JAMES AND BOBBY PURIFY - SHE AIN´T GONNA DO RIGHT originally unissued Bell recording

ESTHER PHILLIPS - BROTHER, BROTHER originally unissued Kudu recording

ARETHA FRANKLIN - CRY LIKE A BABY

WALTER JACKSON - THAT´S WHEN I COME TO YOU originally unissued Okeh recording

WILLIE HUTCH - LET´S TRY IT OVER AGAIN

INSIDERS - I´M BETTER OFF WITHOUT YOU

SOUL CHILDREN - IF YOU WANT A WOMAN THIS TIME

LOU COURTNEY - THE COMMON BROKEN HEART

DIONNE WARWICK - THE LAST ONE TO BE LOVED originally unissued Arista recording

GLADYS KNIGHT & THE PIPS - RAINBOW RIDE originally unissued Buddah recording

MARVIN GAYE - BABY, BABY, BABY originally unissued Columbia recording

It doesn’t always hurt to hurt…

Soul 4 Real’s first venture into the albums market is as compellingly essential as the label’s impressive singles catalogue. Its 11 tracks explore every lonely street and losers avenue that soul music has walked down since the early 60s, tempering essays of heartbreak and love lost with the occasional glimpse of positivity and happiness. “It Hurts So Good” is very much in the tradition of those great 60s soul compilations where diverse strands of black American music sat side-by-side with each other, and still formed a satisfying listening experience despite their apparent disparity because, in the final analysis, the music mattered most.

Just as it does here, in fact.

This album showcases just under a dozen goodies by some very big names in soul. It may well be that one or two of the tracks might be less than familiar to you, but you will know the artists - and you will know, too, that they will never let you down. Originally unissued tracks by James & Bobby Purify and Walter Jackson blend seamlessly with early essentials from Aretha Franklin, Willie Hutch and the Main Ingredient (as the Insiders). Soul 4 Real has delved into the deeper parts of discographies of legendary artists like Marvin Gaye, Dionne Warwick, Gladys Knight & The Pips and Esther Phillips to bring you songs and performances that are every bit as unforgettable as those that forged their reputations. And if you remain unmoved after experiencing the stellar offerings from the Soul Children and Lou Courtney, it may well be that you didn’t have a soul to begin with.

In the song that gives this collection its title, the great Prince Phillip Mitchell wrote “it ain’t no good unless it hurts a little bit”. It’s true, and the ‘Hurt’ here really IS ‘So Good’…and then some…  

…Soul 4 Real – for real.

(Tony Rounce)

It was not until early 1965 that Mary Wells officially left Motown. After a brief stay at 20th Century Fox, she signed for the Atlantic subsidiary Atco Records, and was placed in the very capable hands of Gerald Sims and Carl Davis.
 
Some tapes of unissued material from this period have been unearthed over the years, and here for the first time on vinyl we have two real delights.
 
First up is the blatantly Chicago-esque lilting and catchy "Love Letters". Gerald Sims appears to have seen the potential in letter writing as a vehicle for Mary’s talent, and just as with "Dear Lover" it works perfectly. With an introduction that may well have provided the template for that of The Soul Brothers Six, "I’ll Be Loving You", Mary drifts effortlessly through a magical Carl Davis midtempo production. 
 
On the other side, "Hands Off My Baby" is far more reminiscent of her earlier Detroit days, which is unsurprising coming from the pens of Richard Popcorn Wylie and Tony Hester.

(Chris Forrest)

Spooner Oldham produced six recordings by Barbara Lynn for Atlantic in mid-1968, but session information had previously been scant. Spooner recently confirmed that these tracks were "recorded at American in Memphis" and when the late Red Kelly (Soul Detective) digitised guitarist Reggie Young's session diaries, his endeavours presented further clarity.
 
Reggie's 1968 diary indicates two American sessions on June 14th and 15th. Four songs were recorded, with "Unloved, Unwanted Me" being shelved. No songwriting credit was documented, but its sorrowful yearning is perfectly executed by Barbara. 
 
