| Lyn Collins - Think (about It) 180 gram vinyl |
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People | LP | 15.00 € |
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| Mad Daddy - Wavy Gravy Radio Broadcasts 1958-1964 |
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Norton Records 2003 | CD | 17.00 € |
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| Mar-Keys - Damifiknow / Memphis Experience Two more Stax classics back to back - Damifiknow from 1969 and Memphis Experience from 1971. Once again this is a graphic description in sound of the change in soul music between the end of the '60s and the start of the '70s. Damifiknow features a stack of Mar-Key covers of soul standards in the shape of "Mustang Sally", Aretha's "Never Loved A Man ...", the perennial "Knock On Wood", the flip of Booker T's "Soul Limbo" - "Heads Or Tails" as well as the wonderful trilogy of "Coffee Cup", "Black" and "One With Sugar"!!! Memphis Experience on the other hand kicks off with a 9 minute-plus work out on the Temptations "Cloud Nine" and further gives Motown a good seeing to with a 4.5 minute "Reach Out...". But it is all played with that Stax sensibility that was the Memphis experience - damifiknow how they did it (ouch! - Ed ( Ace Records website) |
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Ace Records 1990 | CD | 17.00 € |
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| Maria Hänninen - Not Only But Also |
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Samsara Records 2009 | CD | 13.00 € |
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| Marlboros And The Jokers Six - Real Live Girl - So Much A Man Can Take |
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Collectables 1995 | CD | 13.00 € |
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| Marv Johnson - I'll Pick A Rose For My Rose Our collector-oriented series of officially authorised Motown releases continues with this first-time-on-CD reissue of Marv Johnson’s “I’ll Pick A Rose For My Rose” album, as first released on the British Tamla-Motown label in 1969. The first CD there has ever been of this great artist’s Motown recordings, the collection features a further 15 tracks, including five previously unissued rarities from the vaults. Marv Johnson was there at the birth of Berry Gordy’s fabled Detroit empire with his Tamla single, ‘Come To Me’, in 1959, which Gordy placed with the established United Artists label for national release, using the proceeds of the deal to finance recording sessions. Marv remained at UA until 1964, when he returned to the Motown fold. Over the next few years he released three tremendous singles on the Gordy imprint – ‘Why Do You Want To Let Me Go’, 'I'll Pick A Rose For My Rose' and the ultra-stompy ‘I Miss You Baby (How I Miss You)’ – but found it hard to re-establish himself, at least in the USA. It was a different story here in the Motown-hungry UK, where ‘I’ll Pick A Rose For My Rose’ reached the Top 10 early in 1969. To satisfy demand, US Motown dug into what they had in the can on Marv and sent over enough tracks to create a similarly titled LP for the British market. The album was never issued in the USA. The first 11 tracks on this CD represent that long-player in its entirety, mastered from the original stereo tapes used by EMI to manufacture the album in 1969. The next nine tracks are presented in recording date order. They include the four numbers that have surfaced on multi-artist CD collections in recent years, plus a clutch of exclusive previously unissued masters. Some of these have been circulating on underground bootlegs for a while, but here they are superbly mastered from brand new digital transfers of the precious original tapes. In other words, our CD collects together Marv Johnson's complete Motown recordings from 1964 to 1971. Motown took particular care when it came to their single mixes, and for the many aficionados out there who prefer them, the final six tracks comprise the original punchy mono mixes of Marv's three Gordy 45s. Like our recent “The Satintones Sing!” and “Dance With The Contours” CDs (and our Monitors collection, out next month), “I’ll Pick A Rose For My Rose” is compiled and annotated by renowned Mojo award-winning Motown historian Keith Hughes. By Mick Patrick (ACE RECORDS) |
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Ace Records 2011 | CD | 17.00 € |
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| Marv Johnson - Marvelous Marv Johnson Detroit gifted singer, songwriter and pianist Marv Johnson was a seminal figure in the early history of Motown Records. Responsible for more than a handful of hits between 1959 and 1960, he enjoyed no less than nine records in the top 100 as well as two songs on the top ten chart, after being chosen by the record producer Berry Gordy as the first artist to be released on his fledging record label TAMLA, in which Marv kept recording and working on sales and promotion until the late 70s. Often overlooked compared to the other great R&B stars of those years, Johnson's rich legacy includes dozens of brilliant soulful songs, like the immortal chart-smasher "You Got What It Takes" and the classic "Come To Me". |
