Alexsubinas

Happy to announce pre-order for volumes 5 & 6 of "From Detroit With Love", a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time. PRE ORDER NOW FOR 15th NOVEMBER https://soul4real.es/ FROM DETROIT WITH LOVE V DAVID RUFFIN ANYTHING THAT YOU ASK FOR Produced by Clay McMurray & Martin Coleman Recorded in 1969 BRENDA HOLLOWAY DON´T STAY AWAY Produced by Marc Gordon & Hal Davis Recorded in 1964 MARVIN GAYE YOU´RE THE ONE Produced by Ivy Jo Hunter & Marvin Gaye Recorded in 1968 FOUR TOPS JUST YOUR LOVE Produced by William “Mickey” Stevenson & Ivy Jo Hunter Recorded in 1965 FROM DETROIT WITH LOVE VI GLADYS KNIGHT & THE PIPS SHOW ME THE WAY Produced by Richard Morris Recorded in 1968 MARTHA REEVES & THE VANDELLAS THIS IS THE LOVE (I´VE BEEN WAITING FOR) Produced by Deke Richards Recorded in 1969 THE TEMPTATIONS SINCE I DON´T HAVE YOU Produced by Deke Richards Recorded in 1967 BLINKY & EDWIN STARR NEVER GONNA GIVE YOU UP Produced by Richard Morris Recorded in 1969

Two new exciting releases. Thanks so much to Friendly Womack for his help in licensing the Valentinos tracks 𝗣𝗥𝗘-𝗢𝗥𝗗𝗘𝗥 𝗡𝗢𝗪 for 25th OCTOBER: https://soul4real.es/ ------------------------------------------------------------------------------------ 2 of Candi Staton´s best tracks finally available on 7" CANDI STATON (S4R35) I CAN´T STOP BEING YOUR FOOL / YOU BET YOUR SWEET, SWEET LOVE Born in Hanceville (Alabama), Canzetta Maria “Candi” Staton possesses one of the most recognizable voices of southern soul due to its characteristic and unmistakable tone. Her musical journey began in the 50s as a teenager singing gospel with the Four Golden Echoes and the Jewell Gospel Trio. In 1967 she made the transition to secular music and two years later started an artistically and commercially successful recording career with Fame Records, under the umbrella of Rick Hall, recording a dozen singles and three outstanding albums. Candi was introduced to Hall by Fame’s main artist Clarence Carter, who eventually married her in 1970. A new chapter began in 1974 at Warner Bros, from which the two songs paired on this record originated. They are now available on 7” for the first time. “Can’t Stop Being Your Fool” is a powerful composition by Phillip Mitchell perfectly suited for her; on the flip side we find “You Bet Your Sweet, Sweet Love”, a country soul masterpiece produced by Dave Crawford. Another essential release on Soul4Real. JADD 2 originally unreleased tracks finally available on 7" THE VALENTINOS (S4R44) I´VE GOT LOVE FOR YOU / I´VE GOT A GIRL Despite their early success, The Valentinos’ story was, like many other groups, a ‘what might have been’ story. But there could not have been a more hardworking group. Every night, Friendly Womack Sr. taught his boys all the gospel songs he knew before he kicked them out of the house because they wanted to switch to secular singing. “Bobby, you’re singing too church!” shouted Sam Cooke across the recording desk at the United Recording Studios in L.A. to Bobby and his brothers… Still torn here between gospel and secular singing, Friendly “June” Womack told me about both these two lost tracks from the group: “Between you and I, we were looking hard to get another ‘Looking For A Love’. We were desperate for that, as that was such a big seller for us”. Ultimately these sides failed to be released, yet they were both great tracks. Wouldn’t it be great though if, this time around, Soul4Real Records were able to hang out the ‘sold out’ banner that all the Womack brothers really deserved? GRAHAME JOYCE

