Derek's Daily 45

PATTI DREW - HE'S THE ONE

2012-01-31T07:44:00.000-08:00

Both in her solo career and (earlier) as a member of The drew-Vels, Patti Drew's lovely voice is heard on nearly two dozen singles before she left the music biz in 1971.

One obvious difference with the music business in the '60's was that labels gave many great artists time to grow and prosper; while Patti only had one major hit (1968's sublime "Workin' On A Groovy Thing') yet Capitol believed in her talent enough to keep her signed to the label for many years. Lucky for us! In my opinion, the downfall of the music industry was completely brought on by their about face which focused more on the quick buck and less on the longevity of artists.

While this isn't a "major" record by any stretch, it's the type of record that I could see having appeal until the end of time, as it is just so charming. Precisely the type of record that doesn't get made very often in today's climate. But they were cut literally EVERY DAY back in the day, by labels large and small. And I feel damn fortunate that they were.

from 1969...

PATTI DREW - HE'S THE ONE

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BEAUREGARD AND THE TUFFS - RAMBLIN' ROSE

2012-01-30T08:06:00.000-08:00

I know nothing of Beauregard And The Tuffs (who were probably a one-ff, studio concocted group), other than that this is probably the version of "Ramblin' Rose" (originally cut by Ted Taylor) that influenced the MC5's version. While it's very possible that the soul fans that made up the 'Five heard the Ted Taylor record (which is brilliant and a past 45 of the day), this one ups the ante...

My guess is that this was cut after June '65, as the fuzztone intro definitely takes a cue from the Rolling Stones "(I Can't Get No) Satisfaction" which was released in June of '65 and of course a massive hit. The catalog number puts this as being around September or October of '65.

So while this song/ version wasn't a huge hit, in my speculation the aggresive, hard r&b sound was a pungent ingredient in the stew that made up the sound of the MC5, making this a very important proto-punk record. All this and easy to dance to.

from 1965...

BEAUREGARD AND THE TUFFS - RAMBLIN' ROSE

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THE KELLY BROTHERS - HOW CAN TRUE LOVE BE THIS WAY b/w IF THAT WILL HOLD YOU

2012-01-28T07:47:00.000-08:00

The Kelly Brothers were made up of three real brothers (Curtis Kelly, Andrew Kelly, Robert Kelly), along with T. C. Lee and Offie Reese.

Beginning as a gospel family group in Chicago in the fifties, the Kelly Brothers spent most of the sixties recording secular material that is deeply rooted in the call and response of gospel music.

This release shows that the group was equally adept at ballads ("If That Will Hold You", written by Curtis Kelly) as well as all-out r&b stormers ("How Can True Love Be This Way", written by Robert Kelly) with sublime vocals.

from 1966...

THE KELLY BROTHERS - HOW CAN TRUE LOVE BE THIS WAY

b/w IF THAT WILL HOLD YOU

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COLETTE KELLY - CITY OF FOOLS

2012-01-27T08:06:00.000-08:00

A very non-Stax Stax record. In fact, this record is unlike anything else I've ever heard! The production is quite sparse, and has a haunting sound that reminds me of a Martha & The Vandellas track as if it were played by phantoms (or perhaps, say, the minimalist style of The Velvet Underground). The lyrics read like a diary entry, or perhaps the plot to romantic film noir. And just DIG that intro organ hook.

Colette Kelly herself is a complete mystery, and a mystery with a gorgeous voice; this seems to be her only release. Web searches for the production company listed on the sleeve don't reveal any info either, nor do the songwriters names.

Perhaps it WAS cut by ghosts. This record kinda freaks me out.

from 1969...

COLETTE KELLY - CITY OF FOOLS

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THE SHOWMEN - THE WRONG GIRL

2012-01-26T07:52:00.001-08:00

Led by the incredibly powerful vocals of Atlanta native General Johnson, The Showmen scored one national hit with their debut single (the anthemic "It will Stand", which hit the charts twice- once in '61 then again in '64). The music of the Showmen played a very important role in the "beach music" craze of the Carolina coast.

This equally transcendent number was the followup single to "It Will Stand", and it's not difficult to imagine the image of college kids dressed in their finest 1962 casual wear dancing in the ocean breeze, lit by the moon to this track.

from 1962...