A third session the following month yielded two more songs, including the first known recording of "Soul Deep" (its writer Wayne Carson and The Box Tops each recorded the song in 1969). Reggie's diary documents a fortnight's holiday in July, but the distinct lack of guitar and the audible presence of other American Studio musicians further suggests Barbara Lynn's version was possibly recorded in Memphis too.
 
Both songs make their 7" vinyl debut here. Enjoy!

(Mark Nicholson)

Not a great deal is known about this talented artist having released only 4 albums in a recording career that started in 1993. Raised in a musical family by piano playing parents he began learning the instrument at an early age, later concentrating on the saxophone, but became a multi-instrumentalist by the time he was signed to Verve Records, playing most forms of keyboards, synths, vibes, as well as sax and flute. He moved to Florida, from his native New York, shortly after graduating from studying music at university in New Jersey, and played in local rock bands whilst developing his love for jazz, and was working on a demo to try and get a record deal. 
 
Disaster struck when he was involved in a serious boating accident in which both hands were badly crushed and he was unable to play an instrument for many months, during which time he developed a skill for singing and composing. Turning adversity into opportunity is the best way to describe the outcome.
 
So why is a soul label interested in releasing some of his material? Both tracks selected, "One" and "Sweeter", are released on vinyl for the first time and come from his third album, "Lights On", released on his own label Eaak Records following a break of 7 years which was devoted to raising his children. The sounds are undeniably late night make-out music, lush, sophisticated and sensuous. 
 
The majority of plaudits for his work previously came from the world of contemporary jazz and, dare I say it, smooth jazz, and was largely ignored by the soul magazines and radio stations. His captivating falsetto vocal style, reflects his influences by Curtis Mayfield, Smokey Robinson and Marvin Gaye. All his material is self-penned and the albums were co-produced with drummer Guy Eckstine. There is an underlying 70’s feel to the contemporary arrangements and his work is clearly deserving of greater recognition.

(Steve Hobbs)

A double treat for those who love timeless Southern Soul flavoured with some of those good ol’ down home blues. 
 
Memphis born, and Minneapolis based, Willie Walker can comfortably be included in the pantheon of grittiest soul singers along with Wilson Pickett, Syl Johnson, Lou Rawls, James Carr, Eddie Floyd, Tyrone Davis and L.V. Johnson, to name but a few, but there has always been speculation about other Willie Walkers. The recordings on Eutor and Hi in the 70’s are not by the same Willie as those on Goldwax and Checker in the 60’s. He did, however, also record as Wee Willie Walker.
 
He was a member of The Rhythm Harmonizers, The Val-Dons, The Exciters, The Bound Band, Willie & The Bumblebees (although that Willie is actually Willie Murphy of The Val-Dons), and Canoise, spanning a long and varied career before hooking up with the Minneapolis based band The Butanes in 2004, with whom he made the next three albums. The first of these was mainly cover versions, but "Right Where I Belong" (2004) and "Memphisapolis" (2006) are notable for each providing the tracks that make up this latest Jai Alai release, a label that differs from sister label Soul4Real by featuring 21st century tracks previously CD only but now released on 7” vinyl for the first time. It also has to be noted that all the tracks on both these albums were written and produced by Curtis Obeda, who managed to track down Willie after so many years.
 
"I Feel It" will have been missed by most as it was on the CD "Right Where I Belong" which was released in 2004 on the most unlikely of UK imprints, the Wirral based One On One Records run by Colin Dilnot. The album is a lavish display of real instruments from a band that once backed John Lee Hooker and Little Johnny Taylor and the perfect setting for Willie’s powerful vocals. 
 
Just tipping five glorious minutes, "Cry, Cry, Cry" is a perfect example of why soul music is inextricably linked to the blues, and when the gospel styled chorus joins in towards the end, you realise that this could, maybe should, have carried on for just a little bit longer. Perhaps a fuller length version exists?
 