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Rumble Records 2012 | LP | 18.00 € |
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| Marvelettes - Please Mr. Postman |
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Hallmark Music 2012 | CD | 6.90 € |
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| Marvin Gaye - Greatest Hits - Live in '76 22 tracks. Live show filmed in Holland 1976. 60 min |
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Eagle Rock 1999 | DVD | 9.00 € |
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| Marvin Gaye - I Heard It Through The Grapevine |
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Music On Vinyl 2011 | LP | 18.00 € |
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| Mary Wells - Best Of Mary Wells - 20th Century Masters The Millenium Coll |
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Universal 1999 | CD | 11.00 € |
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| Mary Wells - Bye Bye Baby Jasmine is proud to present the first lady of Motown, Mary Wells with this wonderful compilation of sublime early Motown hits and recordings. Features 1961's 'Bye, Bye Baby/I Don't Want to Take a Chance' and 1962's 'The One Who Really Loves You' and four bonus singles which include the R&B No. 1 'Two Lovers'. Other hits include: 'Bye Bye Baby'; 'The One Who Really Knows' and 'You Beat Me to the Punch'. These recordings led The Beatles to invite her onto their first US tour and a few years later inspired the early beat groups that led to the British invasion. |
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Jasmine Records 2013 | CD | 12.00 € |
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| Mary Wells - Bye Bye Baby - I Don't want to take a Chance originally released 1963 |
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Rumble Records 2013 | LP | 18.00 € |
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| Maxine Brown - Spotlight On / Greatest Hits All Maxine's songs from her Spotlight On..and Greatest Hits albums together with 8 bonus tracks |
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Ace Records 2000 | CD | 17.00 € |
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| Memphis Slim - Poor Man Blues / Poor Man Blues used copy. ex condition. rare french pressing with picture sleeve. |
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Barclay 1975 | Single/EP | 15.00 € Käytetty |
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| Midniters - In Thee Midnite Hour |
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Norton Records 2006 | CD | 17.00 € |
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| Millie - Melting Pot |
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Spirit Of 69 Records 2002 | CD | 15.00 € |
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| Millie Jackson - Soul For The Dancefloor 22 tracks |
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Ace Records 2008 | CD | 18.00 € |
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| Minits - Follow Your Heart - The Sounds Of Memphis Recordings From the 1950s right through to the 1970s Memphis was a record town, awash with studios, record companies and distributors. Its industry proved to be an irresistible magnet for artists from all over the South and often beyond, especially black artists. Country acts would head the few hundred miles up the road to Nashville, and the West Coast was a hub for rock’n’roll’s golden dream, while Memphis – sometimes known as Soul City USA – attracted aspiring soul or R&B performers. The closer you were to Memphis, the greater the pull. The Minits were from not too far away in Montgomery, Alabama. The three-girl vocal group we celebrate in this CD headed to Memphis and released a mere three singles on the Sounds Of Memphis label. Their records were moments of pure pop-soul magic. Their second 45, ‘Still A Part Of Me’, commands a price of well into three figures due to its dancefloor appeal. Left in the vault were five further numbers which we have released slowly over the past few years. ‘Hook Line and Sinker’ is a Dan Greer tune with a snappy pop hook that must have been a candidate for a single but remained unissued until recently. ‘Natural Reaction’ and ‘Stepping Stone’ are both in a similar high quality pop-soul vein. The trio’s version of Aretha Franklin’s ‘Pullin’’ is another thing altogether – the rhythm section hits a groove and takes this one straight to the dancefloor. ‘If You Don’t Like My Apples (Don’t Shake My Tree)’ was found in the vaults only last year and has become my favourite Minits discovery so far. It’s a slamming slice of double entendre sister funk that should make it into DJ sets as soon as it starts to become known. For some reason their records failed to catch on and the Minits never became the