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A very underrated label which did a sterling job in making some of the late 60’s/early 70’s biggest sounds available at high street prices. The label was owned by President Records, run by David Kassner and began issuing records in 1968 with Doris Willingham’s You Can’t Do That. The first 20 or so releases were a strange mixture of beat, soul and pop, little of which are worth mentioning. An early Record Collector issue reports that the MC5’s seminal Kick Out The Jams was issued on Jayboy, but I haven’t been able to find any evidence to substantiate this claim, especially as it was released as a single on Elektra.

Almost tailor-made for the Northern scene, this fantastic record first came to light in late 1977 when it was covered as Dana Valery. Helen’s vocal is superb and the distinctive flute and frantic string backing really drive this one along. Composed by the eccentric Earl Okin (who also cut the song, at snail’s pace, on CBS), this one still sounds as fresh as it did 20 years ago.

Demo’s are yellow, and look to be very much in the late 60’s Pye style. The remaining Beacon sounds are UK produced pop-soul dancers. The Zenith Band’s instrumental So Far Away was a one-time cover up and Bobby Bridger’s You’re In Love is a happy-go-lucky dancer which also came out under the name of Erroll Sobers.

Overnight, the value jumped from a reasonable £8 for a Shop Around issue, to £70 for a He Knows.. Five years on, the demo is still commanding that price and is proving to be even more elusive than Helen’s other biggie, Stop And You Will Become Aware. Gene McDaniels cut singles a plenty for Liberty including the classic Walk With A Winner on which he gives a truly bad vocal performance that no-one seems to have noticed due to it’s crashing beat ballad backing. While this track is easily Gene’s best known Northern sound, his excellent version of Jimmy Radcliffe’s There Goes The Forgotten Man remains practically unknown on British. Naturally the HMV label is dominated by the mighty Impressions who issued 16 singles in the 60’s, all of which are of a very high standard.

Gibson must have been a bit of a Stones fan as he also covered Jagger-Richards’ Yesterday’s Papers at the same time. A mid 70’s label distributed by President Records which released a mixture of musical styles, including a couple of opportunist soul singles. This is one of the forerunners of the modern soul sound and should be regarded as a very important record – even if it took the rest of us many years to ‘get it’.

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This disc is unusual in that, according to rumour, every demo copy is one sided and with handwritten credits. A much better outing from Cardiff-born Gene, this is a fine dance number with several breaks which would go down seesaw protocol token well with a bit of exposure. It was the B side of his last CBS single, after which he moved on to Direction and then Parlophone. 4606 Richard Maltby – The Rat Race – The very first version of The Righteous Brothers Band.

By this time I believe that Ember had become part of Ed Kassner’s President label set up. Anita Bryant – My https://xcritical.com/ Mind’s Playing Tricks On Me Again. Many Northern Soul records are recorded by the most unlikely of artists.

Despite being issued on four different UK labels and numerous CD’s, there’s still a demand for this track and always will be. Doris was born Doris Payne in New York City in 1937 and is a well known composer/vocalist/session singer who also recorded for Atlantic and The Beatles’ Apple label. Jackie Edwards’ immortal I Feel So Bad has been played on the soul scene almost since the day of it’s original release and now commands a very high price.

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Early releases were on a plain orange label with a logo at the top and a prefix AAG. In 1965, a new prefix and a new label design came along. The prefix was the 20 series, basically a four figure number with the prefix 20 added in front.

A tremendous fast stomper recorded for Otis Redding’s Jotis set up which did nothing on it’s original release but is now quite sought after. Recording quality is pretty poor on the UK release. Brash, uptown New York soul from one of the greatest female singers of all time.

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As with her 20th Century material, this knocks the spots of most of her Motown work and only now is Mary’s post-Motown work getting the recognition it deserves. Strangely, her best Atco recording, the stupendous Keep Me In Suspense, never found a UK release. Great song (also cut by H.B Barnum) concerning two lovers a thousand miles apart. The guy goes into a penny arcade and cuts this record to send to his long lost lover a la Dickie Attenborough’s Pinky character in Brighton Rock, only Ben E.’s message is one of love rather than hate. To look at all of the quality Atlantic sides would take a whole book , so here are 10 of the best from both the black label and the red.