Sadly, Willie died peacefully in his sleep in November 2019, but to complete his story check out the two albums on Blue Dot as Wee Willie Walker & The Anthony Paule Soul Orchestra. To quote the great Quinton Claunch…”Willie was one of the best to come out of Memphis in the 60’s”.

(Steve Hobbs)

Another great double-sided soul release from Soul4Real, which will leave you wondering where both these songs have been for the last fifty years... 

The B-side here, “Turn Around And Love You”, has Irma's wonderful honey brown voice working out on this great mid-tempo recorded in Detroit in 1971. “All I Wanna Do Is Save You” is THE side for me though. A great, supremely crafted deep slowie, recorded at Malaco with Wardell Quezergue at the helm, it builds to a giant crescendo with Irma crying out “Save You” at the end of each line. 
 
From the first time I saw Irma singing live in 1981 at her own bar The Lion's Den, I have wanted to ask her one question: “Why don't you just change your title 'The Queen of New Orleans Soul' and have 'The Queen of Soul' instead?”. That will do just nicely for me. After hearing these two originally unissued tracks, I think you will agree with me.

(Graham Joyce)

When Dionne Warwick joined Warner Brothers in 1972 after a decade with Scepter, she ended her long association with Bacharach and David and began working with the finest soul producers of the era – including Holland/Dozier/Holland, Jerry Ragovoy and Thom Bell.

These collaborations led to some of the best albums of Dionne’s career – albums for which more material was recorded than could be included. For that reason, the two incredible mid-70s tracks featured on this essential 45 stayed in the can for almost 40 years, before initially pitching up on CD in 2013.

Happily Soul 4 Real have now paired Ragovoy’s ‘Meant To Be’ and Bell’s ‘I Found Someone Else’ for their first ever vinyl release. The high quality of Dionne’s  “Then Came You” and “Track Of The Cat” albums notwithstanding, it’s still astonishing that these tracks were shelved as danceable, radio-friendly soul doesn’t get any better.

Two legendary producers, one legendary singer.  What’s not to love?

(Tony Rounce)

The year is 1974 and I have taken receipt of Jimmy Lewis’s Hotlanta album “Totally Involved”. My brothers and I lie mesmerised in our soul music haven of a bedroom, drinking in what would soon become a pinnacle of real soul.

Having recently discovered albums by Bobby Womack and Joe Tex, this was their equal. Jimmy’s writing skills had earned him his fame, particularly his work with Ray Charles, but this was his artistic zenith. Cut in LA but sounding like a renegade from Muscle Shoals, soul music history had truly been made.

Jimmy wrote numerous hits for others and continued with his own successful record label “Miss Butch” until his death aged 64 in 2004. The two tracks featured had previously only been available on one of UK Ace records outstanding pair of Lewis’s Hotlanta period compilation CDs and are new to vinyl. Soul 4 Real indeed!!

(Jan Barker)

Legendary multi-talented soulman SAM DEES made his living not as a performer but as a jobbing songwriter. From his Birmingham, AL base, a stream of demo tapes went to a host of soul stars, but no matter how big they were, all connoisseurs know that the most compelling emotional rendition of a Sam Dees song was his own. And these two long forgotten gems from his most creative period in the late 70s and early 80s are superb resurrections.

The plaintive ballad “Love Calls” was one of three Dees songs covered by Tavares on their fine “Madam Butterfly” LP in 1979, and lead singer Pooch does a fine job for sure – mainly by sensibly sticking close to Sam’s guide vocal. Strangely, the melodic toe-tapper slowie “Where Is The Love” was never picked up for commercial release but Sam’s super double tracked vocal and delicious chorded keyboard playing are simply unstoppable.

Sensational stuff!

(John Ridley)

Jai Alai is different from sister label Soul4Real in that this imprint focuses on 21st century releases that were either CD only, or totally missed, and there is a very exciting programme of future releases already lined up. But before we get into my favourite release so far, the correct pronunciation of the label is “hi-uh-lie” which is a Basque version of the court ballgame pelota - no more mis-pronunciations please!

