeley is the chosen vehicle for these totally uncommercial mid-tempo masterpieces to emerge on.
Dorando Pulliam and Jazzman Al Tanner of "Doin' Our Thing" on the Tymo label, join forces creating two individualistic haunting steppers that grab hold of your psyche demanding more than just one play.
Dorando Pulliam has a trademark vocal style you won't forget in a hurry, the same partnership created the hugely sought after "How I Got Over" the same year 1973 his distinctive voice beckoning you into a mournful atmosphere of Soulful dance.
Presented here on the 1973 first press, later it had a rebirth on the white ad red label to meet local interest 18 months later. the press of this green issue was extremely limited.
So now take time to listen to two groundbreaking local boys crafting two greats songs in their own style, both of which creep under your skin, with positive effect.
Stunning Bay Area craftsmanship...
Condition Report
Two clean green labels, full gloss vinyl reveals only minuscule signs of sleeve storage, some hairlines when angled in the light, none affecting play, a fine clean example.
Dean Parrish
I'm On My Way / Watch Out!
Laurie : LR 3418 DJ (45s)
We think our heavily referenced "go-to" auction pages, are the ideal platform not only to sell records but also to document the differences between first presses and reissues.
I did visit Discogs today to list this timeless Northern Soul "3 before 8" classic recently as a stock copy but to my frustration, and not for the first time, the original 1967 file for this disc has a 1974 reissue as the label image. Not only very misleading for collectors and dealers alike but also makes us unable to list our stock copy on that file.
But there is no such confusion with the 1967 PROMO copy because Discogs has never sold a copy & the bootleggers never tried to replicate this very rare format.
Here is the super-rare DJ copy, the highly coveted 1967 VINYL first press. In recent times has become increasingly challenging to acquire an authentic a stock copy, as a PROMO it is becoming a near hopeless quest.
A record ingrained into the very fabric of the Northern Soul scene since 1972. A record that signalled the drawing to a close of another ecstatic night at Wigan Casino, guaranteed to ignite euphoric recall like no other..
A record that needs to be owned as the elusive original 1967 vinyl FIRST PRESS for a NS DJ to hold any credibility within his workplace.
To own a perfect 1967 PROMO copy, is perhaps for a collector to capture and gaze upon when he needs an uplift.
Condition Report
Two clean PROMO labels, Under close inspection of the vinyl a mint playing surface! Both sides very close to a PERFECTION.
Symphonic Four
Who Do You Thiink Your Fooling / Who Do You Think Your Fooling part 2
Zudan: Z-5020 (45s)
A Clarence Coulter crafts as splash of genius in this project, bringing together four voices into one haunting wave of early 70's Soul. This level of skilled harmony is usually the territory of only the most accomplished and long seasoned Soul group's, like The Dramatics, The Dells, The Manhattans etc.
This recording though, thankfully lacks that over-polished finish applied by the major labels, this session is still saturated in the tortured delivery that can only come directly from the streets. It's neighbourhood anguish taken to the limits by the four rebounding off each other's ever increasing vocal limits. The result being a rolling breeze of Soulfulness that builds into the most expressive unity.
Haunting, beseeching, mesmerizing singing, unfolding into the most exquisite of unusual tunes, no wonder this 45 is so very sought after, it sounds like no other before it.
LOVE IT!
Condition Report
Two clean label, unmarked full gloss vinyl, reveals only a few minuscule surface pimplers NOT affecting play.
Dynells
Call On Me / Let Me Prove That I Love You
Atco : 6638 DJ (45s)
Today, Atco 6638 is a highly sought-after disc, offering two killer tunes on one disc. Better value you could not wish to acquire. The soaring voice and lyrical skills of Brenda McGregor woven in a Bobby Martin arrangement underline pre-TSOP brilliance. With this Gamble & Huff influence productions we are treated to a double serving of 60's Philly magic.
Slick mid-tempo vocal group harmony woven into a delightfully paced Northern Soul dance groove..
Northern Soul shufflin' fuel at it's very finest.
Condition Report
Two clean promo labels,
Spontanes
Where Did I Go Wrong / Ain't No Big Thing
United Artists : UA 50269 (45s)
But this 1968 disc has proved so very hard to acquire over the decades, why it would be so elusive when it was released on a national label is a small mystery. But that’s how we like it, no rhyme or reason to its validated rarity.
The first chosen a-side was a 1966 recording, so very typical of Carolinas "Beach Music" as The Spontanes serve up a fabulous version of The Radiants - "Ain't No Big Thing" something of a Beach Music anthem. This 8 man blue-eyed gathering hit bulls-eye with this horn assisted stroller as the silky lead vocal sets the tone, with 2nd. lead with an equally enthralling voice rebounds off the his teammate. A duet of magnificent upfront vocals from James Bates & Ronnie Owenby, gelled together with a purring vocal-group harmony in the background. Different enough to be considered brilliant, vocally electric. How dare they nearly better this Chicago classic... many think they did.
