As black popular music genres were adopted by white teenage audiences in the 1950s, there was a tendency for black music to revert to more authentic, basic styles. Towards the end of that decade, a new generation of black entrepreneurs sought to cash in on this trend by setting up innovative independent labels, which were to produce some of the best known names of twentieth century music such as Sam Cooke, Berry Gordy and Ray Charles. The growing civil rights movement, the rise of the 45rpm record and the electric guitar all played their part in the creation of a new sound. Part of the History of Soul series, the accompanying 32-page booklet sketches the historical background to a collection of exciting tracks from the 1950s and 60s.
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- Out of stock
Virtuoso blues guitarist Bobby Parker inspired John Lennon, Eric Clapton, Carlos Santana, Jimmy Page and many others yet it has taken 66 years since his recording debut for a proper compilation to be issued under his name. The one you all know, Watch your Step was played on stage by the Beatles in their Hamburg days who by their own admission, took its riff to fashion the opening to I Feel Fine. And let’s not forget Led Zeppelin’s Moby Dick, which borrowed that same riff. What a great soulful blues singer Bobby Parker was too. From his 1956 recording of Titanic, to 1969’s It's Hard But It's Fair, we present some unforgettable vocal performances plus guitar instrumentals that showcase his unique way of playing the blues. And there are some unreleased live performances from a radio show broadcast in 1995. Bobby Parker originals are hard to come by – apart from the hit Watch your Step, everything else is a valuable collector’s item. But this compilation brings them all together in one set and we can promise a treat in store for you. An excellent new 2CD compilation…offers the listener a deep dive into the legacy of a historically significant artist, meriting attention from anyone who can appreciate an organic fusion of blues, soul, a bit of doo-wop and prototypical rock…Bobby Parker’s timeless recordings still pulsate with personality, righteous energy, superb musicianship and soulful flair. If you don’t already know that fact firsthand, Soul Of The Blues is here to enlighten and entertain. Roger Wood Living Blues This is how all compilations should be done Dave Penny Blues & Rhythm This two-CD set – the first-ever compilation that focuses solely on his music – should change that. One listen, and you’ll be wondering why he flew under the radar for so long… Run, don’t walk, to buy this one. Bobby Parker was a treasure. This one’s going on my short list for historical album of the year, and, once you hear it, you’ll probably feel the same way, too. Marty Gunther Blues Blast Magazine (R&B Records) should be congratulated on putting together a comprehensive collection of hard to find material John Mitchell Blues In Britain All in all the 52 tracks here are a veritable treasure trove of wonderful music. And the presentation of the CD set is superb with a sumptuous booklet…I can’t recommend (it) strongly enough…The definitive Bobby Parker is a dream come true for fans like me – this is the best reissue CD of 2020 for sure. Don’t you dare miss it! John Ridley RANDB060 Produced as CD-R (professionally manufactured recordable CD printed for short run) as opposed to CD-P (professionally manufactured pressed CDs made in quantities of 500+). Comes with printed CD inner plus booklet. All CDs whether CD-R or CD-P are 100% guaranteed error free. Discs will always be replaced if any problems are encountered. -
The “5” Royales were one of the greatest of all the R & B groups. Their ground breaking sides for Apollo from 1951 – 55 are rightly highly regarded for being amongst the very first to marry the rhythms and instrumental stylings of the blues with the vocal fire of gospel music. This innovation was not just daring and controversial but also highly successful – the Royales had five top ten hits including two number ones in a very short space of time. SOUL014 -
Included on Disc One are four songs from a previously unreleased Home Of The Blues test tape from May 1961 – a real bonus to hear – all imbued with gospel fervour, the vital ingredient of solid soul. There are 20 additional previously unissued tracks & 17 related recordings by artists linked with the 5 Royales. These History of Soul releases are not your quickie PD issues as they have extensive notes by soul expert John Ridley, detailed discographies and loads of label shots and great photos. If you have the slightest interest in R&B, soul and the transition between the two, then you need some 5 Royales in your life. There are thirty-seven tracks on these three History of Soul ‘ Definitive 5 Royales’ 2CD sets that are not on the Rock Beat box set. Fred Rothwell Blues & Rhythm Although I own all their LP's I hadn't listened to the 5 Royales for quite some time. When I got your set I immediately put them on my CD player( the King sides first). I must confess you did an excellent job. The set is fantastic. The sound comes over clearly and the bass has profound depth almost more than on the original KING LP's. I never listened to them with more pleasure ever. Really fantastic. Atilla Oess SOUL025 -
