Alexsubinas

New Comp Lp from Soul4Real Pre-order now for 15th December 2024 NEW COMPILATION! 𝗔𝗦𝗞𝗜𝗡𝗚 𝗙𝗢𝗥 𝗧𝗛𝗘 𝗧𝗥𝗨𝗧𝗛 (𝗕𝗨𝗧 𝗣𝗥𝗔𝗬𝗜𝗡𝗚 𝗙𝗢𝗥 𝗔 𝗟𝗜𝗘) (S4RLP06) Pre-order now for 16th December: www.soul4real.es Tracks 𝗗𝗢𝗥𝗢𝗧𝗛𝗬 𝗠𝗢𝗢𝗥𝗘 - GIRL OVERBOARD 𝗞𝗜𝗡𝗚 𝗙𝗟𝗢𝗬𝗗 - I´M FOR REAL 𝗥𝗔𝗬 𝗖𝗥𝗨𝗠𝗟𝗘𝗬 - GOOD GUYS DON´T ALWAYS WIN 𝗚𝗘𝗢𝗥𝗚𝗘 𝗝𝗔𝗖𝗞𝗦𝗢𝗡 - PLAY SOMETHING PRETTY 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹𝗹𝘆 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱, 𝗿𝗲𝗰𝗼𝗿𝗱𝗲𝗱 𝗮𝘁 𝗠𝘂𝘀𝗰𝗹𝗲 𝗦𝗵𝗼𝗮𝗹𝘀 𝗦𝗼𝘂𝗻𝗱 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 𝗕𝗢𝗕𝗕𝗬 𝗕𝗟𝗔𝗡𝗗 - MY HEART´S BEEN BROKEN AGAIN 𝗝𝗜𝗠𝗠𝗬 𝗝𝗨𝗟𝗘𝗦 - HAVING A LITTLE TALK WITH LOVE 𝗣𝗿𝗲𝘃𝗶𝗼𝘂𝘀𝗹𝘆 𝘂𝗻𝗿𝗲𝗹𝗲𝗮𝘀𝗲𝗱, 𝗿𝗲𝗰𝗼𝗿𝗱𝗲𝗱 𝗮𝘁 𝗠𝘂𝘀𝗰𝗹𝗲 𝗦𝗵𝗼𝗮𝗹𝘀 𝗦𝗼𝘂𝗻𝗱 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 𝗖𝗛𝗨𝗖𝗞 𝗕𝗥𝗢𝗢𝗞𝗦 - I BELIEVE IN LOVE 𝗝𝗢𝗘 𝗪𝗜𝗟𝗦𝗢𝗡 - SOUR LOVE, BITTER SWEET 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹𝗹𝘆 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱, 𝗿𝗲𝗰𝗼𝗿𝗱𝗲𝗱 𝗮𝘁 𝗠𝗮𝗹𝗮𝗰𝗼 𝗦𝘁𝘂𝗱𝗶𝗼𝘀 𝗧𝗘𝗗 𝗧𝗔𝗬𝗟𝗢𝗥 - CAUGHT UP IN A GOOD WOMAN´S LOVE 𝗘𝗗𝗗𝗜𝗘 𝗚𝗜𝗟𝗘𝗦 - I CAN´T GET OVER YOU 𝗥𝗘𝗨𝗕𝗘𝗡 𝗕𝗘𝗟𝗟 - ASKING FOR THE TRUTH Soul4Real returns to the south with a selection of eleven songs from Malaco, Muscle Shoals Sound Studios and Alarm Records. There is no doubt that in the 1970s and 1980s, Malaco in Mississippi and Muscle Shoals Sound in Alabama were both highly significant in defining the southern soul sound. Malaco’s Studio had opened in 1967, while Muscle Shoals Sound Studio opened its doors for business in 1969, when four musicians left nearby Fame Studios to go it alone. Alarm Records, meanwhile, based in Shreveport, Louisiana, provides us with four of the tracks on this album. Independent producers and major record companies sent their artists south to record, taking advantage of both Malaco and Muscle Shoals Sound’s talented array of musicians, writers and producers. Muscle Shoals Sound, in particular, started to receive artists from Atlantic Records from the get-go; R.B. Greaves, Baby Washington, Sam & Dave and Solomon Burke led the way, along with Scotland’s Lulu. The first relesase on their own record label was the timeless “It Hurts So Good” by Katie Love. Meanwhile, Stax (amongst others) sent some of their artists to record at both studios, and Malaco would also lease some of its own productions out to Atlantic. Alarm Records was a smaller set-up which also produced some wonderful records. This album opens with the only female singer featured – Dorothy Moore. Her exquisite “Girl Overboard” has been justifiably popular on the soul scene for decades. The other ten tracks showcase an array of fine male singers, most of whom (Bobby Bland and King Floyd aside), sadly and perhaps unjustly, never really made the big time. It is the first showing on vinyl for three of the tracks here (previously having only been issued on CD), and Jimmy Jules’ reading of “Having A Little Talk With Love” has never appeared anywhere before. As always, sit back and savour the music! 𝗦𝗧𝗘𝗩𝗘 𝗚𝗨𝗔𝗥𝗡𝗢𝗥𝗜

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

After a break of 3 months with no Soul4Real releases I´m excited to announce two new 7"s by Tommy Tate and The Staples. Liner notes by Finland's finest Heikki Suosalo and our very own Iu Adell. As usually, great remastering courtesy of Jorge Muñoz-Cobo (Circo Perrotti) and fantastic job by Jordi Duró on design/artwork duties. Order now for 1st March: https://soul4real.es 𝗧𝗢𝗠𝗠𝗬 𝗧𝗔𝗧𝗘 (S4R33) I Can´t Do Enough For You Baby / Hold On (To What We´ve Got) Tommy was born in 1945 in Homestead, Florida, and after his first foray into music in a church choir, he launched his secular recording career in Jackson, Mississippi, working mostly with Tim Whitsett and his Imperial Showband in the latter half of the 1960s. After a short