THE SHOWMEN - THE WRONG GIRL

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DEE DEE GARTRELL - SECOND HAND LOVE b/w WOULD IT BREAK YOUR HEART

2012-01-25T08:06:00.000-08:00

Unfortunately, the cocktail jazz scene lost a great singer when in Dee Dee (Delia) Gartrell, but the soul world gained her for some incredible records (which is the world that her big voice truly belonged in.) Dee Dee's voice SOARS on this track! The flip side is a gorgeous ballad, well worth hearing as well.

Delia was a cocktail jazz singer in Atlanta where soul hero THE MIGHTY HANNIBAL caught a performane and was enchanted with her voice. She was in a relationship with his friend, who Hannibal tried to partner with to make records with Delia. That partnership never materialized, but Delia and Hannibal DID find a partnership together; both on wax and later as husband and wife.

Info on the web shows that Delia still performs the occasional gig in the Atlanta area.

from 1969...

DEE DEE GARTRELL - SECOND HAND LOVE

WOULD IT BREAK YOUR HEART

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PAT LUNDY - MAKE IT FOR THE DOOR

2012-01-24T07:54:00.000-08:00

Goodness gracious, this record is so sexy it's downright salacious!

From new York City, Pat Lundy had a long career which lasted from the early sixties well until the seventies. For some insanely unjust reason, she never scored a national hit of note (although this one and "It's Rainin' Outside" should have been massive).

from 1965...

PAT LUNDY - MAKE IT FOR THE DOOR

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NEWBY & JOHNSON - I WANT TO GIVE YOU MY EVERYTHING

2012-01-22T08:50:00.000-08:00

This record was predicted by Billboard Magazine upon review that it had big hit potential for a debut, and I would agree! Why it slipped through the cracks is anyone's guess.

Excellent Chicago male/ female duet soul in the mode of Marvin Gaye/ Tammi Terrell, but with a distinctive windy city twist.

from 1970...

NEWBY & JOHNSON - I WANT TO GIVE YOU MY EVERYTHING

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BETTY GREEN - LONELY GIRL b/w HE'S DOWN ON ME

2012-01-21T08:25:00.000-08:00

Betty Green recorded in New York City, and her massive, soul dripping voice apparently only appears on two 45's!

Both sides of this record are extraordinary- the top side, "Lonely Girl" is an excellent uptempo r&b track with amazing vocals and a drop flat on the ground killer guitar break. The FLIP, however, is a deep soul jam that has a sublime 3AM feel and is somewhat similar to Bobby Bland's "I'll Take Care Of You" but remains wholly unique.

Amazing stuff.

from 1964...

BETTY GREEN - LONELY GIRL

b/w HE'S DOWN ON ME

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ETTA JAMES - SOMETHING'S GOT A HOLD ON ME

2012-01-20T15:06:00.000-08:00

Rest in peace, Etta. One of the finest (perhaps THE finest) ladies of soul that ever laid it all out on the microphone. We are very lucky to be able to enjoy this music, and the heroes who gave their all to perform it for us are fleeting. May they NEVER be forgotten.

from 1962...

ETTA JAMES - SOMETHING'S GOT A HOLD ON ME

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SOMEBODY'S IMAGE - HUSH

2012-01-19T07:51:00.001-08:00

Australia was a virtual musical mirror of the northern hemisphere during the 60's; talented groups sprouted up in all the major cities, most of which were waxing excellent cover versions of American and English soul and rock n roll records.

Somebody's Image was fronted by a then-teenage singer named Russell Morris who, by 1969, had risen to prominence as a major solo star in Australia.

This version of the ubiquitous "Hush" was released before the most famous one cut by Deep Purple, and takes its arrangement from Billy Joe Royal's version. However, this version wiped the floor with the Billy Joe Royal version in my opinion as it seems less rushed, cuts a deeper groove (dig that bass breakdown) and has a far better lead singer in Russell Morris. Since finding it on my Australian trip last year, it's become my favorite version of this tune.

from 1967...

SOMEBODY'S IMAGE - HUSH

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Daily 45 supports the web blackout.

2012-01-18T07:48:00.000-08:00

THE CHAINS - I CAN LEARN

2012-01-17T06:59:00.000-08:00

While there's a certain derivative element drawn from Sam Cooke's "Wonderful World" on this record, it is incredibly charming and the influence merely works in its favor. Sure, the backing vocals go out of tune at times, but in this day and age of vocal pitch correction ad infinitum, this just adds an even sweeter human element to the record. While I don't really know any hard facts about the group, I believe this was (Ruben &) The Chains debut 45 (they cut 3 for Peacock Records), and they sing with all the enthusiasm one would expect out of a group that's so excited to cut a record.

from 1963...