The sub-title of the set is the Definitive Falcons Collection – The Complete Recordings – and that’s just about right. This is the complete deal for Falcons fans! Fred Rothwell Blues & Rhythm To this day, tracks come out on the Falcons that I had no idea existed. The last set I heard about managed to compile four CDs worth of various Falcons and Robert West recordings. We never see any money from these releases, but I figure there can’t be that many people looking to buy a four-CD box set on the Falcons, and putting together such a package can’t come cheap either. It’s good to know people still care. And I appreciate that Robert West has finally received some of the credit he deserves for all that he did for the Detroit music scene.Eddie Floyd (from his biography My Life in Soul)
Goodies abound across all four cds, whether flat-out group recordings or by way of guest appearances and/or the many collaborations...'I Found A Love' appears in a number of guises and I particularly liked the distaff treatment by Maxine Davis and the truly fervent rendition by the wailing Joe Woods (so good that the less than pristine reproduction couldn't spoil the enjoyment) - but you really have to put this release high up on your shopping list and listen for yourselves. David Cole In The Basement
Mid 50s Detroit was a hotbed of teen talent, all aspiring to sign a recording contract, get famous and buy a big car. Scores of young black vocal groups practiced their harmonies in stairwells or under street lamps, dreaming that one day their time would come. The Falcons were one of these but because of their gospel background and thanks to the guiding influence of manager and mentor, Robert West, they went on to become the first soul group. Who knows: if Eddie Floyd, Mack Rice, Wilson Pickett/Joe Stubbs, Willie Schofield and Lance Finnie had stuck together, they may well have rivalled other Detroit super groups such as the Temptations and Four Tops for success.
This 4CD set brings together all known recordings by the original Falcons, along with alternate takes, guest appearances, cover versions and songs musically supervised or written by members of the group. Solo recordings by group members are also included from 1956 to 1963, the time they were recording together.
The set is also, in a sense, a history of soul itself, showing how the genre develops from its early stirrings in doo-wop, taking in R&B and gospel along the way and culminating in two of the very first records that can definitively be described as soul: the Wilson Pickett-led tracks Take This Love I've Got and I Found A Love, the first two tracks on this compilation.
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By 1960, the sound of black popular music had turned away from a driving, largely uptempo rhythm and blues towards a more emotionally poignant style described at the time as secularised gospel. The term 'soul' popped up here and there, but only became common parlance after Ray Charles's I Believe To My Soul was released at the end of 1959. This compilation, part of the History of Soul series, brings together the finest tunes before soul went mainstream. We hope you will find the accompanying 28-page booklet interesting and informative.
SOUL011 - Sale!
'A perfect compilation, features familiar names & obscure artists who deserve their place in musical history,as educational as it is entertaining and is worth adding to your collection...I learned a lot from reading the liner notes. When I make some new discoveries, that's a real bonus.' Errol Nazareth, presenter on CBC, Canadian Broadcasting Company
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In a comprehensive overview from 1927 to 1963, History of Soul Records’ 8CD anthology covers the genesis of soul music, tracing connections between R&B, jazz and blues, and gospel, the secular and the sacred. As popular black musical genres were adopted by white teenage audiences in the 1950s, black music reverted to more authentic, basic styles. By 1960, the sound of black popular music had turned away from a driving, largely uptempo rhythm and blues towards a more emotionally poignant style. The term ‘soul’ popped up here and there, but only became common parlance after the release of Ray Charles’s I Believe To My Soul at the end of 1959.
The growing Civil Rights movement, the rise of the 45rpm record and the introduction of the electric guitar all played their part in the creation of a new sound. Detroit had Berry Gordy’s Motown, Chicago had Curtis Mayfield and the Impressions and New York had Atlantic Records along with white songwriters Burt Bacharach and Jerry Ragavoy producing their uptown soul. Down south, Stax was setting Memphis alight, Fame were starting up in Muscle Shoals, and New Orleans was putting funk into the mix. By 1963, soul had gone mainstream. There were more soulful records in the charts in 1962 alone than there had been in the whole of the 1950s.
