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All 45s all reissues of the best Northern, Modern & 70s Soul to come in recent years. Many deletions and out-of-print titles can be found here, as well as all the latest new bits!
Reissue Northern & Modern Soul
Reissue Soul Just In
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Akens will be forever remembered for his 1965 No.3 pop hit “The Birds And The Bees”, but here Outta Sight feature his two northern soul classics “My First Lonely Night” and the original cut of “A Slice Of The Pie”. Both are essentials for all northern soul spinners.
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The new Outta Sight season kicks off with a hot little number from California in the shape of “What”, a true northern soul anthem, originally performed by Judy Street. Written and produced by HB Barnum, “What” first took the scene by storm when played at the Leeds all-dayers in 1973 (perhaps heard by a young Marc Almond...) and went on to become a floor-filler at Wigan Casino. Here, for the first time, Indiana blue-eyed soul sister Judy is paired with LA girl Tina Mason and her 1967, album only, rendition of the song. “What” shot to No.3 in the UK pop charts in 1982 when covered by Soft Cell. In a recent interview Marc Almond recalled that they had actually recorded a cover of Franki Valli’s “The Night” for the A-side, but the record company chose “What” instead.
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Another huge northern soul anthem that could have been tailor-made for the scene. The track was catapulted to cult status when played at Manchester’s famed Twisted Wheel club, becoming a smash hit on soul floors north of Watford. Here, for the first time, Outta Sight offer the original vocal (by The Incredibles) and instrumental (by Audio Arts Strings) versions back-to-back.
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Candy & The Kisses (originally known as the Symphonettes) reached no. 51 on the Billboard Hot 100 with their debut 45 “The 81” in 1965. Father Angelo’s ‘Angels’, a 9-piece blue-eyed soul band with a self-contained horn section, were brought to Jerry via WAEB DJ Gene Kaye. Their anthem “Bok To Back” which can be found on the flip was recorded at Bell Sound Studios in 1967.
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Finally, the long-awaited debut single from French modern soul act Cherry B with her contemporary rework of Carl Douglas’ “I Want To Give You My Everything”.
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Hot off the press crossover and in demand soul steppers. First in line is the new-to-vinyl coupling of both versions of Jerry Ross’ crossover classic “I’ll Be True”. The topside features the big-ticket rarity by Cookie Woodson with Virgil Henry’s more familiar rendition on the flip side.
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Here is the new-to-7 inch pressing of Gavin Christopher’s (brother of House music maverick Shawn Christopher) compelling dancer “This Side Of Heaven”.
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With it screamed out intro, emotive vocals and eerie bass propelled dance groove, the incredible "Baby I'm Still The Sam Man" by the late James Wells created mayhem on Northern Soul venues when released in 1976. The move away from just 60's stompers to more contemporary releases made the Disco with Soul growler of a dancer an absolute dancefloor filler. A timeless record whose time has come again, and as bonus on the flip is the first time on 7" release of the Tom Moulton mix of "Double Dose Of Love".
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Arguably the biggest Northern Soul dancefloor filler of the last decade. Ian Levine tracked down Rare Soul icon Sidney Barnes in 1999 to include him in the documentary "The Strange World Of Northern Soul". Sidney appeared in the film to the amazement of Soul fans who thought he had dropped of the radar forever, and then what happened after that confirmed that the world of Northern Soul is indeed Strange. A visit to the UK by Sidney in 2001 led to Ian taking him in to the studio to record "Standing On Solid Ground" which was released as a small run seven inch. Sidney co-wrote the track which showed he had lost none of his talent to come up infectious songs, and within months "Standing On Solid Ground" had sold out of its original pressing and had become the most popular track at Northern Soul venues all over the UK.
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| Long the preserve of modern soul and rare disco collectors, the Tap records label has remained of the map for one simple reason; the records are rare and expensive, seldom dipping below the $800 mark. Arnie Love & the Lovettes entered Associated Studios at the end of 1981 to cut “Invisible Wind” & “We’ve Had Enough”. From its Rocky-esque early momentum, “Invisible Wind” is the clear gold, delivering an unrelenting five minutes of punchy, pleading horns, synth winds and slap bass.