Four originally unreleased tracks finally available on vinyl/7" PRE-ORDER NOW FOR 20th SEPTEMBER https://soul4real.es/ CARLA THOMAS (S4R36) LONELINESS / IF IT´S NOT ASKING TOO MUCH Though she was Stax Records' Queen of Soul (and Otis Redding was her king), there was much more to Carla Thomas. In 1967, even while being promoted by the name of her most recent album, The Queen Alone, she was expanding her sound, developing a cabaret act that showcased a mix of genres and styles and that was built around her beautiful voice. She was exploring new vistas when these two sides were recorded. Isaac Hayes wrote "Loneliness". Carla's suave delivery evokes Diana Ross, and the shiny brass horns call out a Burt Bacharach arrangement as much as Stax. This is Carla with a nice polish on the groove. Labelmate and friend Deanie Parker wrote "If It's Not Asking Too Much". A sparer presentation, the organ drives the tango rhythm and also—a second keyboard, I think—swells behind Carla, everything entwining and deepening the song's brooding tone. This is the kind of side that can both start your night or finish it. Carla Thomas has got it all. ROBERT GORDON THE RANCE ALLEN GROUP (S4R37) EVERYBODY´S TALKIN´/ YOU NEED A FRIEND LIKE MINE Rance Allen churned that rhythm smack between gospel music and soul. Rance brought the fire, his every performance a dedicated reach beyond expectations. It's like he lived in a realm above ours, and his performances were a ladder from our plane to his, an invitation to step up, step out, be good, do right, dance while doing it, jive and smile. And praise the Lord. Rance sang about Jesus Christ, even when he didn't mention him. His music was an invitation to groove along, but it was also a stepping stone to church. He focused not on the fire and brimstone but on building community, helping those in need, a church of embrace. His two brothers were his band, along with Stax guests. On "Everybody's Talkin'" you can hear disco coming around the corner and also the influence of Isaac Hayes. "You Need A Friend Like Mine" builds on the Staple Singers' "If You're Ready (Come Go With Me)", and it features some of Rance's finest falsetto, up there with Rev. Claude Jeter and Al Green. Rance moves your spirit. ROBERT GORDON

Happy to announce pre-order for volumes 3 & 4 of "From Detroit With Love", a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time. Order now for 20th July: https://soul4real.es/ FROM DETROIT WITH LOVE III (S4R40) A1 - KIM WESTON - AFTER THE RAIN A2 - FOUR TOPS - JUST A LITTLE LOVE (BEFORE MY LIFE IS GONE) B1 - CAROLYN CRAWFORD - THINK OF THE TIMES B2 - THE VANDELLAS - YOU TAUGHT ME HOW TO CARE FROM DETROIT WITH LOVE IV (S4R41) A1 - KIM WESTON - ABSENT MINDED LOVER A2 - OMA HEARD - DADDY COOL B1 - MARVIN GAYE - JUST A LITTLE LOVE (BEFORE MY LIFE IS GONE) B2 - CHUCK JACKSON & YVONNE FAIR - IT MUST BE LOVE BABY

The first two releases from a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time. Order now for 20th June: https://soul4real.es/ FROM DETROIT WITH LOVE (S4R38) A1 - KIM WESTON - FANCY MEETING YOU A2 - THE MIRACLES - SHOW ME YOU CAN DANCE B1 - J.J. BARNES - I´M HERE NOW THAT YOU NEED ME B2 - THE TEMPTATIONS - I´D RATHER FORGET FROM DETROIT WITH LOVE II (S4R39) A1 - BRENDA HOLLOWAY - MY WORLD IS CRUMBLING A2 - CAROLYN CRAWFORD - UNTIL YOU CAME ALONG B1 - GLADYS KNIGHT & THE PIPS - ANY GIRL IN LOVE (KNOWS WHAT I´M GOING THROUGH) B2 - MARTHA REEVES & THE VANDELLAS - EARTHQUAKE