This collection of breathtaking blues and spiritual music brings you some of the most impassioned, compelling vocal performances ever to be recorded. The accompanying illustrated 36-page book sets out the historical background and explains some of the technical features that make these beautiful songs the precursors of soul music.
WHAT THE CRITICS SAY
This one is a corker...every bit as epic as it sounds... It’s hard to know where to begin with such a monumental and thorough anthology – especially one as full of highlights as this
Lauren Laverne BBC 6 Music
Mammoth and magnificent anthology...While there can be no package large enough to represent all the players, Sacred To Secular has a worthy stab at it, excavating as close as possible to the core and acting both as a cultural document and an excellent crash course in one of music’s most epochal periods. Fiona Sturges Uncut
Embrace this journey through a lost era...the real thrill lies in discovering lesser names especially from the fringes of gospel, whose work is every bit as stirring Clive Davies Sunday Times
It’s common knowledge that soul developed largely from gospel; but that journey has never been as extensively mapped as on this eight-CD compilation 5 star review in The Independent
SOUL021 Produced as CD-R (professionally manufactured recordable CD printed for short run) as opposed to CD-P (professionally manufactured pressed CDs made in quantities of 500+). All CDs whether CD-R or CD-P are 100% guaranteed error free. Discs will always be replaced if any problems are encountered. -
The glory days for soul music in Philadelphia were the 70s, when the smooth orchestral Philly sound stood tall in the charts, and when writer/producers like Thom Bell, Kenny Gamble and Leon Huff were at the peak of their powers and when almost every soul singer and group travelled to Philly hoping some of the magic would rub off on them.
But this success didn’t happen overnight. Philadelphia was a major music centre long before, particularly in the late 50s when Dick Clark’s Bandstand TV show was the biggest in the US. This platform developed in the 60s as Philly consolidated its position as a key recording location for pop and soul.
This CD set traces the way disparate musical elements led to the ascent of Philly soul. Groups have always been central to music in Philadelphia and there are plenty of groups here, singing soulful doo-wop and gospel-tinged R&B as these styles led into soul. There’s rhythm and blues too, the odd pop tune and instrumental - all ingredients in the mix that became America’s favourite music in the 70s.
Soul lovers will find plenty to attract then here.. A very strong opening that assures the listener’s attention..Overall, a fine compilation and anyone with an interest in early soul music should take a listen. Norman Darwen – Blues & Rhythm
Listen to this CD and you soon realize that Motown wasn’t made in a day, nor was the musical history of Detroit restricted to nothing other than Berry Gordy’s label. Most of the titles were previously unknown to me. The O'Jays and David Ruffin are unrecognizable, the Vandellas are getting on very well for now without Martha, Sammy Ward sounds like Lowell Fulson, Barrett Strong sings a penniless version of Money and Harvey Fuqua is just as wild as Billy Stewart. Julien Cure – Soul Bag (France)
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In the early 1960s, African American music styles were still hugely diverse, and several regions had their own distinctive style. The West Coast was generally quite pop-oriented, yet the magnificent Bobby Taylor and Alexander Patton prove that there were plenty of deep, soulful singers located in California. Here's another full-tilt collection of the very best that the busiest LA studios had to offer in the early-mid sixties. Quality music from 50 years ago that still moves the feet and the heart. Timeless! SOUL029 -
There was way too much great early soul, R & B and blues being produced in New York City to squeeze onto one double CD, so here we are again with another selection of the best. Several artists on this new compilation are very well known: Ray Charles, Little Willie John and Ike & Tine Turner for example, but many others less so. It speaks volumes about the wealth of talent in the Big Apple around the turn of the 60s that gifted singers such as Ruby Roberson, Bobby Long and Betty O’Brien never quite made the grade.There is considerable variation in styles here too, from rough, untutored voices like King Coleman and Vernon Harrell to consummate stylists such as Chuck Jackson, Gladys Knight and of course Aretha Franklin. But alley blues and sophisticated uptown ballads alike played their part in the development of soul music. And therefore all the tracks on these CDs well deserve their inclusion in our History Of Soul series. Enjoy!