THE CHAINS - I CAN LEARN

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LAURA NYRO - STONEY END

2012-01-16T07:51:00.000-08:00

It always surprises me when I meet people who are deep music fans and they don't know (or worse yet, don't like) Laura Nyro. Thankfully, Laura received posthumous accolades when she was FINALLY inducted into the Rock N Roll Hall of Fame last year. Certain "critics" rolled their eyes that Laura was NOT rock n roll, and used her induction as another example of why the Hall Of Fame is a sham. I am very proud to say that a very good friend of mine, a recent inductee himself, was able to vote for Laura in the first year that he was eligible to vote.

I'm not here to deride the merits of the hall of fame, but as a trailblazing woman in music, Laura Nyro was the epitome of the rock n roll spirit.

While Laura's more confessional work (basically, everything recorded beyond her first album) tends to receive the most attention, her first LP is chock full of r&b influence, and this track (recorded in the era when more innocent girl group sounds were going into extinction) is never even THOUGHT of as one of the great girl group tracks, although it most certainly IS. Laura's music, to my ears, always retained a very strong backbone of soul influence.

I have a very strong bias towards Laura; I was raised in a very musical household, and some of my greatest memories as a toddler are of my mom playing Laura Nyro records. Something about them made a very deep impact on my psyche, and the fact that mom is also a songwriter and musician has always made me deeply interested in women in music and the plight that they face by chauvinistic men.

Pardon my tirade, and just enjoy this song. It's downright glorious. Perhaps I can even encourage you to play it five times in a row as I just have.

from 1967...

LAURA NYRO - STONEY END

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Very new, and very groovy!

2012-01-15T10:28:00.000-08:00

Two new items have recently arrived in my mailbox, and they are both so fabulous I have to share them, as they are truly in the spirit of this site.

First off, Dave over at Rare Byrds Prints put together this excellent poster of some great record label designs (many of which will be familiar to those of you who frequent these parts!). The print is very high quality and looks GREAT! Ready to frame and hang on the wall of your record room. Check it out HERE.

I often get emails from 'street teams' working with bands/ artists, and most of the time (actually, nearly 100% of the time) I check out the music and it has absolutely nothing to do with what I feature. As I musician myself, I know that it's important to find listeners, but most of the time these folks are just looking at sites that list music blogs and don't even bother looking at the format and spamming those sites. Not so with New Jersey's The One & Nines. This fabulous new soulful group just cut a KILLER single in Memphis and were kind enough to send a copy my way. The vibe of the record is just what one would want out of a 45, and the picture sleeve is swell, as well. while I dig the A side, it's the B side, 'Make It Easy" that just slays me, sung very sensually by Vera Sousa. I HIGHLY recommend buying this single, STAT. Here's "Make It Easy".

LOVEHORN - IF

2012-01-15T08:06:00.000-08:00

Here's a very pretty Chicago sweet soul track by a group that appears to be a one-off. If you know any more about it, please write!

from c1970...

LOVEHORN - IF

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PERCY WIGGINS - IT DIDN'T TAKE MUCH (FOR ME TO FALL IN LOVE)

2012-01-13T08:21:00.000-08:00

Anthem alert! If the chorus to this gorgeously sweet tune doesn't get stuck in your head for the rest of the day, I'd be very surprised.

From Memphis, Percy Wiggins grew up singing gospel in church and also graduated in the same class as soul legends David Porter and Maurice White. (Read an excellent in depth piece on Percy here).

While attending college in Nashville, Percy hooked up with guitarist Larry Lee (who went on to play Woodstock with Jimi Hendrix, where he was practically written out of history in this role as his guitar work was all but mixed out of the recording and he wasn't seen in the film. Thankfully for bootleg recordings we can hear Larry's beautiful tune "Mastermind" performed by Larry, Hendrix and band at the festival, along with a lovely version of 'Gypsy Woman").

Percy and Larry's group became quite active on the Nashville scene, and their success brought them into Bradley's Barn studio for sessions that were released on this RCA single. After a few more years of recording (he also cut sides for Atco and Abet Records), Percy went back to his Memphis high school where he continued his career as a history teacher.

Thankfully, his incredible voice has been preserved forever on a handful of 45's.

from 1966...