NEW COMPILATION! HERE COME THE TEARS (S4RLP05) 14 tracks from the vaults of Atlantic and Atco, including 4 originally unreleased tracks, first time on vinyl Pre-order now for 10th May: www.soul4real.es Soul4Real continues to provide invaluable service to lovers of quality soul music from the 1960s and 1970s, with another carefully curated long-playing selection of incredible music from the enormous vaults of the Ertegun brothers and Jerry Wexler’s Atlantic group of labels. Atlantic was and is still based in New York, but its repertoire came from all over the USA. In ´Here Come The Tears´ you will hear music from Detroit, Miami, New Orleans, Philadelphia, Houston, Memphis and the Big Apple itself. Most of the featured artists will need no introduction – and that’s how it should be, for they are all legends of black American music, regardless of how well they fared in the US charts. Some tracks are big-ticket items, others can be found on 45 at pocket-friendly prices. Four have never been issued on vinyl until now, including the Drifters’ long-thought-lost version of the O’Jays’ “I Dig Your Act” and Judy Clay’s thrilling take on “The Love Of My Man” – written by Ed Townsend, who also produced the splendid Dee Dee Warwick track that makes its vinyl debut here. One thing that all these tracks have in common, regardless of their vinyl value, is that they are all priceless examples of soul music, from an era where every US state had its own sound, and every artist their own unique style. There is no reason to list highlights – every track is a highlight! There is also nothing generic or homogenised about anything you’ll hear here – it’s all coming to you straight from the heart and soul. Whether you are hearing most of these tracks for the first time or getting reacquainted with ‘old friends’, there’s more to enjoy on this one album than there is in anything currently being issued in the name of 21st century soul. For Real… Lend us your ears – Here Come The Tears! TONY ROUNCE A1-Barbara-Lynn-I-ll-Suffer (1).mp3 A2 Willie Tee Dedicated to you.mp3 A3-The-drifters-i-dig-your-act (1).mp3 A4-The-Dynells-Call-On-Me (1).mp3 A5-Barbara-Lewis-You-Put-A-Song-In-My-Heart (1).mp3 A6-Dee-Dee-Warwick-What-a-manner-of-man (1).mp3 A7-Bettye-Swann-It´s-Time-To-Say-Goodbye (2).mp3 B1-Wilson-Picket-I´ve-come-a-long-way (1).mp3 B2-Sam-and-Dave-Still-is-the-night (1).mp3 B3 Darrell Banks here comes the teardrops (1).mp3 B4 Doris Troy he dont belong to me (1).mp3 B5 Isley Brothers - The Last Girl (1).mp3 B6 Aretha franklin - I Cant See Myself Leaving You (1).mp3 B7 Judy Clay - The Love Of My Man (1).mp3