stint with the Nightingales, he signed with KoKo in 1971 and had six impressive singles released, followed by records on Sundance, Juana and Urgent Records. “I Can’t Do Enough for You Baby” is a mellow and melodic slow-to-mid-tempo song that sounds almost inspirational, while “Hold On” is a beautiful waltz-time ballad which James Carr released on Atlantic in 1971. Both of these songs were cut as demos probably in 1969 after Tommy and Carson Whitsett had signed a deal to become staff writers with Malaco Records. Tommy was a magnificent singer and songwriter, who never got the credit he deserved mainly because of poor business choices and unfortunate incidents throughout his career. However, he was a beautiful person, gentle and humble. 𝑯𝒆𝒊𝒌𝒌𝒊 𝑺𝒖𝒐𝒔𝒂𝒍𝒐 𝗧𝗛𝗘 𝗦𝗧𝗔𝗣𝗟𝗘𝗦 (S4R34) Take This Love Of Mine / Precious, Precious With the collapse of Stax Records, The Staple Singers signed with Warner Bros in 1975, leading to a brief and fruitful collaboration with Curtis Mayfield. Their first work, the OST ‘Let´s Do It Again’, became the Staples’ all-time best seller. Such was the success that the major decided that Mayfield would also produce their next work, ‘Pass It On’, in 1976. Along with the group’s new sound and shift in lyrics, there also came a new image and a shortened name: The Staples. “Take This Love Of Mine” is a catchy two-stepper dancer, with a passionate and powerful vocal performance and uplifting chorus. “Precious, Precious” is an elegant and sophisticated ballad with less presence of arrangements but which is still incredibly moving and oozing quality. Both tracks, overlooked as singles, closed an album destined to consolidate the success of the new era. Unfortunately, sales fell short of WB's expectations, leading to Curtis being removed from the production of the subsequent Staples records. Undoubtedly, one of their finest albums and a true favorite among soul fans. 𝑰𝒖 𝑨𝒅𝒆𝒍𝒍

VARIOUS ARTISTS "SOUL PRESCRIPTION" LP (SOUL4REAL) 'Soul Prescription', the 4th album published by Soul4Real. We have included 12 tracks, all great examples of real soul music, a mix of well known classics, overlooked gems, and 4 original unreleased songs than most people have probably missed. A perfect gift for Christmas! PRE-ORDER NOW FOR 7th DECEMBER www.soul4real.es Soul Prescription JAMES & BOBBY PURIFY – MY ADORABLE ONE 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱 𝗕𝗲𝗹𝗹 𝗿𝗲𝗰𝗼𝗿𝗱𝗶𝗻𝗴 https://youtu.be/hYb-N6CN3EY ARTHUR ALEXANDER – I NEED YOU BABY https://youtu.be/D1wDrWkshjE WALTER JACKSON – IT´S HARD TO BELIEVE 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱 𝗢𝗸𝗲𝗵 𝗿𝗲𝗰𝗼𝗿𝗱𝗶𝗻𝗴 https://youtu.be/o1V50-_1SkQ MAXINE BROWN – DON´T LEAVE ME BABY https://youtu.be/YkPoDOLusec SHIRLEY BROWN – WHEN YOU REALLY LOVE SOMEBODY https://youtu.be/JselOKXJnCc DREAM MACHINE – ALL MY LOVE https://youtu.be/DGVKuy1u74Y SOUL CHILDREN – MIDNIGHT SUNSHINE https://youtu.be/JPmbOb4BUn8 THE ISLEY BROTHERS – HERE WE GO AGAIN https://youtu.be/ZhrNnzlaGDk JOHNNIE TAYLOR – YOU´RE THE BEST IN THE WORLD https://youtu.be/Nh-U9mhlWWg GIL SCOTT-HERON – YOUR DADDY LOVES YOU (FOR GIA LOUISE) https://youtu.be/2yJsuvhoOlE GLADYS KNIGHT & THE PIPS – MORE, MORE, MORE 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱 𝗖𝗼𝗹𝘂𝗺𝗯𝗶𝗮 𝗿𝗲𝗰𝗼𝗿𝗱𝗶𝗻𝗴 https://youtu.be/d5JcgiADfMY ARETHA FRANKLIN – THE WIND 𝗢𝗿𝗶𝗴𝗶𝗻𝗮𝗹 𝘂𝗻𝗶𝘀𝘀𝘂𝗲𝗱 𝗔𝗿𝗶𝘀t𝗮 𝗿𝗲𝗰𝗼𝗿𝗱𝗶𝗻𝗴 https://youtu.be/9saNwLCcv2U PRE-ORDER NOW FOR 7th DECEMBER www.soul4real.es