But the real thrill-side is on the flip a spectacular 1968 D.I.Y. session from the group. Ironically whether by coincidence or intent Jackie Gore of the "Embers" used the same title a year later on their Atlantic release. The Spontanes original usage of the title is a totally different song, with every note as good. "Where Did I Go Wrong" penned by lead singer James Bates to suit his vocal to the maximum, just glides on into your heart, on the back of those seamless backing vocals carry the song along on a wave of rippling horns from the three man brass section of Bill Stewart on Saxophone, Terry Ransom & Dick Lowe on Trumpets with Terry Ransom adding more richness to the mix, doubling on the Trombone as the team effort amalgamates as the male vocal choruses flow in. You quickly find it's charm traps you into repeated plays, as you try and absorb all the high points, of which there are so many.
WARNING you will end up singing this brilliant slab of "Beach Music" that crosses over into stunning easy-going Northern Soul territory. That is so very in-demand at the moment. Little wonder then, that United Artists promoted the 1968 song to their "Plug Side" as it went to press. Its persuasive ways being so overwhelming.
Begging the question why this 8 man team never recorded and released more 45's, they obviously had the manpower and ability to do so.
Condition Report
two flawless promo labels, voinyl reveals the merest sleeve storage hairline. as you can hear it plays crisp and totally clean. MInt minus throughout.
Antonio Castro
W.E.L.F.A.R.E. / Why Can't I Have You
United International: U.I.1001 (45s)
New York resident Antonio Castro is better known to Northern Soul scholars as Tony Amaro who release on Loma "Runnin' Around" still hasn't today, reached the audience it so deserved. Moving on just 4 years Antonio's music has generated into Latin flavoured jazz, together with New York Jazz exponents James Taylor & Alan Fontaine form a team of accomplished musician headed up by Latin guru Ray Rivera.
1971 was the year Soul music began to prick the urban conscience of the USA, with social comment of the "black" struggle and a sense of hopelessness. Antonio Castro's line " Instead Of Getting Ahead, I keep Falling Behind" underlines his mood, as the gathering draw heavily from Marvin Gaye's genius "What's Going On" album, like so many did in that year of "protest awareness".
Castro's vocal is a perfect fit for the Jazz/Latin alchemy stirring in the background; simplistic piano rhythms, skilled guitar riffs "My Woman and Me Fight So Hard" slides toward a fabulous guitar break as Antonio's voice soars high and beyond... as he draws this magnificent mid-tempo masterpiece to a close..
leaving the listener and the dancer feeling a whole lot better than they did 3 minutes earlier.
Condition Report
Flawless vinyl, radio station file number file number on a-side label. a spectacular copy.,
Malcolm Hayes
Put Your Love To The Test / I Gotta Be With You
Columbia Canada: C4 2702 (45s)
For lovers of Northern Soul on rare alternative releases, this 1966 Canadian press is not only beyond-rare, it is also pressed in that high quality, reliable Canadian VINYL; mastered by Columbia. We can now all hear how this recording should have sounded on the "Filmways" 45. PROPER NORTHERN SOUL benefiting from true fidelity.
Now listen to why this 45 is again making waves. It is a flipside, written by Malcom Hayes himself produced by the prolific Tommy Oliver who's penchant for the big-bollock production is again blatantly evident.Starting proceedings with a rumbling Hammond colliding head-on with a squealing girl-group bombardment, even before that rich growl of Malcom Hayes booms into place. Timely key changes, ramp up those honkin' horns building an impregnable wall of sound; parted only by a triumphant trumpet fanfare, giving Mr. Hayes pause to catch his breath before his next vocal-tsunami crashes home...
Oh the different of hearing this in VINYL mastered by the meticulous Canadian Columbia.
Now let's talk about the original a-side that Tommy Oliver and long term associate Tommy Sands constructed, recorded in the UK by Emma Rede a year later, today also a sought after 45. But just a mere shadow, compared to Malcolm Hayes's original
"I Gotta Be With You " a fabulous slice of Beat Ballad Heaven. Borrowing moments from Teddy Randazzo's composition "Goin' Out Of My Head",Tommy Oliver neuters the session from a gentle ripple of need into a tidal wave of beseeching desperation... from a soothing calm into a table over-turning plea... this man knew how to make a production rise up and take hold of your heart, heightened by electing it to be sung by this standout Soul crooner..
This 1966 Columbia vinyl press is the only copy we have ever seen, indeed impossible to locate any sales history anywhere. Do not pass by we doubt very much we'll come across another, note please read condition report careful, as we have been meticulous with it.