'First off I must say that having discovered your compilations earlier this year - both r'n'b and soul - I am completely blown away by the breadth and depth, quality and value of these compilations. They immediately became 'must buys' until your release rate caused me to slow down before I bankrupted myself. Keep up the good work.' Malcolm Beattie (Rnb and Soul fan)
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The black music scene in post war America was dominated by the emerging urban, electrified R&B scene in Chicago. Nearby Detroit was musically dwarfed, with much of its talent being drawn to the Windy City, but as the 50s drew to a close, things began to change. Detroit’s population bulge coincided with the consumer boom, making its age profile younger than its neighbour’s. Thousands of southern black migrants were joined by many immigrants from Europe come to work in the automobile industry. Henry Ford’s pay was good, and with plenty of disposable income available for its inhabitants, Detroit became the goodtime capital of the USA.
Hundreds of bars, clubs and backroom record labels emerged, hosting a tidal wave of new talent. By 1960, although it was still too early for any definitive Detroit sound to be identifiable, the city was developing a lighter, more popular style than neighbouring Chicago. It was spearheaded by a young man from Gladstone Street, whose distinctive Motown sound went on to dominate the 60s pop charts.
The tracks on this CD represent the cream of this transitional pre-Motown era, when various labels, artists and producers were putting out popular music that they hoped might get noticed and sell enough to make them rich and famous. Back then no one knew that Berry Gordy Jr would emerge victorious and define the Detroit sound for the decade that followed. 'As with previous History Of Soul product reviewed on this site, the selection has been well thought-out and the presentation is top-notch, appeal here going well beyond the core niche of Detroit devotees.' Basment Group B Cole ..STAR PICK***** SOUL013 -
The black music scene in post war America was dominated by the emerging urban, electrified R&B scene in Chicago. Nearby Detroit was musically dwarfed, with much of its talent being drawn to the Windy City, but as the 50s drew to a close, things began to change. Detroit’s population bulge coincided with the consumer boom, making its age profile younger than its neighbour’s. Thousands of southern black migrants were joined by many immigrants from Europe come to work in the automobile industry. Henry Ford’s pay was good, and with plenty of disposable income available for its inhabitants, Detroit became the goodtime capital of the USA.
Hundreds of bars, clubs and backroom record labels emerged, hosting a tidal wave of new talent. By 1960, although it was still too early for any definitive Detroit sound to be identifiable, the city was developing a lighter, more popular style than neighbouring Chicago. It was spearheaded by a young man from Gladstone Street, whose distinctive Motown sound went on to dominate the 60s pop charts.
The tracks on these CDs represent the cream of this transitional pre-Motown era, when various labels, artists and producers were putting out popular music that they hoped might get noticed and sell enough to make them rich and famous. In 1963, Detroit had by far the fastest growing black music industry in the USA, not just recorded music but a live gig scene just as prolific. Back then no one knew that Berry Gordy Jr would emerge victorious and define the Detroit sound for the decade that followed.
Sit back and enjoy another batch of Detroit gems.
In the 32 page booklet, each track is given a quarter-page with details of the release plus label shots, period photographs and interesting notes from Keith Rylatt...Overall this is terrific music with great presentation and is a real source for discovery...This compilation should appeal to all readers who have soul in their system... An excellent release and worth investigating. Blues & Rhythm Keith Scoffham
As with previous History Of Soul product reviewed on this site, the selection has been well thought-out and the presentation is top-notch, appeal here going well beyond the core niche of Detroit devotees.' Basement Group David Cole. STAR PICK*****
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The Big Apple had long been an important centre of Afro-American music, following on from its Tin Pan Alley status, and this trend continued after World War Two. Together with large independent labels like Atlantic and Jubilee, smaller labels jostled for sales in a crowded marketplace, recording almost all the black music styles: country blues, city R&B, gospel, doo wop – and everything in between.
By 1966, soul was the dominant musical genre throughout the US, and New York was THE recording centre, producing more records than anywhere else. This CD avoids the better-known hits, and you may not have heard of a lot of the singers, but these tracks, often from tiny labels, represent the sound of the city rather better than many big label productions. This is the sound from the streets and clubs - music that got heard and appreciated way below the radar.
We’ve brought together all the branches of the soul tree from funky R&B to sweet group soul, from pounding uptempo dancers to big city cry ballads. There’s something in these grooves for the feet and for the heart – what more could anyone want?