Out Now! - New Soul4Real Releases: Magic Sam (S4R31) & Aretha Franklin (S4R32) MAGIC SAM - THAT´S ALL I NEED / EVERY NIGHT AND EVERY DAY (SOUL4REAL) ARETHA FRANKLIN - CAN YOU LOVE AGAIN / I´M TRYING TO OVERCOME (SOUL4REAL) MAGIC SAM - THAT´S ALL I NEED / EVERY NIGHT AND EVERY DAY - (SOUL4REAL) What better way to herald Soul4Real's first foray into the blues: two wonderful sides by the late great Magic Sam! Born Samuel Gene Maghett in Mississippi in 1937, in his teens he made the familiar migratory journey north where he established himself – along with the likes of Otis Rush – as one of the great exponents of the 'West Side' Chicago blues sound. In 1967, Sam signed to Delmark and cut his first LP, the critically acclaimed 'West Side Soul' from which the two tracks featured here are taken. "Every Night and Every Day" is delivered in his familiar style, whereas "That's All I Need" reveals a more soulful side to Sam's vocals, pointing towards the blues-soul style that was to dominate the genre into the 70s and beyond. His tragic death, aged just 32 in 1969, deprived the world of a wonderful blues talent, but he left a fine legacy of influential and inspirational work admired by fans and musicians alike. Mike Lofthouse ARETHA FRANKLIN - CAN YOU LOVE AGAIN / I´M TRYING TO OVERCOME (SOUL4REAL) Atlantic records impresario Jerry Wexler had many strings to his bow, but undoubtedly his greatest stroke of genius was leading Aretha towards the Fame Studios in 1967 to conduct her first sessions for the label. A lady with many quite uneven Columbia albums to her name would turn the world of soul music upside down and reveal the Queen of Soul to the world. The music created was both harrowing and spine-chilling in equal measure, leaving everyone in its radius in a state of soulful euphoria. “Can” was recorded during the ‘Hey Now Hey’ LA album sessions circa 1972, with Quincy Jones at the helm, and is a scintillating slow burner of exquisite beauty. “I’m Trying” is a glorious 1969/70 outtake from her ‘Spirit in the Dark’ LP, cut at Criteria with Wexler and the MSS boys in tow. A friend of mine recently alluded that you sometimes don’t realise the true greatness of a track until it is embossed in 7” vinyl. So true! Jan Barker IN STOCK, ORDER NOW! www.soul4real.es www.soul4real.es

JAHEIM - Just In Case / Diamond In Da Ruff (JAR11) Jaheim H. Hoagland, known professionally just as Jaheim, is best described as an R&B singer, but as all his releases are post millennium, the term has a different usage now to the style of the 50s/60s/70s that once used the genre. A resident of Hillsborough Township, New Jersey, and the grandson of 1960s soul singer Hoagy Lands which gives him Cuban, African and Native American blood, plus a fine musical heritage. His recording career started with Divine Mill Records (a division of Warner Bros. Records) and his debut album “Ghetto Love” was released in 2001 to great acclaim. His follow-up album “Still Ghetto” (2002) spawned two hit singles, “Put That Woman First” and “Fabulous”, that both went platinum, and his third album “Ghetto Classics” (2006) topped the US Billboard chart selling over 153,000 copies in its first week. He then was signed to Atlantic Records in 2007 and his success continued with another three albums, and his final album to date, “Struggle Love” (2016) was released through BMG on his own label Julie’s Dream. To date he has received three Grammy nominations and sold over 5 million records worldwide. The tracks selected for their 7” debuts are “Just In Case”, which was from the 20-track album “Ghetto Love” and did actually get released on a 12” being a massive favourite at the more progressive soul events, and “Diamond In Da Ruff” from “Still Ghetto”, which was also released on 12” vinyl. Steve Hobbs (Solar radio / Totally Wired Radio) JOHNNIE TAYLOR / BOBBY BLAND - Let´s Get Back On Track / Heart, Open Up Again (JAR12) Johnnie Taylor was an accomplished soul artist despite having little instrumental skill and he rarely wrote any of his own material. He was known variously