Delighted to announce two new Jai Alai references, this time consisting in four favourite tracks never released on 7" before. Both Maze songs are simply outstanding so it´s certainly surprising Warner Bros didn´t pick up any of them for single releases ("Love Is" was quite hard to get on vinyl too, as the album only came out as promo). Same could be said about the dancefloor delight (an Isaac Hayes production, no less) "Everyday" and the CD only album track by Gerald Levert, obviously influenced by Curtis Mayfield. PRE-ORDER NOW FOR 17TH APRIL www.soul4real.es JAR13 - MAZE feat. FRANKIE BEVERLY – SOMEBODY ELSE´S ARMS / LOVE IS The package, posted from Inglewood in California, dropped through my letter box… I was looking forward to seeing this, the VHS of the then relatively ‘unknown’ but now legendary live show at the Saenger Theatre in New Orleans by Maze featuring Frankie Beverly. But when I fed it into my VHS player, I was disappointed. I could not quite figure out why. The band were tight, each musician sounded great, the product of being on the road, year after year, club after club in the States, sometimes playing five shows a night, all propped up by one of the best soulful voices we had ever heard, the maestro Frankie Beverly. It took a second play to realise what was missing. It was ‘too comfortable’ an atmosphere. A few wealthy customers sat around coffee tables quaffing champagne. It seemed to me that this audience, somehow, did not fit the band. Paul Fenn at Asgard promotions received the contract from the band to appear live in London and Manchester. I became more and more convinced that his UK fans were going to be a lot more responsive than those from New Orleans. We put the word out with just a couple of exclusive ‘shout outs’ by Robbie Vincent on his Radio London Soul programme. Those two plugs were enough to sell out all four shows at London’s premier music venue, the Hammersmith Odeon. The ticket office was rammed and the queue six deep, stretched halfway down Queen Caroline Street. “I have never seen anything like it” expressed the manager of the theatre as he rolled down the shutters and turned on the “Sorry, SOLD OUT” notice above the theatre box office. I was curious, so I went up and stood in the wings of the Hammersmith stage on that first show. Frankie, introduced to the stage by his sound engineer, Greg Blockman, sauntered past me, strumming his rhythm guitar, dressed in a casual dark green towelling suit, a brown leather visor and flip flops…and then five seconds later, he suddenly stopped. He seemed suddenly to be aware of the thunderous ’Welcome to London Maze’ roar, circling around the theatre about to engulf him. He slapped every black and white hand offered up to him that night, with a huge smile as he circled the edge of that stage. We wanted to get next to him, even if it meant climbing over rows of seats in front of us to do so. That was the beginning of our love affair with Maze and Frankie Beverly. It certainly wasn’t New Orleans comfort; it was more like a crazy, but friendly, London riot. Five albums on from the “Live in New Orleans” LP, Frankie sauntered into the California recording studio, probably with the same swagger as in London, to cut the delightful A-side here, “Somebody Else’s Arms”, from his aptly named ‘Silky Soul’ album. Along with the B-side, ‘Love is’ (from the “Back To Basics” CD, 1993) both are so delicious you might want to relax and pour yourself that London glass of champagne, 1983 vintage. Tell your mates your Maze/Hammersmith story too. You deserve it. Grahame Joyce JAR14 - DONAL BYRD AND 125th STREET, N.Y.C. – EVERYDAY / GERALD LEVERT – THE TOP OF MY HEAD DONALD BYRD AND 125th STREET, N.Y.C. The latest release on Jai Alai follows the format of forgotten vinyl tracks never before released on 7” format, or previously CD only album tracks, and will raise some eyebrows in artist selection and pairing. Donaldson Toussaint L’Ouverture Byrd II was one of the most significant jazz artists of all time having joined Art Blakey’s Jazz Messengers in the mid-50s and establishing himself as one of the best hard bop trumpeter/flugelhorn players. His progression was continuous through the 50s/60s working with John Coltrane, Gigi Gryce, Pepper Adams, Thelonius Monk, Sonny Rollins as sideman, and became one of Blue Note Records leading artists. By the end of the 60s Byrd decided to move away from that idiom, experimenting with jazz fusion, African music and Rhythm & Blues. He worked hard to make jazz and its history part of the curriculum in US music colleges and he taught at many including Rutgers, Hampton, Howard, and Columbia, the latter from who he received his PhD in music. Byrd took a great interest in how Miles Davis’ experimentation was resonating with a younger audience, and despite being castigated by his musical peers, his development of jazz fusion changed the jazz scene forever. His work with the Blackbyrds was a cornerstone for the progression of jazz funk in the UK. The effect of his hook-up with brothers Larry & Fonce Mizell was immediate and his Blue Notes albums “Black Byrd” (1973), “Street Lady”, “Stepping Into Tomorrow” (1974), “Places & Spaces” (1975) and “Caricatures” (1976) became legendary on the newly evolving jazz funk scene with certain tracks such as “Change (Makes You Wanna Hustle)” normalising dance jazz on the disco floors, not to mention being a rich source for many hip-hop samples. A slightly leaner period followed when he moved to Elektra Records and of the three albums with his new incarnation 125th Street NYC, a group of musicians he taught at North Carolina Central University, two were produced by Isaac Hayes including “Words”, “Sounds, Colors & Shapes” (1982) from which “Everyday”, a fabulous forgotten piece of mellow jazz funk derives. By the end of the 80s he had returned to his harder straight-ahead jazz roots, but his place in history and the evolving of jazz as a dance culture in our clubs should never be forgotten. GERALD LEVERT There is only so much tragedy one family can take and legendary O’Jay Eddie Levert has surely had more than most. To have lost both sons by the time they reached 40 is incomprehensible, particularly ones so talented, and in such tragic circumstances; an accidental but fatal mixture of over-the-counter drugs and prescription pain-killers in Gerald’s case, and due to incompetent medical care whilst temporarily incarcerated in Sean’s. Gerald Levert left quite a legacy though. He set up his first band LeVert in 1985 with younger brother Sean, and childhood friend Marc Gordon. They released an album each year for the next five years enjoying increasing success, recording seven in total of which four went gold. Their initial album “I Get Hot” (1985 Tempre) was critically acclaimed as one of the greatest soul albums of the decade. A solo career beckoned in 1991 and he immediately topped the R&B charts with Private Line and the following year had huge success with the number one hit “Baby Hold On To Me”, a duet with his father, which led to the album “Father And Son” in 1995. Levert released nine solo albums, discovered the R&B groups the Rude Boys, Men At Large and 1 Of The Girls, as well as being part of the Black Men Unlimited, the collective who scored with U Will Know, the soundtrack to the widely acclaimed ghetto film “Jason’s Lyric”. Gerald was also a member of supergroup LSG, with Keith Sweat and Johnny Gill (their initials forming the name) who between them had enjoyed thirty number one R&B hits and album sales of more than thirty million. Their debut album unsurprisingly sold over 2 million copies with the single “My Body” going platinum. Of his solo albums, all but the first two were CD only, and the selection here, “The Top Of My Head”, is a delicate string-laden stepper taken from arguably his finest album, “G Spot” (2002 Elektra), and features his lead falsetto vocal interwoven with his own background vocals. Pure class. Steve Hobbs