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Volume Two 1962-1965 African American popular music was mostly known as Rhythm and Blues in 1962, the beginning of the era covered in this collection. But by the end of the period, 1965, the music was universally called Soul. The Chicago music industry exploded with the growth of soul music in this period, producing thousands of records and dozens and dozens of new labels. The two biggest black music labels Vee-Jay and Chess led in the creation of the Chicago soul brand with names familiar and not so familiar: the former with Etta James and Tony Adams and the latter with Gene Chandler and Moss Tolbert. And yet it's the smaller labels that make up the bulk of the Chicago story: Conlo with Jamo Thomas, Blue Rock with Otis Leaville, Ja-Wes with Sandra Stephens and it's here that we explore some of the finest sounds of the era in this collection.
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Before the Second World War, the African American population of Ohio was small and concentrated in the southern part of the State, mainly in Cincinnatti; black music recordings from that era in the state are pretty rare. But the great northward migration from the old slave states during and after the war drew large numbers of blacks to the factories of Akron, Dayton and particularly Cleveland. This encouraged musical entrepreneurs to establish independent recording companies in Ohio that produced music for the new populations. The state's powerhouse for music was of course the King label and its subsidiaries run by the iron fist of Syd Nathan in Cincinnati. So it is quite appropriate that this CD set has a preponderance of tracks from this source, and from King's Chicago outpost.
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36 Page illustrated booklet.
By the beginning of 1963, African-American music in New Orleans was in flux. Its happy-go-lucky R & B sound was no longer guaranteed to hit the national charts. In short, the good times in the city had run out of steam. The major issue now was what sort of music to record in the wake of the “British Invasion”. The answer of course was “soul”. Until soul became the ubiquitous African-American musical style, the music that was recorded in the city was a Louisiana gumbo of blues, R & B, gospel, swamp pop, anything and everything that might sell a few records.
This set of CDs is the story of how one city, New Orleans, with its unique, proud and energetic history came to adopt soul music and how its music producers and arrangers came to utilise the styles of soul music being made in other cities of the US and to adapt them to the rhythms and approaches that made New Orleans so different to every other soul city USA.
These CDs are also a tribute to the little labels, whose sound became the heartbeat of the city, playing out onto the streets from jukeboxes, radio stations and mom-and-pop stores selling a few 45s as a sideline. Most of the tracks on these CDs have never been released since the day that the vinyl was first stamped. This is New Orleans African-American music at its most potent. The sound of the young of the city as they heard it and played it two generations ago. RANDB052 You could drop the coin on any disc at random hear something hot. Fred Rothwell Blues & Rhythm With this latest History Of Soul release, New Orleans music fans should be in seventh heaven. David Cole Soul Basement -
Some might think that soul music’s days of chart glory came later, but by the time Ray Charles was anointed High Priest of Soul in 1961, black America’s airwaves were habitually using the term soul to describe a gospelized R&B style that had been producing reliable hits since the late 50s. This collection represents the emergence of that fabulous sound in the charts in New York (the centre of the country’s recording industry), the Midwest (Cincinnati, Detroit, Chicago), the South (Georgia, Memphis, New Orleans, Texas), and the West (Los Angeles).
'First off I must say that having discovered your compilations earlier this year - both r'n'b and soul - I am completely blown away by the breadth and depth, quality and value of these compilations. They immediately became 'must buys' until your release rate caused me to slow down before I bankrupted myself. Keep up the good work.' Malcolm Beattie (Rnb and Soul fan)
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Dance crazes have come and gone in America ever since the roaring twenties, but nothing quite compares to the epidemic of dance fever that hit the USA in the early 60s brought on by the twist and the rise and rise of soul music. The country was infected by wave after wave of catchy dance rhythms, each necessitating new moves on the dance floor. Everybody was getting a bit of that new soul bug! This collection brings you only a small proportion of the 100s and 100s of dance records produced between 1960 and 1965, before the soul industry got away from the promotion of dance records. There may have been dance rages in the next several decades, but nothing else comes even close to the 1960s for its sheer energy and diversity.