as the ‘Blues Wailer’ and the ‘Philosopher Of Soul’ and recorded over 30 albums and 120 singles throughout a career that cemented his status as one of the leading male soul vocalists during the late sixties and throughout the seventies. He started his recording career mid-50s with the doo-wop group The Five Echoes and gospel groups The Highway Q.C.’s and then in 1957, The Soul Stirrers, replacing Sam Cooke who had left the group for a solo career. Taylor followed that path a few years later signing for Cooke’s SAR label. and had a minor hit in 1962 with “Rome Wasn’t Built In A Day”. in 1964 he moved to Stax Records where he started as a blues artist enjoying many fruitful years, most notably with “Who’s Making Love” selling more than a million copies. Following the unfortunate demise of Stax in 1976 he moved to Columbia Records where he went platinum with the hit “Disco Lady” (ironically not a disco track at all) and the album from which it came ‘Eargasm’ (1976) was a commercial peak he would never scale again. However, he continued with many collectable releases before moving to Beverly Glen Music in the early eighties and then Malaco Records in 1984, where his style became the more soul-blues based sound that was synonymous with the label. He remained with them until he died of a heart attack in Dallas aged 66 in 2000. “Let’s Get Back On” Track comes from the CD ‘Gotta Get The Groove Back’ (1999) produced (and co-written with Charlie Brooks) by Frederick Knight, who also used the same backing track some 7 years later with his production of the David Sea track “Stay In My Arms” which was a modern soul favourite and will help to register the significance of this earlier production. It is now available as a vinyl release for the first time. It was taken from his final album although Malaco released ‘There’s No Good In Goodbye’ posthumously in 2003. Robert Calvin Brooks, known professionally as Bobby “Blue” Bland spent his early career in Memphis, developing a sound that mixed gospel with blues and R&B and was known as the ‘Lion Of The Blues ‘and the ‘Sinatra Of The Blues’. His father abandoned the family not long after his birth and he acquired his name from his stepfather, Leroy Bland. His formative musical years were centered around the Beale Street scene and he was scouted by Ike Turner for Modern Records. His progress was interrupted by a two year stint in the US Army and when he returned to Memphis he signed for Duke Records, run by Don Robey. Bland was illiterate and Robey helped him sign his contract which only gave him half a cent per record sold instead of the industry standard of 2 cents. He had his first hit in 1957 and continued a successful run of R&B chart entries without breaking through into the mainstream markets and was ranked number 13 of the all time chart-topping artists in Joel Whitburn’s “Top R&B/Hip-Hop Singles: 1942-1995”. Duke Records sold out to ABC and with them he managed to return to the R&B charts but he still couldn’t succeed in the pop charts. In 1985 Bland signed for Malaco who were specialists in the Southern black music sound and he recorded many albums and toured for them, frequently with B.B. King, and was inducted into the ‘Rock And Roll Hall Of Fame’ in 1992. Whilst “Heart Open Up Again” was a vinyl release in 1985 it was not chosen to be the single release from the Tommy Couch & Wolf Stephenson produced album Members Only (1985). This beautiful ballad, penned by George Jackson/Robert Miller/Michael Wooten, was never before released as a single and is a fabulous pairing with the topside – two of the best from two of the all-time greats. Steve Hobbs (Solar radio / Totally Wired Radio) PRE-ORDER NOW FOR 14th OCTOBER www.soul4real.es Images