Gangster Soul Harmony Volume 2 Archive
Gangster Soul Harmony Volume 2 continues the rare soul compilation series created by George Miller Jr., preserving a selection of obscure, overlooked and collector driven soul recordings originally issued on independent labels and small regional imprints.
Released as part of the Gangster Soul Harmony series, Volume 2 reflects the same philosophy that has defined the project since its beginning: searching beyond familiar hits to preserve recordings that survived largely through original 45 RPM records, private collections, regional scenes and the dedication of soul collectors.
The selections on Volume 2 span sweet soul, group harmony, deep soul, rare oldies and independent vocal recordings from across the United States.
This archive documents the known history behind each recording using original release information, surviving label documentation, collector research, published discographies and other historical sources. Where information remains incomplete or disputed, that uncertainty is noted rather than presented as fact.
1. Emory & The Dynamics — “It Sure Would Be Nice”
Original Label: Peachtree 107
Year: 1969
Region: Albany, Georgia / Atlanta label connection
B-Side: “Let’s Take A Look At Our Life”
Emory & The Dynamics were a Georgia soul group associated with the Peachtree label, an Atlanta-based imprint connected with singer-songwriter William Bell.
“It Sure Would Be Nice” appeared on Peachtree 107 in 1969, backed with “Let’s Take A Look At Our Life.”
Contemporary music-trade coverage identified Emory & The Dynamics with Albany, Georgia, placing the group within the broader late-1960s Georgia soul scene.
Historical collector research indicates that lead singer Emory Harris later left the group, after which the remaining members continued recording as The Four Dynamics.
The flip side, “Let’s Take A Look At Our Life,” has been documented as a William Bell and Harold Beane composition.
A fully verified songwriter credit for “It Sure Would Be Nice” has not yet been located.
2. The Main Attraction — “Keep On Walking”
Original Label: Violet V-100
Year: 1971
B-Side: “Keep On Walking” instrumental
“Keep On Walking” was issued by The Main Attraction on the small Violet Records label as V-100.
The original release paired the vocal performance with an instrumental version on the reverse side.
The recording became known within sweet soul and group-harmony collecting circles and later resurfaced on rare-soul compilation releases.
Some secondary collector documentation attributes the composition to Gus Davidson and Richard Fulcher, although the Gangster Soul Harmony Archive currently considers those songwriting credits pending further verification.
The original Violet release itself, including its catalog number and vocal/instrumental pairing, is well established.
3. The Si-Berians — “Crying Baby Won’t Help The Hurt”
Original Label: Ricardo R-101
Year: 1971
Region: Chicago, Illinois
A-Side: “This Is The Ending Of Our Love”
The Si-Berians were a South Side Chicago vocal group formed while its members were still young men.
The group rehearsed extensively before recording for the Ricardo label and eventually released “This Is The Ending Of Our Love” backed with “Crying Baby Won’t Help The Hurt.”
Historical interviews with members of the group describe an unusual chapter in the record’s history.
After the first pressing was completed, the Si-Berians returned to the studio and altered the bass part, creating two different versions of the recording that circulated on original pressings.
The group also reportedly attracted interest from Capitol Records, although a larger-label deal never materialized.
Ricardo Williams has been associated with the production of the Si-Berians recording sessions.
The group’s surviving recordings later gained new attention through the rare soul collecting community and archival reissues.
4. The Young Mods — “I Can’t Hurt You Back”
Original Label: Everblack EB-1000
Year: 1971
Region: Dayton, Ohio
B-Side: “Who You Going To Run, Where You Going To Hide”
The Young Mods were a Dayton, Ohio vocal group led by singer and songwriter Tommie Henderson.
By the time “I Can’t Hurt You Back” was recorded, the documented lineup included:
Tommie Henderson
Ronnie Ditto
Quinn Moorman
Phillip Buxton
The group was managed during this period by Dayton radio personality Norvel “Wayout” Willis.
“I Can’t Hurt You Back” was released on Everblack in 1971 and represented the second known single in the Young Mods catalog.
Their documented releases include:
“Gloria” / “You Brought Out The Sunshine” — Gangland, 1970
“I Can’t Hurt You Back” / “Who You Going To Run, Where You Going To Hide” — Everblack, 1971
“To Say I Love Her” / “We Can Make It” — Pork, 1976
Tommie Henderson is documented as the Young Mods’ principal songwriter.