It would be fair to say that we could have done with a few more releases from this immensely talented “Songbird Of Love” over the years, but maybe your purchase might help that. I fell in love with her voice on the wonderful stepper “I’ll Always Be A Part Of You”, released on the short-lived New York label 1800 Records in 1986, so I was surprised to learn that Elaine was Los Angeles born and bred, particularly as her 1990 follow up dancer “The Sweetness Of Your Love” was on Miami label Never Stop Productions, which further enhanced her underground following in the UK & European soul scenes.

In 1993 her “Good Love” was included on the Meteor Man film soundtrack (starring amongst others, Luther Vandross), but it would be a while before she returned to the studios having toured as background then lead singer in Rose Royce from 1997-2007.

She finally released her own CD album “The Woman I Am” on Eee Project in 2007, from which these two killer cuts have been released for the first time on vinyl: “Come See About Me” is an infectious floor-filler pitched just below mid-pace, but “What Am I To Do” is the most sublime kneetrembler, taking you straight to a late night smoky jazz room with Ella or Billie on stage. Worth it for this side alone.

(Steve Hobbs)

Stay With Me has remained in high demand on the modern soul scene and is now available on 7” vinyl for the first time and is a fitting first release for Soul4Real’s new subsidiary label Jai Alai (pronounced Hi-Uh-Li) so don’t miss out on owning this limited edition collector’s piece.

(Steve Hobbs)

Collectors of Black American music have long revered maverick genius Jerry Williams Jr. a.k.a. Swamp Dogg. His brilliant songwriting and unique voice have left indelible imprints on soul for decades, and Soul 4 Real Records are proud to add a Swamp 45 to their ever-growing catalogue.

Both these tracks make their vinyl debut here. If you saw Swamp perform “Oh Lord” at 2019’s Soul 4 Real weekender, it’s a memory you’ll treasure forever. Swamp’s exquisite studio version of the soul standard was recorded in 1967 as a follow-up to “Baby You’re My Everything”, but inexplicably stayed unissued for 40 years.

Almost 40 years have also passed since Swamp recorded his demo of “If You’re Leaving”, a song from his “lost” country album on Mercury. Never issued anywhere before, it’s a rare chance to hear work-in-progress from one of soul’s most beloved artists.

As he enters his seventh decade of recording, Swamp continues to be active and musically provocative. A man of many names and many talents, here’s Swamp Dogg at his vintage best!

(Tony Rounce)

The celebrated history of the Masqueraders has given us two of soul music’s most memorable recordings with “I Ain’t Got To Love Nobody Else” and “I’m Just An Average Guy”. Through the years they have left us many classic gems that are heavily sought after by collectors and some that have yet to be mined.

However, if there was ever any doubt about the Masqueraders´ greatness, the previously unreleased “Make Me Think You Love Me” from 1972 puts that doubt to rest. After a stunning intro the group eases into those harmonies that captured our hearts back in day and remind us once again about the magic of that period of soul music.

“When Trouble Calls” is a Jerry Butler and Curtis Mayfield composition from 1961 and the group´s version appeared originally on an impossible-to-find cassette published in 1993. Unlike the Ice Man’s version, the Masqueraders upgrade the song with their patented silky-smooth vocals. Thanks to the team at Soul4Real for digging up and presenting us with these two recordings.

(Ruben Molina)

Malaco has long been a favourite label of mine and I always felt that Jewel Bass was a huge talent that never realised her potential there. She was somehow was overtaken by the likes of Dorothy Moore, Denise Lasalle and Fern Kinney in the “pecking order“ down in Jackson, MS. Jewel sang countless backing vocals for such luminaries as Johnnie Taylor, Tommy Tate, Jean Knight, Eddie Floyd, Bobby Bland and many others, and was featured in bands like the Carbon Copies, Natural High and Centaura.

Both of these tracks which have lain undiscovered until now were recorded in 1981 in International Recording Studio, Pearl, Mississippi, and are two contrasting delights for soul fans.