Condition Report
two clean unblemished labels, the vinyl is carries full gloss, revealing only the merest sleeve storage hairlines under light, none affecting play. Upon a final forensic inspection I've detected a minuscule tight hairline in the deadwax by the label perimeter, NOT affecting the play in any way. Only visible under direct strong light, and a concerted search.
Bill Baker
Another Sleepless Night / It Shouldn't Happen To A Dream
Parnaso : P 110 (45s)
Former lead vocalist of the Connecticut vocal-group "The Chestnuts" displays all his consummate vocal capacity, strolling through Jimmie Crane's composition from neighbouring Rhode Island. his own composition elevated by a bank of zipping strings and a heavenly girl choir. Melding together for a magnificent out-of-town "Big City" experience. That epitomises the Ady Croasdell life-line the 100 Club provided to the Northern Soul scene during the 80's.
Listen to its power, presence and passion Bill Baker provides with seemingly minimal strain, like a only a seasoned-serenade could.
This is Beat-Ballad Heaven at its best, most-elusive and finest condition. Listen and soak up the atmosphere this recording emits.
Just too darn good to pass by...
Condition Report
Two unblemished labels, rare Mint minus vinyl. The finest copy we've witnessed in memory. A stunner!
Ed Pauling and The Exciters
Soul House / Time For Everything
Savoy : 1625 DJ (45s)
El Pauling's displays persuasive guitar skills with this driving R&B dancer, long-championed by much respected DJ's like Mr. "Fine Wine" Matt Weingarden , transferring through to other R&B DJ's and clubs. It's muscular presence the ideal starting gun for dancefloor congestion.
Instantly irresistible, as the guitar rebound of each other, peppered with blasts of brass, a relentless drum pulses. this really is a get you crown-up-on-their-feet tune. Displaying raw, grounded, street-level enthusiasm you just can't help be drawn in by.
This copy is in rare condition, two squeaky clean promo labels, very close to mint minus vinyl;. a fine example of this a truly compelling R&B groove.
Condition Report
Flawless promo labels, vinyl reveals only the merest sleeve storage hairlines or two, very close to mint minus. as you can hear it plays perfect.
Alex Brown
I'm Not Responsible / Something
Sundi : 316 DJ (45s)
Monk Higgins away from Chicago into the sunny climes of California, abandons his signature highly-charged brass production for a far more considered approach of swirling strings and chirping girl choruses. The result is a stunning journey into top-drawer Northern Soul crossover. Now considered a timeless classic spin for the upfront events (like Soul Essence etc. ) that embraced the Northern Soul Crossover sound decades ago. Now of course, this tune is universally considered the very finest of this thinking-man's genre.
From the very first note you know you're about to experience something exceptional; as Ms. Brown seamlessly rolls out the narrative of her weaken will, portrayed so convincingly with her richly expressive voice, adorned every step of the way by shrill girl group assistance.
This is a TUNE! One I've never grown weary of hearing, proper Soul dance groove that has never been bootlegged, reissued or overplayed.
Essential and dependable rare Northern Soul Crossover, at its very finest!
Condition Report
A fine clean coipy
Kenny Sheppard
Gotta Get a Hold Of Myself / blank
Shapiro Berstein : 10" acetate (10")
Condition Report
Neat clean typed label, playing surface reveals only very fine hairlines. plays big, big, crisp and loud...
J. J. Barnes & Steve Mancha
Rare Stamps / 1968 USA promo copy
Volt : VOS 6001 DJ (LP)
Imagine you're a British Soul collector in 1969 and you've purchased this album, most likely from a Record Store cut-out bin or market stall You've got it home and listening to it for the first time, in 1969 unless you were very hip Steve Mancha was an "unknown" to the UK collector whilst J.J. Barnes was a preserve for the in-the-know soul collector. Both their UK Stax 45's passed by almost unnoticed.
Side one is on the turntable abouit to take you on a journey of five Don Davis creations underlining Detroit had another genius architect of Soul music, other than the employees at Motown. Five sides that highlight why Motown had to take J. J. Barnes off the Detroit recording scene, his style so close to Marvin Gaye he was becoming serious competition, encroaching on Marvin "space". The signing J. J. and relegating him to session singing and unissued "test" projects. Was Berry Gordy's business mind at its most ruthless, but it allowed Marvin free range of the Motor City adulation. The whole side of album is totally Marvin Gaye-esque, guided by one of Detroit doyen's of the Soul Sound, J. J. was a serious threat now quelled.
So here we are in 1969, a teenage Soul fan perhaps flirting with the allniter and club scene, perhaps attending the Twisted Wheel, The Brit, The Nite Owl, King Mojo immersing yourself in the burgeoning underground scene. You have just sat through 4 magnificent Detroit dance grooves, 1. Baby Please Come Back Home 2. Chains Of Love 3. Now That I've Got You Back 4. Easy Living .. by this time you're dizzy with ecstasy, as the combination of J. J.'s voice and Don Davis's full orchestra productions decorated with searing girl choruses, seep into very being. WOW how good is this? another level of Soul you've never encountered before..
