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.
Clydie King
Soft And Gentle Ways / He Always Comes Back To Me
Imperial : 66172 (45s)
The Page Boys, Billy & Gene once again deliver spectacular girl vocal Northern Soul from California.
It matters not which side you chose to drop the stylus on first. Both sides give up ravishing girly NS, as the L.A. songbird and former "Raelette" flexes her mesmeric voice. Clydie is today recognized as one of the most talented girl backing singers in the business. But the Rare Soul collectors are enamored with all her work she did as a solo artist, with every 45 she released being held in high regard. This is the 3rd. of her highly coveted Imperial releases; this time working under the guidance of Gene & Billy Page with Marshall Leib at the helm.
Both sides are potent big production Northern Soul beauties, as "Motown" influenced Los Angeles, the city wanted a piece of the "Girl Sound" phenomena of Detroit. Sadly for her, all 3 of Clydie's superior 45's on Imperial failed to score in the USA and again it was left to the Northern Soul scene to bring them alive.. and presently they are only recognised by a very appreciative British Northern Soul audience.
So now click the soundfile and prepare yourself for two slick full orchestra productions of note. The side we lead with lead with the captivating "Soft And Gentle Ways" a string filled production with full girl group choruses, creating an absorbing Soulful abyss elevated by a consummate male-group harmony choruses, you'll soon have it on repeat play. Then listen to the equally spellbinding flipside "He Always Comes Back To Me" again encapsulates everything we seek in a Sister Northern Soul experience.
Clydie King a Soul princess with an exceptional vocal, if not recording 45s, she fully employed as backing up singer for major acts across the USA.
Flip it over and the "He Always Comes Back To Me " the more "Motown" uninfluenced side of the two was surprisingly relegated to the flip.. two superior girl dancers, like all Clydie's 45 releases, that refreshingly, have never been reissued, bootlegged or counterfeited
Here is a top value 45, offering not one but two NS treasures, from a lady with the voice of an Angel. Presented on the savagely hunted BLACK stock copy
Condition Report
two clean STOCK copy labels, small unobtrusive bb drill. Strong gloss on vinyl, giving up some light surface hairlines, none of which affect play. (listen) Still housed in birth sleeve.
Mark Loyd
When I'm Gonna Find Her / When Evening Falls
Parlophone : R 5423 (45s)
Mark Loyd's muscular vocal, was an ideal match for "Brian Alexander's" meaty arrangements on both sides.
The original a-side a stomping mover "When Evening Falls" is a magnificent MOD mover, that has long since been overshadowed by the moodier mid-tempo British crafted beat-ballad "When I'm Gonna Find Her". A highly coveted NS stroller decorated by a male group chorus provided by old "Monotones" pals. All riding the relentless bass-guitar pulses that propel those addictive Northern Soul dance rhythms. Both sides showcase a truly special lead voice, in Mark Loyd. A kind of hybrid of Long John Baldry and Chris Farlowe offering the curled up lip determination, speckled with a few soulful squeals for extra effect. Proper MOD attitude, seams out on ever note.
Today this is a 1966 British Holy Grail with few equals - crafted by two integral members of the British "Monotones" Brian Alexander & Mark Loyd, collaborate to craft one of the UK's most celebrated mid-60s Northern Soul 45s.
UK only of course...as rare as they come, giving two sides saturated in Northern Soul/MOD integrity.
We love it !!!
Condition Report
Two clean promo labels, full gloss on vinyl reveals some insignificant surface hairlines, as you will hear, both sides play loud clean and true. Neatly housed in a "Fran Fan" company cover.
Kenny Carter
I've Got To Get Myself Together / Showdown
RCA 47-8841 (45s)
59 years old, looking like new, is this glorious mid-tempo from the golden year of 1966. A record offering up the very most powerful the New York City sound could offer.
Kenny Carter himself composing the a-side side, then enlisting the highly skilled Paul Robinson to produce it, with the prolific Garry Sherman (a man with so many Northern Soul greats to his name) the 3 fire up the senses with the goose-pimpling Big City Sound not once but twice you will find yourself in a state of awe, as Kenny spills his heart onto the floor.
This is what is possible when you're so well connect in both New York & Detroit, the Soul hybrid of influences works so well.
"I've Got To Get Myself Together" a killer mid-tempo, sparkling in the light of Kenny Detroit influences as he rubbed shoulders with Willie Kendrick, Freddie Butler, Herman Kelly etc and the beef is added by the seasoned Paul Robinson with those shrill girls guided by the craft of Garry Sherman.. what a tune!
Flip it over and Kenny is guided by two of the greatest Big City Beat Ballad creators ever, Milton Bennett & Larry Banks yet again knock you stone dead with Beat Ballad Heaven on another level..
"Showdown" is a a Beat-Ballad-BEAST! Listen and prepare to be moved...
or just look at that "Black" with dog, eye-candy and try and think.. when was the last time you encountered the mesmeric vision of a flawless BLACK STOCK copy?
