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A more recent discovery by yours truly, this is a lovely beat ballad which takes a while to get going but is worth sticking with for the high powered chorus and brilliant vocal gymnastics on the fadeout. An American male vocal version by Malcolm Hayes has also turned up recently. Emma Rede is in fact a pseudonym for girl singer Jackie Lee. A brilliant instrumental originally commissioned as the theme to BBC’s Play Of The Week series, though it’s cover up title – Boogaloo Investiagtor – should give you some idea of what to expect.

Attaining monster proportions in the late 80’s, this is now a firmly established classic and may just be the best of all the black Atlantic sides. A very short lived label from 1969, helmed by journalist Dave Godin and running in conjunction with his Soul City set up, Deep Soul only stretched to six releases. All of the Deep Soul releases are hard to come by, and I can’t ever remember seeing a demo copy. If any exist, these are probably white label test pressings. A surprise Northern ‘smash’ in 1975, this was practically a new release when first played.

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It actually sounds as if it should be the theme to some gritty American cop show, when in fact Mike was an erstwhile member of chart-topping beat combo Manfred Mann. Originally credited to The Matt Parsons Orchestra, On The Brink is probably the best British Northern Soul instrumental of them all. Ignore the inferior version by Sounds Incorporated, it doesn’t hold a candle to this. Surprisingly, Jerry Jackson’s incomparable It’s Rough Out There is still a relative unknown in comparison to the records I’ve mentioned so far in this piece. Surely that can only be attributed to the fact that this is a super-scarce record which simply never turns up.

Ditto The Spellbinders’ Help Me, a true Northern classic, and as a bonus it has the almost-as-good Chain Reaction on the flip. A sadly disappointing label which released only a minute fraction of it’s superb American soul output in the UK. Brenda Lee and Len Barry were the label’s biggest sellers, but there are a couple of interesting obscurities https://xcritical.com/ to keep the select few happy. Nothing to get too hot under the collar about here, though the two releases credited to Arnold Corns are David Bowie under a pseudonym and always fetch a good price. Hailing from Glasgow, this band were known as ‘The Scottish Beatles’. They released three 45’s for Decca and four for CBS, all of which are collectable.

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Patty LaBelle & Her Belles – All Or Nothing/You Forgot How To Love. Top side is a lilting beat ballad, while the pacier You Forgot.. Is a fine Come See About Me soundalike which, if there was any justice, would have people dancing in the aisles.

Marvin Smith’s Have More Time is another very rare release and still in-demand after nearly 30 years. Gene Chandler’s The Girl Don’t Care/My Love is a disappointing release from US Brunswick. Finally, avoid Danny Harrison – Speak Of The Devil single like the plague as it’s a second rate Roy Orbison soundalike. As for the record, it’s a real grower, a midtempo number which sounds a lot like Jackie Trent’s cover of The One Who Really Loves You. Through an analysis of “SeeSaw Protocol” Google search results, we can potentially observe a manipulation of the algorithm.

• At the time of writing, under 10 copies have now surfaced, utilising the black 70’s design label.
• Wynder K.Frog was a group rather than a person and was fronted by keyboardist Mick Weaver who had previously been with The Fairies.
• The label seems to have been owned by former artists Hugo & Luigi, and was always a popular discotheque label with releases like L.J.
• It’s a pretty good midtempo dancer with a stomping chorus and some neat sax work.
• This changed to the well-known “palm tree” design in 1970, by which time the soul content of the label was nil and the reggae content minimal.
• Notable for it’s Buddy Holly & The Crickets releases and a couple of rare Johnny Burnette singles, Coral was a long running label which was eventually absorbed by Brunswick in 1967.
• Tom gets a lot of unfair stick from Northern fans who, whenever hearing the latest cover-up from some big voiced but obviously white singer tend to label it a “Tom Jones soundalike”.

I am sure a lot of people would by them, I for one would as I no longer have any copies of the mag. Kim Weston’s I Got What You Need must be the most common import record of all time. They used to give these away at prizes at our local fair in the early 70’s!

A gutsy vocal and big backing for this fine mod version of the Marvin Gaye classic. The Liverpool born artists only other single, a version of The Apollas You’re Absolutely Right for Parlophone, was even better than this one. Surprisingly few people are aware that there’s another version of Shane Martin’s classic floating about. This is by the song’s composer, the legendary Jim Webb, and is set at a slower pace than Shane’s version. It’s dominated by an organ sound and features a great ‘call and response’ fade out.