5. The O’Jays — “Stand In For Love”
Original Label: Imperial 66197
Year: 1966
B-Side: “Friday Night”
Songwriter: Eddie Levert
Recording Location: Cleveland, Ohio
“Stand In For Love” captures The O’Jays during their pre-Philadelphia International period, years before the group achieved its biggest commercial success with Gamble & Huff.
The single appeared on Imperial Records in 1966.
Contemporary music-trade coverage credited the composition to Eddie Levert and identified Metric/Bar-New BMI as the publishing affiliation.
Session research places the recording at Way Out Studios in Cleveland in January 1966.
Bobby Massey and Larry Hancock have been associated with the production history of the session, while Herb Williams has been identified with the arrangement.
“Stand In For Love” became a significant regional and national R&B release, reaching the R&B charts while representing an earlier chapter of The O’Jays’ long recording career.
6. The Vanguards — “Woman Come Home”
Original Label: Indie 91
Year: 1971
Region: Indianapolis, Indiana
Songwriter: James Davis
Producer: Herb Miller
B-Side: “The Ground That You’re Walking On (Is Mighty Shakey)”
The Vanguards were part of the Indianapolis soul scene surrounding producer and label owner Herb Miller.
Miller was also associated with LAMP Records, one of the most historically important independent soul labels to emerge from Indianapolis.
The Vanguards recorded several sides within the LAMP orbit before “Woman Come Home” appeared on Miller’s Indie imprint.
The record was issued as Indie 91.
James Davis is credited as songwriter, with Herb Miller credited as producer.
The recording was later preserved through archival releases devoted to Indianapolis soul and the history of LAMP Records.
7. The Gifts — “Hall Of Fame – Part 1”
Original Label: Ballad 6006
B-Side: “Hall Of Fame – Part 2”
The Gifts recorded several singles for the Ballad label during the 1960s.
Their known Ballad recordings include titles such as “Rock My Soul,” “Lovin’ You,” “Goodbye My Love,” “You Can’t Keep Love In A Broken Heart” and “Girl I Love You.”
The original Ballad 6006 single paired Part 1 with “Hall Of Fame – Part 2.”
Detailed songwriter, producer and group-personnel documentation for this recording remains incomplete.
8. The Diabolics — “I Bet You Never Knew That I Followed You”
Original Label: Togetherness
Year: 1973–1974 period
Songwriters: J. McMickin and D. Glover
Producers: J. McMickin and P. Hunt
Arranger: J. McMickin
Publishing: Armed Right Music
“I Bet You Never Knew That I Followed You” is a rare sweet soul recording associated with The Diabolics and the Togetherness label.
Surviving label documentation credits J. McMickin and D. Glover as composers.
J. McMickin and P. Hunt are credited as producers, with McMickin also receiving the arrangement credit.
Collector research connects The Diabolics to the Bay Area soul scene, although the Gangster Soul Harmony Archive currently considers the exact city of origin unconfirmed.
The record has become highly regarded among collectors for its distinctive harmony sound and unusual lyrical perspective.
9. Jazzie Cazzie & The Eight Sounds — “Young Girl”
Original Label: Knap Town KT-0011
Year: 1970
Region: Indianapolis, Indiana
Songwriters: Rodney Stepp and Lonnie Williams
B-Side: “Soul City”
Jazzie Cazzie & The Eight Sounds emerged from the Indianapolis soul scene.
Members of the group had previously performed as The Diplomatics, a nine-piece high-school band formed during the 1960s.
Documented personnel associated with the group included:
Rodney Stepp
Miles “Butch” Loyd — bass
Bobby Gayhart — drums and backing vocals
Lonnie Williams — guitar
Bill Simmons — saxophone
Phil Brown — saxophone
Pheldon Majors — trombone
Gabe Gaschaw — trumpet
Michael Scott — trumpet
The Diplomatics had previously recorded for Herb Miller’s LAMP Records.
“Young Girl” was later released under the Jazzie Cazzie & The Eight Sounds name on Knap Town Records in 1970.
Both “Young Girl” and its flip side, “Soul City,” are credited to Rodney Stepp and Lonnie Williams.