“We’ve Had Enough” is by no means second best, producer Gene Redd kills it with hurried yet flawless arrangements. Backing singers Roberta Rivers and Linda Green (the Lovettes) doubling up the refrains and ensuring eye candy for potential live dates. After some hard work by our friends at Numero who produced a wonderful LP of all the Tap Records material we felt it was time to get these out on our preferred format of 7”, a place we feel the music sits wonderfully in all its imperfect perfection. | |||
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| Soul Spectrum presents two utterly mesmerizing sides from the young Jackie Stoudemire. Originally released on the ultra rare Tap Records in 1983 and impossible to get unless you prepared to fork out $1000+. It does not get more special than this, we do rare records all day every day and it never fails to make our eyes do disco sparkles! Worth it for that alone!
A chance meeting between Jackie Stoudemire & Tap's Jeremiah Yisrael at a high school talent show seemed, to Jeremiah, entirely fortuitous. In Jeremiah’s eyes, she combined the perfect trait set: mature talent and work ethic with youth and impressionability. Within a few months, she was in the studio, where she would spend the lion’s share of 1982. Jeremiah was putting significant dollars into the recordings, using dozens of musicians for every session (purportedly Barry White’s Love Unlimited Orchestra), sometimes spending weeks perfecting the backing tracks. He upgraded studios, recording primarily at Right Track and Power Station, neither of them known for their affordability. Jackie’s voice was cool and sure, not a hint of her age coming through the mix. The real nugget ‘Guilty”, one of the last songs Gene Redd would ever pen and some of the finest production work in a career that spanned four decades. They logged eight to ten hour days in the studio, culminating at the beginning of 1983 when her 12” was given a limited issue on the Tap label. Lack of distribution and promotion killed the pressing, but Jackie still felt good about it. For a woman of any age, it was an accomplished piece of work. The end for Tap began with tragedy: Gene Redd passed unexpectedly early in 1983 from a frightening illness that as yet had barely been named: AIDS. Deeply misunderstood, the disease was half a decade away from even primitive treatments, and Redd was gone before anyone knew he was sick. Stoudemire went on and graduated from high school in 1983 and went immediately to performing arts college, after which she spent years as a somewhat successful stage player. Her hit finally came in 1994 when she signed to the Eightball Records label and blew up the club charts with Appreciate.
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| Every so often the soul scene champions a secret record that’s too good not to share to a wider audience; here we have just the thing. A record styled on the raunchy sound of Chaka Khan but with the subtlety, confidence and timing of Marvin Gaye. Spun since the day it was released on Northern / Modern soul dancefloors, the charm and sophistication has been completely lost on the rest of the world - probably mostly because nobody ever got to hear it. There are almost no copies anywhere, I know because it took me over 5 years to get one. You are talking £500 all day long IF you can find someone willing to sell it to you, otherwise its a shootout on ebay. So in the interests of democratising beautiful and important music we are very proud to present this wonderful reissue.
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Here we have two sides of a stone cold classic Northern Soul crossover. A Eugene Record/Barbara Acklin penned tune "Suddenly" and on the flip a Van McCoy number "It Hurts Me More" both performed by the mighty Tony Drake with the Chi-Lites providing back-up.
After great reviews but no chart success at the Musicor label Drake found himself in Chicago making a fresh start. He signed to a new contract with Brunswick where he acquired a mentor and best friend in the legendary Jackie Wilson. With such expert assistance and the presence and moral support of Wilson, the recording session ended far ahead of schedule. A generous Drake gave the nod to Brunswick promotion man Gus Redman when asked if the extra time could be used to play around with a newly-signed, young group called The Lost Generation. Their resulting single, "The Sly, the Slick and the Wicked" (as featured on SOUL7.029) became an instant hit, lingering for thirteen weeks on Billboard‘s soul chart. With the record company narrowly focusing on its newfound priority, Brunswick's other artists, including Drake and The Chi-Lites, suffered from a total lack of support and promotion. Despite some airplay of both sides, Tony Drake's second single went away almost as suddenly as The Lost Generation appeared. Here to put things right as usual we present both sides direct from the master tapes for the first time since it was pressed and forgotten about.
