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This must have been like a bolt from the blue when it first appeared in 1968, with it’s bizarre mix of rock, funk and soul stylings complemented by a crashing backbeat and a plethora of instruments fighting for supremecy. The withdrawn Columbia release is rare, and features a slightly different mix to the subsequent issue on CBS’s Direction label. 8039 Nancy Ames – I Don’t Want To Talk About It. Another case of a whiter than white middle of the road artist coming up with a fluke Northern smash.

  • There’s little to interest the Northern collector amongst the early black label releases, with The Stairsteps’ Stay Close To Me being about the best release.
  • Demo’s are yellow, and look to be very much in the late 60’s Pye style.
  • Diminutive actress who appeared in To Sir With Love with Sydney Poitier after changing her surname to Posta.
  • If ever a record lived up to it’s title it’s this, a 100mph rave-up with the vocals almost screamed out, and a ridiculously catchy ‘Yodelay-ee-oo’ chorus just for good measure.
  • Bizarre, incomplete title – there should be another “To” on the end – but a bittersweet record from someone who’s probably lived the lyrics she’s singing.
  • With honourable mentions for The Dixie Cups almost perfect What Kind Of Fool Do You Think I Am and the always popular Dust My Broom by Ike & Tina Turner, HMV is a pretty worthwhile label for UK collectors to invest in.
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Releases were mainly culled from US labels such as Date, Phil L.A. Of Soul, Arctic, Rojac, Epic and Columbia, with the odd rogue UK production such as Gene Latter or Jackie Edwards thrown in for good measure. 12378 Stevie Kimble – All The Time In The World. This is one of my favourite UK records and one which should have had at least a little attention paid to it because it doesn’t deserve it’s collectors only status. Uptempo Northern with a very strange echo-laden production, this brassy beater incredibly came out as a B side to a very inferior A, but I’d love to get hold of a copy of this again. Again, a one-off single by an artist who subsequently disappeared.

How quality control didn’t spot this, I’ll never know – maybe they didn’t have time for a retake. 241 Casinos – That’s The Way – A release which only really came to light in the late 80’s, this midtempo number recorded for US Airtown is quite scarce on Ember. Some times a record is so good that mere words can’t do it justice. Put quite simply, it’s two and a half minutes of pure magic pressed onto vinyl.

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All of the Spencer Davis Group singles are good dancers from the mid-60’s club scene, mostly writen by Jackie Edwards apart from Trampoline which is an organ dominated Mod instrumental. 231 Ray Singer – What’s done has been done – A very obscure record, known to but a handful of collectors. A real curiosity; the verses are performed in a mock-garage style with a very muddy production, but they make way for a very commercialised sing-a-long chorus. Ray Singer hailed from Brighton and was backed on this particular number by Bern Elliott’s backing band, The Fenmen.

The actual B & C label is something of a half hearted effort which originally specialised in reissues from artists such as Bob & Earl and James Carr. It changed to black with a green logo and silver lettering in 1971 and ran for another year when it became Mooncrest Records. The odd B & C release appeared from time to time, indeed I’ve seen a Winston Groovy release dating from as late as 1979. Originally appearing in the UK via the London label, CP soon found a home at Columbia before getting it’s own logo in 1962 via the Pye group. Unfortunately, this move coincided with a downturn in the company’s fortunes, and by the time Beatlemania and the British Invasion had taken over America in late ’63/early ’64, Chubby and Bobby’s days were numbered. Although the label ran to a couple of hundred releases, most were poor sellers and this is one of the big labels for collectors.

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A slew of press releases have been sent out by SeeSaw Protocol , with titles also featuring the names of popular projects, including Axie Infinity, The Sandbox, Ripple and others. A sublime Van McCoy production which, while not being out and out Northern Soul, still possesses enough of the right ingredients to https://xcritical.com/ make it a popular choice for beat ballad fans. Immaculate girl vocal from the One-Der-Ful label out of Chicago , this must surely be the best cheapie of the lot. Jackie Burns & The Bells single I Do The Best I Can is a stunning more recent discovery which was originally covered up as Jackie & The Gilettes.

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A throwaway B side, it was discovered in the early 70’s and has been spun on and off ever since, and while US Epic copies are easy to come by, the UK release is a highly prized item. Brilliantly catchy with a memorable singalong chorus, this is a minor classic. Barry‚Äôs first UK release and a fairly hard to find beat ballad which is growing in popularity. Spyder Turner’s You’re Good Enough For Me is a good uptempo dancer with an amazing version of Stand By Me on the flip in which Spyder impersonated the styles of various soul singers of the day . All of The Royalettes singles are worth picking up, especially their version of Never Again , popular in the UK recently via Little Anthony & The Imperials. The wonderful production talents of Teddy Randazzo can be found on most of The Royalettes recordings.