Rodney Stepp later continued a substantial musical career, including work connected with The Spinners.
10. JBC Band — “Alone”
Original Label: Jeree 22877
Year: 1977
Region: Western Pennsylvania
B-Side: “Where Do You Go”
JBC Band’s “Alone” is one of the rare Pennsylvania sweet soul recordings preserved through Gangster Soul Harmony Volume 2.
The original single was released on the Jeree label in 1977 and paired “Alone” with “Where Do You Go.”
Jeree was associated with recording activity in the Beaver Falls and Pittsburgh region of Pennsylvania.
Curator’s Historical Note
George Miller Jr. first encountered the record through a Philadelphia soul dealer during the period when Gangster Soul Harmony Volume 2 was being assembled.
Gangster Soul Harmony archival notes identify the recording as having been made at Jeree Studios and preserve collector information suggesting that only a few hundred original copies may have been pressed.
A signed copy in the Gangster Soul Harmony collection has also contributed to the long-standing belief that the initials JBC may represent the first names Joey, Billy and Charles.
Because those specific personnel details and the exact pressing quantity have not yet been independently verified through surviving primary documentation, they remain identified as curator and collector history rather than confirmed discographic fact.
11. Jacqueline Wilson — “Keep In Touch”
Original Label: Nitty Gritty
B-Side: “Going Good”
Jacqueline Wilson’s “Keep In Touch” is one of the more mysterious recordings represented on Gangster Soul Harmony Volume 2.
The record appeared on the small Nitty Gritty label, backed with “Going Good.”
“Keep In Touch” has circulated among collectors as a rare female sweet soul recording, but very little reliable biographical or session information about Jacqueline Wilson has surfaced.
A confirmed release year, songwriter credit, producer, arranger and personnel information remain undocumented in the sources currently available to the Gangster Soul Harmony Archive.
Rather than speculate, the archive will preserve the verified release information while continuing to search for additional documentation.
12. The Bonnevilles — “I’ll Be Right There”
Original Label: Now RI-2922
Year: 1969
Region: Washington, D.C. area
B-Side: “Play It Cool”
“I’ll Be Right There” was released by The Bonnevilles on Now Records in 1969.
The 45 paired the harmony driven ballad with the more uptempo “Play It Cool.”
The record has become known among group harmony and sweet soul collectors as a strong two-sided release.
Collector and auction documentation connect The Bonnevilles with the Washington, D.C. area.
Detailed songwriter and group-personnel credits remain incomplete.
13. Red Top & The Young Family — “Barbara”
Original Label: Tri-City 315
Year: 1970
B-Side: “Love Power”
Lead Artist: Robert “Red Top” Young
Robert “Red Top” Young had a long career that crossed jazz, blues, soul and related styles.
Before recording as Red Top & The Young Family, Young had released music under other names, including Lee Abel and The Red Ryders.
“Barbara” appeared on Tri-City Records in 1970.
The record features Young on lead vocal with family harmony support and has been associated historically with producer and bandleader Choker Campbell.
Campbell operated Tri-City and was connected to Detroit soul production and session work.
“Barbara” represents the slower, harmony-oriented side of the Tri-City single.
14. Bobby Moore & The Fourmost — “It Was A Lie”
Original Label: D.W. 105
Year: 1965
Later National Release: Red Bird 10-071
The documented Fourmost lineup during this period included:
Bobby Moore — lead
Lloyd Williams — tenor
Sammy Williams — baritone
Bobby Frazier — bass
“It Was A Lie” was originally released on the small D.W. label in 1965.
The record attracted enough attention to receive a later national release through Red Bird Records.
Bobby Moore had connections with several vocal group configurations during his career, including The Fourmost and The Fiestas, and later recorded solo material for additional labels.
The record is a strong example of a small independent release that eventually gained wider distribution.
15. The Vee Gees — “It’s So Hard To Say So Long”
Original Label: Jump Off
Region: Greensboro, North Carolina
“It’s So Hard To Say So Long” is one of the most intriguing records documented in the Gangster Soul Harmony Volume 2 archive.
For years, collectors sometimes associated The Vee Gees with Detroit because of the appearance and styling of certain Jump Off pressings.