stars their records suggest they should have been. The girls are almost completely forgotten today, yet the music they left behind reveals an act that should have achieved more. It may well have been that, despite top of the range production values and high quality songs, there is just too much of the south left in the recordings for them to have sat comfortably on pop radio. Then again, it may just be that they were never championed by the right people at the right time. What is for sure is that their recorded legacy makes for one hell of a listen. A lot of money was clearly spent on styling and taking wonderful photographs of the girls in a bid to represent them as stars. It wasn’t to be but those wonderful photographs now allow us to give you not just some great music but a stunning booklet to go with it. By Dean Rudland (Ace Records) |
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Ace Records 2010 | CD | 15.00 € |
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| Miracles - Collection 19 tracks |
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Spectrum 2002 | CD | 9.00 € |
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| Miracles - Depend On Me - The Early Albums 2CD |
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Motown Records 2009 | CD | 28.00 € |
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| Miracles - Hi We're the Miracles |
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Hallmark 2012 | CD | 7.00 € |
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| Mitty Collier - The Chess Singles 1961-1968 24 tracks |
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Ace Records 2008 | CD | 18.00 € |
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| Monitors - Say You - The Motown Anthology 1963-1968 You have to feel for those artists that didn’t get the breaks at Motown. Most that didn’t were every bit as good as those that did. Their lack of success was the result of being some way down a pecking order dominated by acts such as the Temptations, Four Tops and Supremes. Even the second wave of higher profile acts had to battle to be heard above the big noise made by the hits of those groups. With hindsight, the Monitors hardly stood a chance. Their lack of real success is no reflection of how excellent Richard Street, Warren Harris and Maurice and Sandra Fagin were as a group. Richard Street’s pleadingly soulful lead was good enough to win him a gig with the Temptations in 1971, where he replaced the group’s original lead singer Paul Williams. The material the Monitors recorded, some of which Street co-wrote, was frequently supplied by some of Motown’s biggest names, including Smokey Robinson and Mickey Stevenson. They were recorded under the same conditions as their bigger counterparts, and the end results were invariably as satisfying. That their discography can boast merely a couple of modest soul chart hits is a mystery that even Sherlock Holmes would be at pains to unravel. Chart hits or not, the Monitors have always been revered by the Motown collector cognoscenti, and a CD devoted to their extremely fine recordings has long been overdue. As part of our series of officially approved compilations from the Motown vaults, Kent is delighted to present ‘Say You!’, an extensive overview of the group’s time at the company. Their one album, “Greetings! We’re The Monitors”, is featured in its entirety in stereo. Motown diehards will be delighted to know that the same tape used to manufacture the original UK vinyl LP has been used to master our CD. The album, which includes stereo mixes of all their V.I.P. and Soul A-sides (and some Bs), is joined here by two exceptional non-LP flipsides and a staggering 12 previously unissued tracks spanning the group’s entire tenure with Motown. Ten of these have never been issued before in any shape or form, while the versions of ‘Crying In The Night’ and ‘Cry’ are considerably different to those available on other CDs. All of these unissued masters are featured in their original mixes, made in the 1960s at the time of their recording. Whatever it was that caused Motown to pass over these tracks for release in the 1960s, it wasn’t a lack of excellence. “Say You!” is a superb addition to Kent’s small but growing list of vintage Motown collections, a list you can expect to be added to very soon. By Tony Rounce (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Movie - Ray 2DVD 2 DVD, 146 min, suomitekstit |
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Universal 2005 | DVD | 32.00 € |
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| Nathaniel Mayer - I Don't Want No Bald Headed Woman Telling Me What To Do |
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Norton Records 2002 | Single/EP | 6.00 € |
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| Nathaniel Mayer - Ride In My 225 / Mr. Santa Claus tracks recorded 2003 |
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Norton Records 2005 | Single/EP | 6.00 € |