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The price began to skyrocket in the mid-80’s so that now it’s perhaps the most in-demand – and perhaps the best – of all UK produced British label releases. Curtis Lee & The KCP’s – Everybody’s Goin’ Wild. Curtis cut the original version of Under The Moon Of Love in the early 60’s, but this little number bears no resemblence to that pop hit. If ever a record lived up to it’s title it’s this, a 100mph rave-up with the vocals almost screamed out, and a ridiculously catchy ‘Yodelay-ee-oo’ chorus just for good measure. The backing track is almost identical to Big Maybelle’s Quittin’ Time, which comes from the same US source as this one, Rojac Records.

A projected reissue on Sue never materialised even though a catalogue number was allocated. Wynder K.Frog was a group rather than a person and was fronted by keyboardist Mick Weaver who had previously been with The Fairies. Their version of Spencer Davis Group’s I’m A Man was supposedly recorded live at Brigitte Bardot’s birthday party in Paris! Apart from their well known Northern ‘hit’ Green Door , the band also did a fine instrumental version of none other than I Feel So Bad on the LP Sunshine Superfrog.

Demos were white, with an orange A on the label, and often a datestamp. In many cases, the quantity of demos around outstrips that of issues. A great version of a Northern hit by Chris seesaw protocol token Cerf on Amy which begs the question; which is the original and which is the cover? A very collectable band who also recorded for Pye and appeared in the movie Ferry Across The Mersey.

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Somewhere in the cobwebs of my mind I recall seeing a red and white demo on Oriole but this must have been very late in the labels’ life. 239 Twiggy – Beautiful Dreams – Recorded at the real peak of her popularity, this, the first of her two Ember singles, was released in January 1967 in a very attractive picture sleeve. And would you believe it, it’s actually a very good record, prime cover-up material.

Both labels were amalgamated into a new label, MCA, in 1968. Indeed, most of the labels pitiful soul output was in fact from the American Brunswick label, even though Brunswick had had it’s own logo since the early 50’s. Jackie Wilson dominated the label and had over 30 singles issued between 1958 and 1967.

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Discovered by Mick Smith in 1977 (according to Mick Smith!), this is one of the best ever UK soul productions, due mainly to the superb vocal performances by this male/female duet. Relegated to a B side by the pleasant but unsensational I’m Never Gonna Leave You, the duo also recorded unsuccessfully on Parlophone , but this one-off Decca single really is the business. It’s a beat ballad of the highest order with Decca stretching the budget to provide a full orchestral backing. What’s confusing about this single though is it’s catalogue number. 99% of Decca releases have a “12” prefix, whereas this one has a “22” prefix. I’m sure that this signifies that it was an export issue, but I was told by the person I bought my copy from that he bought it when it was released (!) from his local high street record shop.

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One of Northern Soul’s all time heroes, the Major never really made a bad record in the 60’s and all of his Columbia releases should be bought without hesitation. The Matador is my personal favourite if only for the mock Spanish horn riffs, but really, with a back catalogue like this guy’s you’re spoilt for choice; Monkey Time, Investigate, Um Um Um Um Um Um, Ain’t No Soul – take your pick. 7868 Barry St. John – Everything I Touch Turns To Tears. By far and away the best treatment of this Udell-Geld number (other versions include efforts by Brian Poole and Cilla Black!), though the heavy handed production by Mickie Most does it’s best to distort the sound.

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12373 Truly Smith – My Smile Is Just A Frown Turned Upside Down. Fabulous, smooth version of a wonderful Carolyn Crawford Motown single, price rocketed from ¬£3 to ¬£25 in a matter of weeks following my reviewing it in 1990! Truly’s other Decca single of interest, I Wanna Go Back There Again, is a strong version of Chris Clark’s US hit which was covered by several UK artists in 1967. It seems she bowed out with a final single for MGM in 1968, This Is The First Time, which has a small following on the collectors scene. The label was orange with black lettering and it’s Big T logo taking up a lot of the label space.

4004 Solomon Burke – Everybody Needs Somebody To Love/Looking For My Baby. The A side was already a legend when The Blue Brothers popularised it and turned it into every would-be Commitments’ party piece. Stompers should check out the overlooked Looking For My Baby on the flip for some dance action.

Original releases are black with silver lettering and were manufactured by Polydor, so it would appear that there are no demo copies. This was followed by a very shortlived psychedelic label which is impossible to describe here, consisting of blurred rainbow colours and a black Buddah logo, very trippy. When the label switched to Pye, it became somewhat more conservative and changed to a brown label with black lettering and a cartoonish Buddah logo at the top. Demos have a black A in the centre and the wording Not For Sale plus release date. If it just has the A and no wording, it’s not a demo. Shane looks like your good old American college boy but he pours his heart out on this downbeat tale of lost love.

Finally, just to clear up a long-running misunderstanding, Deram 101, Where The Good Times Are, is absolutely no relation to the record of the same title on US 20th Century by Beverly Wright. The Beverly on the UK version is Beverly Martyn, wife of guitarist John Martyn, with whom she was part of a folky duo. Originally it was a striking blue label with silver logo and lettering, but this changed to the familiar black label with a large yellow square in the centre containing the label name in the early 60’s. Demos are very scarce and are often sold as issues as the only difference is a tiny silver A in the centre – so if you’re centre’s been pushed out, you’ll never know if you had a demo or not!

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