Later collector research identifies the group instead with Greensboro, North Carolina.
Multiple label variations of the record are known.
Discographic Mystery
An additional mystery surrounds the song itself.
A group called The Equasions recorded the same composition for the Pac Sounds label in San Antonio, Texas.
Both recordings have circulated within rare soul collecting circles, but surviving documentation has not conclusively established how the composition traveled between the two groups, which version was recorded first, or whether there was a direct relationship between the sessions.
Until further documentation appears, the connection remains one of the unresolved discographic mysteries within the Gangster Soul Harmony archive.
16. The Showmen — “What Would It Take”
Original Label: Amy 11036
Year: 1968
A-Side: “Action”
The Showmen were an important Carolina vocal group whose history included singer Norman Johnson, later famous as General Johnson of Chairmen of the Board.
The group’s classic personnel included:
Norman Johnson
Gene Knight
Dorsey Knight
Leslie Felton
Milton Wells
By the time “What Would It Take” appeared on Amy Records in 1968, Norman Johnson had departed the group.
The remaining members continued recording, with Leslie Felton taking a larger lead-vocal role.
The Amy single therefore captures The Showmen during a transitional period between the group’s earlier recordings and Johnson’s later success.
Verified songwriting credits for “What Would It Take” remain incomplete.
17. The Webs — “It’s So Hard To Break A Habit”
Original Label: Popside 4595
Year: 1968
Region: Galveston, Texas
Songwriters: Willie Cooper and Marshall Boxley
Producers: Robert Bateman and Lou Courtney
B-Side: “Give In”
The Webs were associated with Galveston, Texas and had roots extending into the early 1960s.
Willie Cooper was one of the group’s key singers and is credited alongside Marshall Boxley as songwriter of “It’s So Hard To Break A Habit.”
The original Popside release paired the song with “Give In.”
Both sides were produced by Robert Bateman and Lou Courtney through Emalou Production Co.
The recording later became recognized within deep soul, sweet soul and lowrider soul collecting circles appearing on Gangster Soul Harmony which brought worldwide attention to the song and later got issued on other archival compilations devoted to that sound.
18. The Intentions — “Don’t Forget That I Love You”
Original Label: Philips 40428
Year: 1967
Region: Pennsylvania
B-Side: “The Night Rider”
The Intentions recorded “Don’t Forget That I Love You” for Philips Records in 1967.
Historical documentation identifies the group as a Pennsylvania vocal act distinct from several other groups recording under the names Intentions or Intensions during the same era.
The documented lineup included:
Ronald Brennan
Brian Humble — lead vocal
Jack Valatti
Dennis Brennan
The flip side, “The Night Rider,” was an instrumental.
Collector discussion has occasionally interpreted “Don’t Forget That I Love You” within the context of the Vietnam era, although the Gangster Soul Harmony Archive currently treats that interpretation as collector commentary rather than established historical fact.
19. Valentinos — “Darling Darling Darling”
Artist: Bobby Womack & The Valentinos
Recording Period: Mid-1960s
Songwriter: Bobby Womack
Label Association: Chess / Checker-era recordings
The Valentinos developed from The Womack Brothers, the gospel group formed by brothers Bobby, Cecil, Curtis, Harry and Friendly Womack.
Under the guidance of Sam Cooke, the brothers transitioned from gospel into secular soul recordings and became known as The Valentinos.
“Darling Darling Darling” belongs to the body of mid-1960s recordings associated with Bobby Womack and The Valentinos.
Bobby Womack is documented as the composition’s writer.
Unlike many tracks on Gangster Soul Harmony Volume 2, the recording does not appear to have circulated primarily through a standard commercially distributed U.S. 45.
It later surfaced through LP and archival releases devoted to Bobby Womack and The Valentinos.
Curator’s Note
When Gangster Soul Harmony Volume 2 was originally assembled, George Miller Jr. sourced “Darling Darling Darling” directly from an original vinyl LP in his collection.
The recording was transferred from that physical album during the original compilation process.
Because no definitive original standalone U.S. 45 issue has yet been verified, the Gangster Soul Harmony Archive identifies this primarily as an LP/archival recording unless future documentation establishes otherwise.
20. The Unifics — “Tables Turned”
Original Album: Sittin’ In At The Court Of Love
Label: Kapp KS-3582
Year: 1968
Region: Washington, D.C.