Several demo’s got out, as did a handful of issues, but my estimation is that fewer than ten issues have ever seen the light of day. As for the actual record, it’s a more uptempo version of the Little Anthony classic with a perfect dance beat, though the vocal leaves a little to be desired. D’Ell – real name Dennis Dalziel – was lead singer with Have I The Right hitmakers The Honeycombs. Notable for it’s Buddy Holly & The Crickets releases and a couple of rare Johnny Burnette singles, Coral was a long running label which was eventually absorbed by Brunswick in 1967.

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Owen Gray was a veteran Jamaican vocalist who was quite adept at a soul style delivery. His version of Marvin Gaye’s Can I Get A Witness is decent enough. Label co-owned by Jerry Moss and hit-making trumpeter Herb Alpert, set up in 1966 and originally issuing material in the UK on the ernational label. A & M got it’s own imprint in 1968, though they stayed with Pye for manufacturing and distribution purposes. The label was white with the logo at the top, with the letter A taking the shape of a snow-capped mountain. Barbara & Brenda’s Never Love A Robin is another veteran on the soul scene but copies are getting scarcer as the years go by.

A cracking UK stomper with a catchy chorus from a first rate vocalist who went on to become one of the UK’s top session singers. CP also used a strange and rather confusing numbering system; most releases seem to utilise their respective American catalogue numbers, yet there are two number 100’s and two number 101’s – albeit prefixed by a ‘C’ or ‘P’. In this instance, the ‘C’ may possibly stand for ‘Calla’, the label on which the two releases in question appeared on in the States.

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The very last of these, The Who Who Song, is perhaps Wilson’s most enduring Northern sound, but as his output was usually of the highest quality it’s hard to pick a clear winner. Wilson’s first ever UK release, Reet Petite, topped the charts almost 30 years to the day of it’s release following it’s highly successful use as backing music for a Levi’s commercial. Issues are very striking; red and black with the cameo ‘brooch’ logo on the left hand side. Certainly one of the most aesthetically pleasing labels you’ll come across. Demos are Pye style, white with black lettering.

Demos were originally plain white with black lettering on both sides before switching to the normal EMI red and white style in 1961. 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. The Northern Soul scene made a hit out of The Trammps’ Hold Back The Night, which was an album track that had found popularity as an instrumental entitled Scrub Board on the flip of Sixty Minute Man. When the vocal was released due to demand, it crashed into the top 10 and also spawned a hit cover version by Graham Parker a couple of years later.

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Interestingly, the flip of this record, Never Give Away Love, somehow came to the attention of White Cliffs Records in the USA who cut a version which has been a recent Northern biggie on the collector’s circuit. By the way, Tom Jones also has a few decent tracks hidden away on UK LP’s of the 60’s including a version of Dance Of Love, though his version of Doctor Love, good as it is, is not a version of Bobby Sheen/Whispers. Not the most soulful of labels, Decca, and a label that’s generally despised by collectors of American label Northern Soul due to it’s out and out ‘pop’ recordings. Still, where would we be without those pop-stompers which made the scene what it was in the 70’s? And now, 23 years on, I still have that attitude – only nobody plays those kind of records and more so you don’t get the opportunity to dance to them. Which brings me round to the Decca label, and it’s multitude of pop/soul dancers.

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Because CBS’s distribution was so good, and perhaps because the labels’ lifespan coincided with a boom time for soul (or ‘discotheque’) music, most of the releases on Direction are relatively easy to find. The main exception is Big Maybelle’s 100mph stormer Quittin’ Time from US Rojac which has always been an in-demand record. Barbara Mason’s Ain’t Got Nobody is an excellent midtempo dancer from US Arctic and has gained a few plays recently. The effervescent I Got What It Takes by Brooks & Jerry was a Twisted Wheel classic which still sounds great today, one of those records which always manages to brighten up dark nights.

Sly & The Family Stone’s breakthrough record Dance To The Music made the charts on Direction, weeks after it had been issued and then withdrawn by Columbia. The Columbia seesaw protocol token version is a different mix to the better known Direction version. All of Deram’s Northern releases were recorded in the UK, even those by American artists.

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The track did appear as a single in other countries, but only on an EP – officially – in the UK. Such is the wonderful world of soul collecting. At one time the only place you could hear this disc was in Mr.M’s at Wigan where one of the resident jocks used to spin it every week. As an issue, this is one of the rarest UK items as it was at first held back, and then completely withdrawn and left unreleased.