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| Nella Dodds - This Is A Girl's Life - The Complete Wand Recordings 1964-65 15 tracks |
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Ace Records 2007 | CD | 18.00 € |
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| Nick Waterhouse - Time's All Gone |
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V2 2012 | CD | 18.00 € |
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| Nina Simone - Nina At The Village Gate LP + CD recorded live in 1962 |
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Doxy Music 2012 | LP | 20.00 € |
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| Nina Simone - The Best Of 12 tracks |
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BMG 1989 | CD | 10.00 € |
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| O.C. Tolbert - Black Diamond - Dave Hamilton's Detroit Masters It is odd to have lived with an artist’s work for many years, admiring their talents, gleaning little bits of information about them here and there, but failing to get a full picture of their career. Then suddenly things drop into place and the mists clear. That is how the process has been in seeing O.C. Tolbert’s solo compilation come to fruition over the last few months. Firstly, a 1-inch master tape was randomly copied and turned out to feature some great songs that we had not previously realised were Dave Hamilton’s work. Then the Damn Sam The Miracle Man Tayster LP and the Tolbert Rojac singles became better known and documented. Finally a trawl through some of Dave Hamilton’s half-inch tapes revealed more un-annotated recordings. But we were still missing the vital ingredient: a family member who could fill us in on O.C.’s career details from birth to his death in 1996. I had regularly tried the soul scene’s various web sites and information groups for details of O.C.’s life, but consistently came up with blanks. Then Eric LeBlanc – a music historian, good friend of Ace and something of a sleuth – provided me with five addresses of close relations, to whom I sent detailed letters requesting any information they could muster. Months passed and there was no word, so I decided to carry on regardless and do the best job I could on Dave Hamilton’s top male singer. Out of the blue an e-mail arrived from a Danish journalist resident in New York named Andreas Vingaard, who was researching Jack Taylor, the second of O.C.’s producers, and wondered what information we could provide him with for a forthcoming article. We got together, pooled our resources to quite an extent, and chased the family even harder. This paid off with only a couple of weeks to go to the deadline, when Andreas made contact with O.C.’s widow, Velma, and a telephone interview was arranged. Apart from filling out the early and later years of O.C.’s life, about which we knew very little, Velma was actually involved as a co-writer on several tracks that we were to feature. Though never a part of the recording sessions, she remembered the songwriting and sequence of musical events very well. She furnished us with photos that have further improved a very substantial booklet and put us right on several points; though it turned out that a lot of the speculation was near to the truth. Her granddaughter, Myesha, was involved in getting the music, photos and information between the two countries and the whole saga was an emotional journey for all concerned. For Velma, hearing tracks such as the original take of ‘Let Me Be Your Only Man’ and the tender ballad ‘I’ll Take It All’ was very bittersweet and rekindled all sorts of memories. For us soul fans it is a pleasure to have all his first major works on one compilation. Although the recordings stretch from 1968 to 1988, the power of O.C.’s tremendous voice makes the date of the recording low in relevance compared to the majesty of his singing. Tracks that have been dotted about on producer Dave Hamilton’s various artist compilations have had their audio revisited and further enhanced and putting them into one collection highlights their brilliance. ‘You Got Me Turned Around’ is shown to be a true powerhouse of a song, while ‘I’m Shooting High’ is mid-tempo Detroit soul at its very best. Gospel numbers such as ‘Rough Side Of The Mountain’ and ‘Somebody Is Here With Me’ fit in with the secular songs and his religious opus, ‘Give It To Glory’, is nothing short of sensational and ripe for more serious DJ attention; it is a new mix from the multi-track master that we feature this time around. Both sides of the excellent Rolyak 45 are heard in a new, brass-led, mix and we found a finished vocal version of ‘The Grown Folks Thing’, previously only known in an abbreviated form. ‘Fix It’ is a brand new slab of funk-edged soul and ‘Message To The Black Woman’ is as good a 70s dancer with a moral as you will hear. Though primarily a 70s artist in musical style, Dave Hamilton recorded him initially on some earlier backing tracks circa 1966 and his reading of ‘All I Want Is You’ is magnificent mid-tempo deep soul singing. The similarly constructed but contemporaneously recorded ‘That’s Enough’ and ‘That’s All She Wrote’ are equally worthy. Less than a third of the songs have actually been issued on Kent and most of those are in improved sound quality. This release will inevitably tease out a few more O.C. and Dave Hamilton facts from family and friends. Luckily we have found plenty more Dave Hamilton recordings to be able to update soul fans and music historians on future CDs. Until then revel in a truly unique and inspiring soul singer. By Ady Croasdell (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Odetta - Ballads And Blues - The Best Of 18 tracks |