Songwriter: Guy Draper
Producer: Guy Draper
Arranger: Donny Hathaway
The Unifics developed from the Washington, D.C. and Howard University music scene.
The album era lineup included:
Al Johnson
Michael Ward
Greg Cook
Harold Worthington
“Tables Turned” appeared on the group’s 1968 Kapp album Sittin’ In At The Court Of Love.
The song was written by Guy Draper, who also produced the album.
One of the most historically important credits connected with the recording is Donny Hathaway, who is credited as arranger on the opening portion of the album that includes “Tables Turned.”
That places the recording within Hathaway’s important early period as a professional arranger and musician before his later success as a solo artist.
“Tables Turned” remains one of the deeper harmony-ballad selections from The Unifics catalog.
21. The Moments — “The Best Thing For Me”
Original Album Appearance: The Best Of The Moments
Label: Stang ST-1019
Year: 1973
Lead Vocal: Harry Ray
Songwriters: Al Goodman, Billy Brown, Sylvia Robinson and Harry Young
Producers: Al Goodman and Nate Edmonds
“The Best Thing For Me” was featured on the 1973 Stang album The Best Of The Moments.
Despite the album’s title, the release included material that went beyond a simple collection of established hits.
Harry Ray handled the lead vocal on “The Best Thing For Me.”
The songwriters are documented as Al Goodman, Billy Brown, Sylvia Robinson and Harry Young, with production credited to Al Goodman and Nate Edmonds.
Although the recording is often associated primarily with the LP, a scarce early Stang 45 pressing also exists.
The song appeared on Stang 5052, backed with “Where Can I Find Her,” before “Sexy Mama” was substituted on later copies carrying the same catalog number.
The recording later resurfaced under Harry Ray’s own name.
This unusual release history helps explain why many collectors encountered “The Best Thing For Me” primarily through the album rather than through the original single.
About Gangster Soul Harmony Volume 2
Gangster Soul Harmony Volume 2 represents more than a collection of rare recordings.
Together, these 21 selections document independent soul scenes stretching from Chicago, Cleveland and Indianapolis to Dayton, Washington, D.C., Pennsylvania, Texas, North Carolina, Georgia and beyond.
Some recordings came from established artists during lesser-known periods of their careers.
Others were created by groups whose surviving 45 RPM releases represent nearly everything that remains of their recorded history.
The purpose of the Gangster Soul Harmony Archive is to preserve those connections.
Where songwriter credits, personnel, recording locations and label histories can be reliably documented, they are included.
Where the historical record remains incomplete, the archive identifies those gaps rather than filling them with speculation.
The research will continue as additional documentation, interviews, surviving label material and collector information become available.
Gangster Soul Harmony — Find the Music. Preserve the History. Keep the Records Alive.
Research Sources
The Gangster Soul Harmony Volume 2 Archive was researched and cross referenced using surviving record label documentation, original-discography information, historical interviews, collector and personal research and published music resources.
Primary research and verification sources consulted include:
Cash Box historical archives / World Radio History — contemporary record reviews, artist references and release documentation.
AllMusic — artist histories, songwriting credits, album documentation and recording information.
Soul Source — historical interviews, collector research, artist identification and rare-soul discographic discussion.
Buckeye Beat — Ohio artist and label histories, particularly The Young Mods.
45 RPM Records — Indianapolis label discographies, including LAMP, Indie and Knap Town.
Global Dog Productions — independent record-label discographies, including Ballad and Amy.
Soulful Kinda Music — vocal-group histories and discographies.
Now-Again Records — archival Indianapolis soul research and historical reissue documentation.
Stax Museum / Bob Abrahamian Collection — rare soul radio, collector and historical documentation.
Groove Nut Records and other specialist record dealers — surviving release information and original-pressing documentation.
Auction and collector databases — catalog numbers, label variations and surviving original copy information.
Gangster Soul Harmony Collection and George Miller Jr. curator notes firsthand collecting history, original vinyl sources and information preserved during the creation of Gangster Soul Harmony Volume 2.
Because rare independent soul recordings are sometimes poorly documented, source information may be updated as stronger historical evidence becomes available.
Last archival revision: 2026