Condition Report
Utterly flawless throughout, vinyl, full gloss rich deep black labels & of curse its birth-sleeve all are utterly unblemished. As good as it gets, so nearly previously unplayed perfection it hurts.
Johnny Ross and the Soul Explosions
I Can't Help Myself / Sore Loser
Chirrup: 1523 (45s)
Yes it is that RARE!
This thumping raw-to-the-bone Chicago interpretation of the Motown Four Tops anthem, would to lift the roof off the Pier back in the day. Uncompromising Northern Soul that was the perfect fit to play after Maurice Williams - Being Without You -
Johnny Ross after earning a reputation of being an integral part of Baby Huey's "Babysitters". Johnny branched out with a few of his own 45's. Notably, one on the iconic "La Cindy" label and this blatantly brutal version of the Four Tops classic "I Can't Help Myself".
I remember vividly my initial shock at Cleethorpes Pier, when I first heard Johnny Ross (in a typically inventive "Poke" set, he stunned everyone with a deconstruction of a familiar Motown classic. Dulled the ferocious impact of the crashing winter North Sea waves against the cast-iron skeleton-belly of the Pier. It's savage horn-driven power thumped away driving, an already primed audience into gymnastic show-off NS floor moves. .
Not a hint of any Motown niceties here, just a bludgeoning attack from the streets of Chicago, that immediately caught the crowd's attention, it was the most-talked about tune of the night. Now ready for a Northern Soul renaissance to break the now tediousness of the same old, same old...
WHAT A STOMPER!!!
Relentless, intrusive and for many a nostalgic segment of their Northern Soul journey, as today this floor-destroyer is rarely heard even when a creative oldies DJ is at the helm. In truth very few NS DJ's own an authentic original press, the pressures O.V.O. have kept it off the turntables.
Dropped at the right time, sandwiched between a Maurice Williams and Frankie Loveman Crocker "Ton Of Dynamite", no one is ever gonna leave the floor...and many will applaud a refreshing oldie they may have not danced to for decades...what shame Poke didn't have a copy with him last weekend, the old faithful "Pierittes" would have loved to relive a "let it all out! moment.
From a collectors standpoint... this disc seldom surfaces for sale, the format with the "bird on the perch" design is particularly appealing. Pure D.I.Y. neighborhood Chicago creation, so potent, so attractive you just have to take notice.
Do check out, the flipside, an archetypical explosive brass driven Chicago stomper, a tune that also needs to be heard, "Sore Loser" is another insane Northern Soul journey into off-the-scale raucous Chicago Soul.
Condition Report
A smidgen of faded vintage writing on the bird's breast, and a bracketed no. 7 on the a-side label does not detract from the captivating label design. Strong gloss on the vinyl gives up only soft fine hairlines under light, plays with a potency very few records could ever match!
The Spinners
I'll Always Love You / Tomorrow May Never Come
Tamla Motown : TMG 523 DJ "30th. July 1965" (45s)
This is the insanely RARE and legendary red & white TMG 523 DJ crediting "The Spinners".
EMI had earlier in the TMG 500 series at number TMG514, they say, inadvertently credited the 45 "The Spinners" on Tamla Motown ignoring the fact, that there was already a group called "The Spinners" doing rather well in the British Isles releasing 45s & Albums on the Fontana label. A popular and well know folk group who were regularly on the TV with their records often placed high in the charts. Many feel the release and sales of TMG 514 suffered from the fact "The Spinners" were already a well known folk group and the Friday release sheet "scanners" will have passed over the release, first time round, by vinyl scholars looking for "soul" music.
But the very same EMI "oversight" happened again 9 releases later on TMG 523 with "I'll Always Love You"; now whether EMI decided a belated name change would benefit sales, or whether it was, as the preferred story suggests, that Philips Phonograph objected to the name clash of another "Spinners" perhaps hitting the charts, and asked for EMI some other name for the Motown group to avoid confusion.
EMI withdrew TMG 523 as "The Spinners" 30th. July 1965 and hastily re-credited it, launched its new face 27th. August 1965 as "The Detroit Spinners". Did they receive a polite reminder from Philips Phonograph? That is unclear but the name "The Detroit Spinners" was born, they never appeared on a British release again as just "THE SPINNERS". The new christening was carried over when they signed for Atlantic Records, all subsequent UK presses were credit to the Detroit Spinners.
Before you today is the impossibly rare "30th. July 1965" TMG 523 DJ. Act accordingly if you ever hope of completing the TMG completeness challenge.
Condition Report
Two clean red & white promo labels, no writing, stickers or stains just light signs of careful storage. Strong gloss on the vinyl that reveals multiple ultra-fine surface hairlines,
Jimmy Ruffin
Gonna Give Her All The Love I've Got / World So Wide, Nowhere To Hide (From Your Heart)
Tamla Motown : TMG 603 DJ (45s)
James Jameson’s booming bass guitar, lifts the curtain to Motown storytelling at its most poignant. Jimmy’s convincing tones of hope, take the listener with him on a journey filled with desire, love and relief … he’s a free man again, he cannot wait to board the train that’s gonna take him all the way back to his girl. A riveting narrative many a Hollywood movie has been based on… but this is better than a movie, because you’re travelling right there beside him all the way to Detroit.