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Collectables 2006 | CD | 10.00 € |
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| Oscar Toney Jr. - Guilty A Southern Soul renaissance |
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Shout Records 2006 | CD | 18.00 € |
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| Oscar Toney Jr. - Loving You Too Long The Contempo Sessions. 12 tracks |
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Shout 2007 | CD | 17.00 € |
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| Otis Blackwell - Sings His Greatest Hits |
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Acrobat Music 2002 | CD | 10.00 € |
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| Otis Redding - Dictionary Of Soul |
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Sundazed Music 2001 | LP | 20.00 € |
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| Otis Redding - Otis Blue / Otis Redding Sings Soul 2CD 2CD = 40 tracks Collector's Edition |
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Rhino Records 2008 | 2-CD | 28.00 € |
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| Otis Redding - Pain In My Heart re-issue of his 1965 LP |
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Atco | LP | 17.00 € |
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| Otis Redding - The Soul Album 1966 LP |
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Sundazed Music 2003 | LP | 20.00 € |
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| Otis Redding - The Soul Album |
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Atco Records | CD | 10.00 € |
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| Otis Redding & Carla Thomas - King and Queen Nobody burrowed more deeply into a song than Otis Redding--hands down, the most emotive, soulful singer the '60s ever produced. Redding's impassioned, sweat-soaked delivery kept him straddling both pop and soul charts until his untimely death in 1967. Here is a High-Definition Vinyl exact reproduction of King & Queen, a 1967 duet album with Carla Thomas. Everything is taken from the absolute master tapes in knockout stereo. Fa-Fa-Fa-Fa-Fa-Fabulous! |
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Sundazed 2001 | LP | 20.00 € |
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| Ovations - Featuring Louis Williams - Goldwax Recordings 26 biisiä |
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Ace Records 2005 | CD | 18.00 € |
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| Patrice Holloway - Love & Desire - The Patrice Holloway Anthology Patrice was beautiful, she was sassy. She was extraordinarily creative and way ahead of her generation. I loved her very, very much.” Motown producer Frank Wilson What an adventure it was to write the liner notes for “Love & Desire: The Patrice Holloway Anthology”! I had the opportunity to immerse myself in the life of this fascinating unsung artist through interviews with a host of her legendary colleagues: stellar session vocalists such as Clydie King and Edna Wright as well as Motown icon Brenda Holloway, Patrice’s sister. What emerged was a portrait of a singularly talented, spirited and fascinating young woman who was truly beloved by all who knew her. What didn’t emerge was the answer to an age-old riddle: Who sang backup behind Diana Ross on ‘Someday We’ll Be Together’? Brenda Holloway clearly hears her sister on the track, and Merry Clayton shared a vivid anecdote about rehearsing and recording it with Patrice. After the notes were sent to the printer, Motown stalwart Gloria Jones insisted that she had cut the vocals with Carolyn Willis and Patrice. Of course, the late producer Johnny Bristol claimed it was the Waters. File this one under Unsolved Mysteries. But here’s the biggest mystery: How did Patrice Holloway not become a superstar? “Love & Desire” showcases this brilliant vocal stylist on 25 rare tracks bursting with charisma and personality. Her complete output for Capitol is here: nine tracks released on five singles during two tenures with the label. ‘Stolen Hours’, ‘Ecstasy’ and ‘Love And Desire’ have long been Northern Soul favourites, and 1971’s ‘Evidence’ and ‘That’s The Chance You Gotta Take’ personify the “value for money” single. Another highlight is 1967’s ‘That’s All You Gotta Do’, written