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In the early sixties the girl group sound was dominated by maverick male producers: behind the Crystals was Phil Spector; the Shangri Las had Shadow Morton; the Chantels were steered by Ritchie Barrett and the Yum Yums, Sapphires and Candy & The Kisses were the protégés of Jerry Ross. The Sapphires faired better cutting a series of 45s and an LP, originally at Virtue in Philadelphia, before Jerry made the switch from Swan to ABC in ’64.
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The top side “The searching is over” was only very recently found in the vaults of Okeh records, and is as good as any 60s soul track you’ll ever hear. Written by the group members and produced by Chicago legend Riley Hampton in mid 1965, this track sits right up there with the best around from the Windy City, reminiscent of gems like Tony Clarke’s “The Entertainer” and Jackie Ross’s “Selfish one”. On the flip side, we have another previously unreleased stormer penned by a youthful Eugene Record, “Always had your way”, which was recorded in 1967 and reminds very much of “Reach out I ll be there” – again a top class piece of 60s soul.
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In the early sixties the girl group sound was dominated by maverick male producers: behind the Crystals was Phil Spector; the Shangri Las had Shadow Morton; the Chantels were steered by Ritchie Barrett and the Yum Yums, Sapphires and Candy & The Kisses were the protégés of Jerry Ross. The Yum Yums, named after a brand of candy similar to M&M’s, cut just one 45 for Jerry at Bell Sound studios, New York in 1965, before signing to Arctic and changing their name to Honey The Bees.
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The mother of all rare 45 compilations, Numero’s 45th release Eccentric Soul: Omnibus closes the first chapter of a decade of mapping the American soul diaspora. The complete box set includes forty-five 45s, each with its own replica label and stylish custom Numero sleeve, as well as an 108-page hardback clothbound book chock-full of liner notes, band photos, ephemera, and indices. Seems like a lot of $$$ to pay? Well you'd have to spend about $30,000 for the originals - and that's IF you can find em!
Everything is housed in a sleek, portable case featuring metal hardware, durable handle, and a vinyl-wrapped exterior patterned with de-bossed Numero.
Available in 19 different colour combinations, drawing from red, blue, yellow, green, and orange, this beautiful case is the perfect home for this comprehensive collection. For the first time ever they are offering a complimentary digital download, allowing you to take their greatest work to date everywhere you go.
PLEASE NOTE: all 45's included in the set are unique to this release, there will be no overlap from previous releases or future 45 subscriptions or releases. Since the box is available in 19 different colour combinations; we cannot guarantee the colour you will receive!
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The Skebs are back, with two edited versions of obscure Japanese B-sides: Great Tokyo Disco, from 1979, an uplifting Nipponese take on Salsoul and MFSB, replete with synth, strings, off-beat hand claps, breakdowns, slap bass and boudoir sighs. Backed with a J-Pop meets boogie tune, Fly Away. From a 1985 release, a bass synth mid-tempo number with understated vocal from Momoko.
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Reissue Northern & Modern Soul A
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Collectable reissue 45 to celebrate the 40th anniversary of the iconic green label. Check the flip for "Stop & Think It Over"!
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Some records have an attraction not for their perfection but for their imperfection which makes them stand out as something special and interesting especially in a world of shiny pop like we live in today. This is the case of Angela Jefferson, produced and Written by Mather Washington, not the most amazing vocal ever (not surprising as Angela was a local 16 year old girl). What she lacks in technical skills she fills in with charm which makes the record something special, I especially like the change near the end (Fryer).Listen: 
Listen:
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Collectable reissue 45 to celebrate the 40th anniversary of the iconic green label. Check the flip for "Old People"!
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