“I Wanna know“ is a mid-tempo shuffler with hints of a “Joy & Pain” riff in there and definitely one for the most discerning dancefloors. ”Sweet High” is a so soulful string laden ballad on which Jewel´s vocals are launched effortlessly into the heights on the back of an impressive production.

Enjoy these two fine examples of real soul music exhumed from the vaults for your pleasure.

(Bob Cosby)

Calvin Richardson is a bit of a chameleon, smoothly able to transition between the most heartfelt gritty soul ballads to the latest cutting edge urban R&B that now dominates the more mainstream sound of today´s “Black America”.

His revered solo debut “Country Boy” came back in 1999 when signed to major label powerhouse Universal Records and went on to sell 100,000 units but, in those halcyon days, still not enough to get him a second bite of the cherry at the time. He then went on to strike deals with Hollywood Records, Jordan House (owned by Eric Benet) and Shanachie Records where he still resides.

With comparisons drawn to a young Bobby Womack, it’s easy to see why he chose to record long player “Facts Of Life: The Soul Of Bobby Womack” back in 2009.

For their ninth release those sterling Soul 4 Real guys have chosen to resurrect two fantastic sides from that debut recording, with the soulful as hell “I’ll Take Her” backed with the melodic gem of a beat ballad “Looks Like (You’ve Been Crying)”…make sure you don’t miss it!

(Mark Coddington / Fish)

HONESTY, RESPECT & TRUST have helped the Soul 4 Real team secure wonderful gems for its record label which showcases the acts at its events.

Following the release of “Garden Of Love”, please let me introduce to you this latest unreleased song and its flip side´s first outing on vinyl.

Recorded in the mid-seventies at Florida’s Playground Studios, "Shadow Of A Doubt" is a great composition penned by Motown’s Reuben Howell. This down home southern soul masterpiece, to which extra horns and strings have been added to beef up the production, is a winner, make no mistake! Jimmy is in great voice on this mid-tempo outing, which is pure class! Expect a sell out.

The Finley Duncan produced "Chasin’ A Rainbow" is an up-tempo dancer which will be filling the dance floor, but I have a feeling "Shadow" will be tugging at our heartstrings for years to come.

(TJ - Terry Jones)

Wallace Daniel Pennington. More familiarly known as Dan Penn. Considered by many to be the greatest songwriter of his era, a key component in the evolution of Southern Soul, and a man whose lyrics and melodies completely define that genre.  

Dan’s song list is much bigger than his discography, and opportunities to own any “new” Dan Penn 45 are rare. Fans everywhere will therefore celebrate this coupling of two exquisite tracks from Dan’s recent CDs for his Dandy label.  You may know “Blue In The Heart” via Irma Thomas’ version on her Penn tribute album “My Heart’s In Memphis”. “Time To Get Over You” (co-written with Cajun legend Jo-El Sonnier) may be less familiar. Spin it frequently, and it will become no less loved. 

Collectively these recordings show that, even after seven decades of peerless writing and singing, Dan’s music is still of a quality that today’s other tunesmiths can barely aspire to… …This IS Soul. For Real.

(Tony Rounce)

Welcome to release #6 from Soul4Real containing two previously unreleased tracks from Jimmy Gresham recorded in the early 1970s at Playground Studios in Florida and produced by Finley Duncan.

Jimmy Gresham and his killer vocals have graced many releases that have excited deep, southern & northern soul collectors the world over. His solo 45s on labels such as Decca or Teri-De plus his 45s as part of the groups The New Yorkers & The Groovers and his collaborations with Len Jewell or Rosey Grier have yielded many great moments in soul music history. Along with his siblings Mary Gresham, Willie Gresham & Ben Gresham they make a soulful dynasty going back to the early 1960s. A full appraisal of their careers is not possible here but certainly worth further investigation. 