by future Motown luminary Willie Hutch. Did I say Motown? An excursion into the Hitsville vaults has yielded a treasure trove of exciting rarities. A few have sneaked out on compilations in recent years, such as Patrice’s original version of ‘The Touch Of Venus’, her duet with sister Brenda on ‘Come Into My Palace’ and her seldom-heard double-sided tribute to her teenage heartthrob, ‘Stevie’ and ‘The Boy Of My Dreams’. (Incidentally, Brenda spills the beans in the booklet notes on her little sister’s romance with young Mr Wonder.) Ten Motown tracks see light for the first time anywhere. There’s further flirtation with Stevie on a lively cover of his ‘Surf Stomp’, a Smokey-produced version of the Miracles’ ‘All That’s Good’ and an authoritative take on Mary Wells’ ‘My 2 Arms – You = Tears’. Barely in her teens when she committed these tracks to tape, Patrice is yearning and tender on ‘Love Walked Right In’ and boisterous on ‘Flippitty Flop’. Versatility abounds over a wide variety of styles including doo wop (‘Crying’), mid-60s pop (‘The Go Gang’) and testifying soul (the powerful ‘I Got To Change’). As I said, everyone who knew Patrice loved her. I, too, came to love her while working on “Love & Desire”. Now it’s your turn. By Dennis Garvey (Ace Records) |
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Ace Records 2011 | CD | 17.00 € |
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| Patti LaBelle And The Bluebelles - Down The Aisle 27 biisiä |
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Relic Records 1992 | CD | 17.00 € |
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| Paul Kelly - Hot Runnin' Soul Southern soul singer-songwriter Paul Kelly is a real hero of mine, and I’m sure that many Right Track readers and Kent customers feel the same way. He has been poorly served by the CD market, so it’s a real pleasure to make amends with this collection of his early solo 45s, a more than worthy representation of the first six years of his lengthy recording career. His catalogue has long cried out for reissue – particularly these early years, which have never been fully chronicled – and I’m very proud that the honour of bringing all this great music together fell to me. Paul recorded less frequently than many of his peers, but the upshot of that is that all of his solo recordings from 1965 to 1971 can fit onto one CD. The fact that most of his tracks were cut independently by one producer, the great Buddy Killen, and leased to a variety of imprints means that there were virtually no licensing difficulties to surmount – once we’d decided to do it, the project fell into place swiftly and easily. Our collection contains all of Paul’s singles for the Lloyd, Dial, Philips and Happy Tiger labels, exactly as they were issued – mostly mono, but in stereo when they were originally released that way. Most Kelly fans will tell you that Paul is never better than when he’s singing something slow, and cite tracks such as ‘If This Old House Could Talk’, ‘The Day After Forever’, the under-rated ‘Sailin’’ and the simply magnificent ‘Nine Out Of Ten Times’ as proof. While it’s hard to contest that, Paul was equally at home with up-tempo material, and you need look no further than the club classics ‘Chills And Fever’ and ‘Sweet Sweet Lovin’’ to confirm that: Paul’s career song, ‘Stealing In the Name Of The Lord’, is a dancer of sorts, while the brilliant ‘509’ demonstrates that the faster side of his repertoire is, at its best, more than a match for his slower numbers. With the exception of ‘Stealing’, none of these records were massive chart hits, although they deserved to be. They most likely failed to chart because they were competing with so many other great records, and there simply wasn’t room for every classic 45 to make a mark on the R&B charts back then. Happily for Paul, southern soul fans never put much stock in chart positions. Regardless of how many copies they sold on release, the best of the tracks on “Hot Runnin’ Soul” – and that’s almost all of them – will continued to be revered in soul circles for many years to come. By Tony Rounce (Ace Records) |
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Ace Records 2012 | CD | 17.00 € |
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| Peggy Scott - She's Got It All 12 tracks |
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Shout Records 2006 | CD | 17.00 € |
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| Percy Faith & His Orch - Isle Of Paradise / Goin' Home Train yellow colubia labels. VG |
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Columbia | Single/EP | 5.00 € Käytetty |
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| Percy Sledge - 20 Great Songs 20 biisiä |
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Star Entertainments 1996 | CD | 9.00 € |
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| Percy Sledge - Greatest Hits 14 biisiä |
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Prestige Records 1993 | CD | 13.00 € |