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BLACK DANCE CRAZES FROM THE LATE 50s & 60s
The Dance Craze era was at its height in the years 1960-1961-1962 but by 1963 it was beginning to fizzle out. It came at a time when rhythm and blues was losing its appeal amongst black music buyers, who were being attracted more towards the proto-soul sounds coming from Detroit, New York, Chicago and the deep South. But dance music sold records and the nascent soul stars of the era were not slow to pick up on the trend. This CD, part of the ‘History of Soul’ series, set puts a spotlight on dance records predominantly by early soul artists, some of whom went on to bigger things and some of whom didn’t. The accompanying booklet is written by Robert Pruter, author of the acclaimed 'Chicago Soul'.
'First off I must say that having discovered your compilations earlier this year - both r'n'b and soul - I am completely blown away by the breadth and depth, quality and value of these compilations. They immediately became 'must buys' until your release rate caused me to slow down before I bankrupted myself. Keep up the good work.' Malcolm Beattie (Rnb and Soul fan)
SOUL006 - Out of stock
Instrumentals Soul-Style? What do you mean Soul Instrumentals? How can an instrumental be soul? Hold on a minute - what's the line-up? James Brown, Ray Charles, Allen Toussaint, Junior Walker, Booker T & the MGs, King Curtis, Ike & Tina Turner. What have we got here? Club Sounds. A bit of funk, a Latin groove, a slow jazz walk, uptown dancers, late night smoochers. Instrumentals Soul-Style. Got it?
Now here’s a crackerjack of a compilation with a lot of relatively rare instrumentals of a soul bias alongside many genre classics. It’s February as I write these notes but already this must be a contender for best compilation of the year. Davy Peckett New Gandy Dancer
This is a wisely selected, carefully sequenced and beautifully presented collection of late 50s/early 60s instrumentals with a soulful feel and fronts an informative and attractive 28-page booklet. You’re really going to enjoy this. And the great thing is that apart from making several wonderful new finds, this is such a superb album for listening right through. Anyone who has any of the History of R&B or History of Soul label releases will be well aware of their quality and the care that goes into them and Instrumentals Soul-Style is a real gem for instrumental hounds – I love it! Alan Taylor Pipeline
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Late night, swinging soul and rockin' blues... Tracks that not only accompanied the dance crazes of the time, but also showcase the essential elements that inspired them. The strong recurring bass riff, four-to-the-floor beat, and blasting horns all influenced the tight choreography of The Temptations in Detroit through to the improvised moves of the dancers in the soul clubs of the midlands and north of England
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Instrumentals Soul-Style
Club Sounds, a bit of funk, a Latin groove, a slow jazz walk, uptown dancers, late night smoochers. Plenty of organ. Plenty of soul. No twangy guitar. No swing jazz. No frantic honkin' and screamin'. Just Instrumentals Soul-Style.
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1957-1963
As Southern Soul reached its Golden Age around 1965-65, it was mining a rich seam of music that went back to blues gospel and country. In our third look at the music that went into Southern Soul, we have unearthed a shining array of rare gems from both male and female singers, who scream, cry and shout out their emotions. This elemental feel to the collection goes hand in hand with stunning arrangements and musicianship that will bring joy to anyone’s heart.
Soul 002 & 017 Where Southern Soul Began 1 & 2 'These two 2-cd volumes are a fine way to trace the roots of what we now call 'southern soul', beginning back in 1954 through to 1962,.I immediately want to deliver a 'star pick' rating to the first volume., ultimately, its clear that the two sets are highly complimentary, excellently presented and really should be sitting together on the record shelves.' STAR PICK***** x2. Bob Cole Basement Group Review
'Listening to the impressive tracks on these 2 CDs, and reading through the full colour 28 page booklet that accompanies it, these influences are mostly easy to identify and associate with. The overall standard of these 54 tracks is amazingly high and there are hours of fun to be had here, in the unlikely event that you ever tire of this collection, there is always the rest of the series to catch up with!' Red Lick Records
Designed by connoisseurs for connoisseurs, these amazing collections of rare sides have notes written by John Ridley, that great treasure hunter of soul music. Once you’re on the train it moves at breakneck speed. Houston, Nashville, New Orleans, Memphis, Chicago, the stations parade by, never stopping more than three minutes on the same artist, the time it takes to listen to one side of a 45. Some well-known faces sit alongside a genuine crowd of forgotten heroes of soul and rhythm and blues. Perfectly delightful and surprisingly varied. Julien Cure – Soul Bag (France) SOUL022