• The Tymes themselves underwent a reversal of fortune in 1974 with a series of hits on RCA, including the UK number 1, Ms. Grace.
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Diminutive actress who appeared in To Sir With Love with Sydney Poitier after changing her surname to Posta. Adrienne cut some smashing records in the early 60’s, sadly her version of Margaret Mandolph’s classic Something Beautiful isn’t one of them, though many collectors have it on their wants lists. However, check out the flip side of her version of The Temptations’ The Way You Do The Things You Do for a lovely bouncy dancer entitled He Doesn’t Love Me, currently bathing in undeserved obscurity. The top side, a cover of Maxine Brown’s Anything You Do Is Alright, is also very good, though it pales into insignificance next to You Can’t Mean It, a throwaway B side from the pen of keyboardist Dave McGerty.

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Red Atlantic copies are simply impossible to find, indeed this was a popular Emidisc choice in the mid-70’s before a handful of US Atco copies started to appear. As for the record, it’s a belting Herb Bernstein production out of New York, with a little girl vocal and unusual lyrics. Rumoured to have been issued on a local label before Atco. The label was originally distributed by Pye and used a five figure numbering system and the typical Pye-style white demos.

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Oh, and take no notice of the frequently misspelt christian name of this young lady – it’s definitely Benice, not Bernice. As far as I know, this is the only UK produced number ever to have been released on UK Chess. One-hit wonder King cut this swinging soul number in 1970 as another follow-up to his chartbusting She Wears My Ring.

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For such a renowned label, UK Chess’s output is more than patchy. R & B lovers will be well at home with many of the releases, but for the more Northern orientated collector there’s not a lot to write home about, though the one major rarity on the label does slightly compensate for that. The Tiffanies’ It’s Got To Be A Great Song comes from the US Chess subsidiary KR Records (presumably owned by Artie Kornfield, a producer/arranger in Chicago) and was issued here in 1967 to minimal sales.

Think of the Island label and what immediately springs to mind? Probably reggae, maybe folk from the late 60’s or perhaps early 70’s progressive rock; usually not soul music. However, on close inspection Island’s 60’s catalogue contains several releases which will be of great interest to the UK label collector. With honourable mentions for The Dixie Cups almost perfect What Kind Of Fool Do You Think I Am and the always popular Dust My Broom by Ike & Tina Turner, HMV is a pretty worthwhile label for UK collectors to invest in. Incidentally, HMV stopped releasing American soul music in late ’67 when EMI decided to put out all their soul output via the Stateside label. Art is most probably the same person who recorded another great Northern dancer, You Got Me Uptight on the Jumbo label.

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So really we have to jump to 1970 and Ray Merrell’s fantastic Tears Of Joy, which is easily the rarest release on the label and is probably worth as much as every one of the other 114 or so releases put together. And this from an Irish country and western singer too! That this single is in such short supply has led to claims that it was withdrawn, but there seems no reason for this – it probably just sold zilch. The next couple of years saw Jayboy plundering the Mirwood back catalogue and releasing practically everything of note from that L.A.

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The flip side is a pretty neat Mod instrumental. One current in-demander from Island is the superb Wide Awake In A Dream by The Blues Busters , though the credit on the UK release is simply to group member Phillip James. Mirwood Records licensed a few items to Fontana including the original release of Jackie Lee’s The Duck and a couple of smashing cuts from The Olympics (678/778). Karol Keyes is quite well known for her version of One In A Million on Columbia, but her Fontana release, a cover of Mary Wells’ You Beat Me To The Punch is a lesser known which stands up well. A minimal song over a repetitive guitar riff , obviously derivative of it’s A side Some Kinda Wonderful, but this one hooks you and reels you in before you can even think of escaping! Absolute brilliance from 1967, and yet again, an early 90’s rediscovery that spread like wildfire.