Of the two lost recordings, the top side “Garden Of Love” is a lovely mid-tempo southern soul/crossover love song with Jimmy’s gritty vocals really doing the business. Flip it over for more mid-tempo southern soul but this time with an edge of funk to a song of lost love. Served up in Soul4Real’s signature packaging - what’s not to like?

(Steve Plumb)

It’s somewhere between late ’67 and early ’68 and The Masqueraders are in American Sound Studio in Uptown, Memphis. On the agenda for today’s session are some self-composed songs; a mix of pleading, deep and electrifying, up-tempo soul songs including “I Don’t Want Nobody To Lead Me On”, “Let’s Face Facts”, “Do You Love Me Baby” and “Sweet Lovin’ Woman”. They have two other songs for the session: “Prophet Of Love” and “You’re The One”.
 
Chips Moman and Tommy Cogbill are taking care of business on production while Bobby Womack is up front with his guitar, working with the studio band “The Memphis Boys”. It’s a busy time and output has been prolific; in just one week, 25% of Billboard’s Top 100 have come from the studio. Time is precious, choices will be made and sadly some cuts from the session may not make it to vinyl release…not just yet.
 
Time is a healer, and here, rescued from a dusty and forgotten tape box, are the lost tracks; two of the coolest, sweetest cuts with the tightest group harmonies gliding over those Memphis mid-tempo rhythms.
 
(Cliff Steele)

At the start of the 70s Jerry “Swamp Dogg” Williams was at the height of his creative powers, writing and producing hits in Muscle Shoals on artists like Freddie North and Doris Duke. Although these two tracks voiced by his childhood friend Wilson Williams at Widget Studios remained unissued, their quality is sky high. “Ghost Of Myself” was also cut by Duke but the excellent deep soul of “Don’t Let My Foolish Words Keep Us Apart” may just be the pick.
 
Wilson Williams had worked for his home town Norfolk, Virginia music man Noah Biggs’ How Big and Shiptown labels. He played guitar on several Biggs releases, and voiced two name discs. These rare 45s were followed by his album on ABC “Up The Downstairs” in 1978  and a further collaboration with Jerry on the “Eating Ain’t Cheating” CD in 2001.
 
By then Wilson had been a member of the Platters for several years already, touring the world on the various oldies circuit where he still works.
 
(John Ridley)

Soul4Real’s third release brings us two previously unreleased gems from Norfolk Va. group The Anglos. Both sides were produced by the legendary Jerry “Swamp Dogg” Williams and where recorded at 919 Sound Studios in Philadelphia.

The Anglos are regarded as one of Norfolk’s best singing groups of the era. They are featured on Francois & The Anglos 1963 recording for Romulus, but more significantly are remembered for “Incense“, a record which became an early mod favourite in the UK. In 1967 The Anglos recorded the northern soul classic “Since You’ve Been Gone” for Shiptown (nationally issued on Scepter). 

The two recordings featured here were recorded in the late 60s and were destined for the short lived Botanic label. “Broke Down Piece Of Man” it´s an earthy rendition of the Sam & Dave song (from their “Soul Men” LP) taken at a slightly faster tempo than the original, whilst “Four Walls Of Gloom” takes the groove down to a more relaxed midtempo pace on another very soulful song. 

Two excellent sides, that have languished in the vaults for far too long, I am sure you will agree!

(Steve Guarnori)

Success can be measured in so many ways, but over the years this man has created some of the most compelling, inspiring and distinctive music ever committed to wax.

“Prince” Phillip Mitchell is a genius, a man able to craft a song from emotions dragged from the deepest depths and finely hone them to perfection. His list of writing credits graces the good and great of our music , while his own recordings and poignant lyrics are steeped in the very essence of Soul. Impassioned ballads or funky grooves, Muscle Shoals, Memphis or L.A. …it made no difference as the “Prince” simply took the word majestic to another level.

We are very proud to present to you the comeback recordings of a true legend of Soul music and really do hope that this is “just the beginning”…but we can assure you that it´s most definitely “Soul 4 Real”!

(Paul Thrower)