Funk | Soul 308 Items

Still in shrink but opened. Vinyl is close to NM. Original inner sleeve. 2017 repress.

Writing on label sticker.

One Of The Finest And Most Collectable Rca Single From 1967, The Former Just Brother Delivering A Mega-Classic Stomper Backed By A Slick Finger-Clicker

* First time pressed on vinyl * Comes with Japanese obi-strip * Pressed on Black Vinyl / This is a great, and beloved modern soul work released by Ron Henderson and his group Choice of Color in 1976. the edition reissued by P Vine in 2020 sold out quickly and is now fetching high prices on the used market, so we We have decided to reissue this wonderful album once again in a new version. For vinyl lovers and collectors, the obi will have a new design different from the 1st edition and the vinyl will be updated to 180g weight vinyl!

Warped vinyl, but still enjoyable, with scuffs. Still in shrink, but opened

Cover with seam split on top spine

Vivian Copeland was a budding young singer who was brought to the Poindexter Brothers attention by her husband. Vivian was to record several Poindexter compositions beginning with “I Don’t Care What He’s Done “ and “So Nice I Had To Kiss You Twice” which paired together gained a 45 release on the Bell distributed Amy (577) label in 1967. A further three 45 releases by Vivian would appear on Jeff Moore’s D’oro label. Firstly the now highly sought after “Chaos (In my Heart) b/w “Cushion The Blow (D’oro 1002) in 1968. Secondly A cover version of Maxine Brown’s “Oh, No Not My Baby b/w I Don’t Care” (D’oro 1006) another Poindexter song, and finally a version of the Billy Terrell and Ray Dahrouge penned song “He Knows My Key (Is Always In The Mailbox) b/w So Nice I Had To Kiss You Twice” there are two releases of this 45, the local D’oro release on a gold label and a subsequent blue label release which was distributed by Atlantic Records.
The Poindexter Brothers, Richard and Robert where raised in the city of Newport News, Virginia. Both brothers had been members of different high school groups, Robert the eldest, sang with The Swans and then ‘The Silvermoon quintet’ before joining the U.S Navy. While Richard performed as a member of ‘ The Rocketters’ and then later ‘The Gems’. Richard did travel to New York during 1963 with The Gem’s to appear at the renowned Apollo Theatre, where upon he was reunited with his brother. Robert, who following his discharge from the service had made the Big Apple his home.
Following the Apollo gig Richard returned home to Virginia before permanently joining his brother in New York during 1964. Richard leaving his wife and children behind vowing to send for then as soon as he scored a hit record, something he felt would happen in a matter of a few months. Following a three wait Richard was finally reunited with his family due to the success of Linda Jones’s 1967 hit “Hypnotized” which the Poindexter’s co-wrote. Following every high there usually comes a low (or two) so during 1969 and again being short of money the brothers decided to start their own production company choosing the very apt label name “Win Or Lose” the label’s first release was the brothers self produced, performed and co-written song with Jackie Members (Robert’s wife) “What I Did In The Street (I Should’ve Done At Home)”a very clever and intricate duet by the brothers with musical accompaniment provided by a group of local Bronx musicians, The Mapasiveyo Band. The b-side of the 45 is a cover version of the Johnny Ace Duke label standard “Never Let Me Go”. sadly this 45 fell by the wayside (although the song was latter covered by Florida artist Barbara King). ‘Win Or Lose’ Productions did later hit pay dirt through a plethora of Poindexter songs recorded on The Persuaders including the hit record “Thin Line Between Love And Hate” for Atco Records.

Charly Records proudly presents Chapter Two in the Wigan Casino Northern Soul series. A very special double-LP gatefold edition celebrating the 50th Anniversary of the legendary Mr Ms club that opened its doors in the early hours of Sunday 22nd September 1974.

Every Saturday night, for eight years, the faithful made the pilgrimage to the desolate mill town of Wigan to a pre-war dancehall on Station Road. It was a sanctuary, a place of togetherness, elitism, and the catalyst for the music scenes longest enduring sub-culture... Northern Soul.

Our exclusive playlist highlights key records from the thousands played at the famed all-nighters by its original, founding, deejays, Richard Searling. Russ Winstanley, Kev Roberts and Dave “Mr M” Evison.

Yellow vinyl close to NM. Cover has slight ring wear and creases along the edges.

Record is close to VG+.

Vinyl with a couple of very small bumps, otherwise NM.

Vinyl close to VG+

Still sealed, but cover has light ring wear.

Cover is missing. vinyl is Close to VG+

Record is close to NM. Small price tag on cover.

We are true to the principles of the first "¡Naino!". Flamenco rumba fusion which in the hands of intrepid producers becomes Catalan Rumba under the influence of sounds coming from Cuba and Puerto Rico in the early 1960s, Rumba Pop under the umbrella of the British Invasion and American pop of the late 1960s, and Disco Rumba with the arrival funk and disco from the USA in the mid-1970s. Everything happens thanks to a flourishing record industry located mainly in Barcelona with labels such as Belter, Discophon or Vergara. After the death of the fascist, sanguinary dictator Paquito Franco in November 1975, the international record industry establishes in Madrid through major labels CBS, RCA, and a new fusion led by producer Jose Luis de Carlos and labeled as Gipsy Rock, Caño Roto or, in the Flamenco field, especially in couplets, Flamenco Pop. As Oriol Farràs pointed in the previous volume, rumba moved from tablaos to discotheques, understanding the concept of discotheque at that time with a slightly different meaning and less conditioned style-wise. The selection on offer here complements volume one. Starting with an A side packed with floor fillers, with Peret's "Chavi" as the top example of gypsy funk fusion under production of Josep María Bardagí and Josep "Rabbit Rumba" Cunill, and four examples of the answer to that sound as produced by Jose Luis de Carlos, showing the four cardinal points of this fusion success: Las Grecas, Los Chorbos, El Luis and Chango. De Carlos transforms the sound of Madrid's flamenco artists spicing it with soul, rock, glam, dub, funk, disco and gospel. These five opening tunes alone could feed a whole scholar course on the possibilities of rumba fusion and its incredible dance potential. Back to the record. There are not only examples of Afro-American flavored fusions. Progressive rock and Anglo-American psychedelia of the seventies are also influences represented here. They started a path that would later be known as "rock progresivo andalúz" (Andalusian progressive rock) with a crowded band scene and a hardcore hash impregnated following. But before reaching that point, here are some early efforts on side B. Synth-fueled rumba with Canterbury sound inspired electric guitars. A sound that, as it happened with rumba funk and flamenco pop, also had its moment of glory with the arrival of bands and solo artists such as Triana, Gualberto, Smash, Storm or Medina Azahara, or even the more blues-rock oriented Pata Negra.