Motown’s greatest gift to the dancer or the listener was its ability to encapsulate a film, a book or a play into less than three minutes. A chance for your mind and body to drift away into Jimmy’s world. Vividly envisaging all of Jimmy’s emotions, as the lyrics paint the picture in your head of struggle, strife and despair. Whilst Barrett Strong and Norman Whitfield paint the landscape with tinkling vibes, swirling strings, rattling percussion carrying you to the the climax of his intentions. A patient girl-choir bursts forth, a tsunami of strings descend onto this tale of impending elation, with the genius crowning moment of thundering kettle-drums driving the story home.
One of my all-time favourite Motown productions..it has everything a blockbuster movie should have, including flashbacks of you wondering what that final moment was like when Jimmy was in her arms again…
In all the joy this record delivers, please do not pass by the wonderful Northern Soul experience waiting on the flipside “World So Wide, Nowhere To Hide (From Your Heart)” a yet to be exposed dancer of the highest calibre, delivering a most-awesome saxophone interlude. ... that Simon Soussan used to rave about on his early 70's mailshots from Los Angeles.
Two great sides...
Condition Report
Discreet writing on a-side 4 prong centre, blink and you'll miss it. Strong gloss on Ex+ vinyl, reveals some soft signs of careful turntable action, playback is crisp n' clean (listen) still housed in birth-sleeve
Jerry Cook
I Hurt On The Other Side / Take What I've Got
Capitol : P 5981 DJ (45s)
An utterly iconic slab of Northern Soul in it's least seen most wanted format...with no confusion over authenticity that the counterfeited STOCK copy engages you in.
A legendary 45 that inspired gymnastic overload on the dancefloors of The Catacombs, The Torch, The Mecca and every other pre-Wigan Casino Club with a DJ lucky enough to own a copy. It was at one stage the best loved stomper on the scene. Not only to dance to, but also on those lengthy forays north in our white transit, it triggered the Pork Pieville choir to bust into caterwauling choruses accompanied with synchronised arm waving in the cram-packed, mattress lined acoustic space called the back of our van.
Not exactly Carnegie Hall but we considered our singing along to" Simon Soussan's sales tape to be pure Northern Soul opera!
No other song at the time triggered this affect of near Welsh Male Voice Choir comradeship, it was not only an unforgettable Northern Soul moment, it actually became a Saturday excursion ritual. Nobody ever grew tired of hearing Jerry Cook's blistering voice, defiantly resounding Sidney Barnes & J. J. Jackson's grown-man-in-denial lyrics.
" I Hurt On The Other Side, But I Cry In Solitude"
" I Hurt On The Other Side, But I Keep My Tears From View"
Northern Soul poetry riding a fanfare of brass and Arthur Wright's insistent guitar pulses..
This is why 1000's and 1000's of teenagers travelled 100's of miles every weekend to hear this spine-tingling Soul music.. and have now spent the rest of their lives dedicated to it..
THIS IS PROPER NORTHERN SOUL!
Condition Report
Soft storage aging on bright lime green labels, see images. The top fidelity Capitol vinyl carries multiple mild surface marks, but you'd never know, listen to the disc, giving up loud clean playback . Housed in birth-sleeve.
Reggie Alexander
It's Better / My Confession (To You)
Boss Records: 102 (45s)
It is no secret of my steadfast adulation of Detroit's most accomplished independent production team of them all. their contribution to the pure Northern Soul sound is unsurpassed, never to be equaled; never a even an hint of commercial soul within any of their creations. Their signature-style guaranteed to send shivers down the spine, with its distilled presentation of real-soul from the heart.
Reggie Alexander showcases effortless crooning swathed in majestic strings and haunting horns as Herbie Williams & Joe Hunter weave their magic. The style unmistakably "Pied Piper" but softer and even classier than anything that went before it. The effect is totally indelible, a song that enters your psyche - never to leave, cementing your intimacy with this standout production team, into a lifetime thing.
If you want to fill your life with superior Detroit Soul, a crucial purchase would be ACE KENT's CD series of the "Pied Piper" catalogue absolutely essential to really absorb what these guys and gals from the Motor City achieved, but wasn't appreciated at the time, living in the shadow of the Motown Machine.
Reggie Alexander frames the diversity of Pied Piper as they deliver a jazzy, crooning Soul floater, that will once again floor you with its excellence.
Awesome, RARE and on its way BACK!
Condition Report
Two clean label, a feeble fade at 2 o'clock a-sided is this disc's only mild flaw. Full gloss on the near flawless vinyl, strong ex+ mint minus throughout.