Then CRASH, BANG, WALLOP!!!!!
"Sweet Sherry" enters you brain for the very first time... it is the greatest tune you've ever heard...your head tingles, the hairs on your arm bristle, chills wriggle down your spine, goose-pimples cover every inch of your body.
Attention grabbing vibes chime, then J.J.'s beseeching cooing reaches out, Mike Terry's burping saxophone punctuates a whistling Hammond organ., relentless percussion beats out the pefect 4 beat to the bar Northern Soulm invitation to dance. Then a Terry Sax-Beak like te ones we'd heard so many time before from his Motown session..
"Baby Since You've Been Gone, My Life Is Filled With Despair"
"All The Good Times That We Had, They Have Vanished In The Air"
"I Have Fooled My Myself Too Many Times, I Thought A Love Like Yours Was Easy To Find""
"You're My Girl Forever Sweet Sherry"... "You're My Girl Forever Sweet Sherry"
"Since The Day You've Been Gone, You know a Day Seems Like a Year"
"All The Happiness That We Shared Is No Longer Here" "But There's Still A Light Shining Bright Within This Heart Of Mine"
"Like a Tall Oak Tree, You Know I Stand Strong" "Whenever You Return To Me, Believe Me I'll Be Ready"
"You're My Girl Forever Sweet Sherry"... "You're My Girl Forever Sweet Sherry"
Detroit Poetry still indelible in every mind of the Northern Soul congregation, validating it's overpowering influences every time records of this calibre are played..
STILL IN MY TOP FIVE OF ALL TIME and it still triggers all those involuntary body reactions, still 50 years after my first meeting with "Sweet Sherry". I know not who was the first DJ to play this masterpiece, or which club it was played at, but in my mind's eye I can only paint a picture of total disbelief that must have come over everyone within in earshot.
And you still have the almost as overwhelming side two where Steve Mancha picks up the Groovesville baton - it is recordings of this calibre that can make you a "Storyteller"
Condition Report
two clean promo labels. Fine clean vinyl playing perfect every step of the way. Clean thick card cover, "DEMONSTRATION NOT FOR SALE" rubberstamped on the back.
Re-Vels
I Want A Love / Do I Love You
Trent Town : TT 1004 (45s)
A Trenton New Jersey rarity that snoozed away through decades of under-belly adulation, now suddenly it has hit the right turntables, dropped by the right DJ's triggering a tidal wave of demand...
Saturated in belligerent attitude, fearsome determination.. as the snarling vocals buffet their way through a cumulus of hanging horns, rattling drums, and an overwhelmed piano player soon steamrollered and forced to switch over to the xylophone adding some more spice into this explosive mix.
WHAT A TUNE! little wonder collectors and DJ's alike are acting like supermarket mums spying the last toilet roll in the shop...
A Northern Soul rarity to get into captivity now, because nobody knows where the every increasing need for ownership will stop..
Condition Report
Two crisp bright clean labels, vinyl has only a few sparse surface marks, none of which affect play in the slightest. Visually EX+ audibly Mint minus.
George Peeples
Bonds Of Love / I've Cried
Make It : MI-109 (45s)
A mid-60's D.I.Y. dream from local artist George Peeples; a resident of Big Springs, Texas hoping to break into the big time. Inspired by a guy who lived 95 miles North of him in Lubbock. But George never made it as the Big Springs answer to Buddy Holly but what he did do was create the most wonderfully weird Popcorn groove ever, who's addictive powers has pulled in so many DJ's and collectors of the Popcorn sound and created a frustrated underground.
Whether by fluke, luck or pure genius George blends R&B, C/W, Rockabilly with a pinch of Blues crafting a alchemy reaction of pure gold!
As the only record shop in Big Spring the fabled Oscar Glickman’s Record Shop will testify the record sold almost nothing and most all of the pile George dropped off for the shop to sell, were returned to him. His disappoint deterred him from making any more singles. His small run of discs he gave to his sons, who apparently used them as an opening line to attract local girls. "A Free Record" always started up a conversation.
"Bonds Of Love" was a very low run pressing that has long since vanished, with only a very few reaching the hands of pioneering R&B and Popcorn DJ's seeking out the super-obscure. Like the prolific Michael Robinson in New York, Fabrizio Barone in Italy, the now famous Christopher Stukenbrock, Rob Powner in the UK, all DJ's with the knowhow to push the boundaries and seek out those long lost treasures of controversy.
I love it, I love the story, I simply adore the rarity of this record from the legendary Texas outback record store I visited in 1977.
Who could have foretold, this spectacularly different 45 would have its day in far flung places across the globe over 50 years later..
Condition Report
A stunning copy, unblemished, pristine and ready to spread the word of George.