PERCY WIGGINS - IT DIDN'T TAKE MUCH (FOR ME TO FALL IN LOVE)

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THE ELECTRIC PRUNES - YOU'VE NEVER HAD IT BETTER

2012-01-12T08:07:00.000-08:00

Ranking right up there with the mighty "I Had Too Much to Dream (Last Night)", this obscure, single-only track finds one of Los Angeles' finest groups of the era in excellent form. This track was also The Prunes last gasp of freaky, danceable garage psych before they were guided into the massive failure that was their Mass In F Minor LP; a record whose pretentious nature was truly the antithesis of a garage rock band (although it DID yield the excellent track "Kyrie Eleison", as heard in Easy Rider). Sadly, the group itself was basically shut out of the recording of that LP (with the exception of the "Kyrie"); the groove the band cuts here (and also on the incredible Live In Sweden '67 recording, which was commercially issued in the 90's) shows what a mistake that was, as the group is so tight they're downright ferocious.

from 1968...

THE ELECTRIC PRUNES - YOU'VE NEVER HAD IT BETTER

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THE EMOTIONS - BLIND ALLEY

2012-01-11T08:02:00.001-08:00

Comprised of the Hutchinson sisters (Sheila, Wanda and Jeanette), these Chicago ladies released over two dozen singles before crossing over in 1977 with the massive "Best of My Love" (including the excellent 1976 single "Flowers", which was a reprisal of the girl group sound through a 70's filter).

On this track, cut in Memphis with the Stax crew, we find the ladies lending those glorious harmonies to a track so lowdown and funky that it practically HURTS. In the best possible way. If the intro to this song doesn't get your blood pumping straight away, time to visit a new website!

from 1972...

THE EMOTIONS - BLIND ALLEY

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THE PROFILES - A LITTLE MISUNDERSTANDING

2012-01-10T07:07:00.000-08:00

Here's yet another gorgeous representation of the group soul revival that happened in late 60's Chicago, masterfully produced by Gene Chandler.

While The Profiles released a handful of records, I am afraid that I don't have any biographical info about the group. But what a sound.

from 1969...

THE PROFILES - A LITTLE MISUNDERSTANDING

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BABY RAY - THE HOUSE ON SOUL HILL

2012-01-09T07:04:00.000-08:00

Something about this track shouts "record label exploitation" but I dig it just the same.

The singer, Baby Ray (Eddlemon, co-writer of the track) sure had a fine voice, and after one LP release (from which this 45 was drawn) he disappeared from sight in the music biz, apparently. Judging from the names on the label, I'm assuming this was a Nashville session, and the Nashville cats capture a cool groove that leans more towards a marriage of mod beat, folk rock and pop soul than PURE soul, but in its own way, this little record shows that even many of the records that were purely studio concoctions designed to latch on to the musical trends of the 60's could turn out mighty fine.

from 1966...

BABY RAY - THE HOUSE ON SOUL HILL

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THE FASCINATIONS - HOLD ON

2012-01-08T08:31:00.000-08:00

Originally formed in 1960 (and counting the great Martha Reeves as an original member), The Fascinations, like so many other girl groups, went through a number of changes between their beginnnings in the early 60's, their reformation in '66, and their break up in '68.

Curtis Mayfield took a special interest in the group, and worked with them in 1962, and also signed them as one of his first A&R ventures with his (then) newly-formed Mayfield label in '66.

This side, their second-to-last release, finds Shirley Walker (aka Shirley Lawson, a name she used for a few solo singles while the Fascinations were on hiatus) showcasing her powerful vocals over a smooth, slow burning track that oozes pure soul and sensuality.

from 1967...

THE FASCINATIONS - HOLD ON

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PEPPERMINT HARRIS - WAIT UNTIL IT HAPPENS TO YOU

2012-01-06T07:27:00.000-08:00

As a guitarist myself, an intro like we hear on this song is the type of thing that just brings me to my knees. Simple, direct and authoritative, the opening riff establishes the fact that this jam means BUSINESS.

Texas bluesman Peppermint Harris was born Harrison Nelson Jr, and allegedly given the nickname Peppermint when record producer Bob Shad forgot his name and released his debut record under the name, which stuck with him throughout his career. Harris relocated to Los Angeles in the early 50's, and released a long string of records (including the original version of "I Got Loaded", which has become a standard).

On this track, Harris takes his deep blues sound and mates it to then-current (and always fresh) uptempo soul sounds; a combination that almost always yielded a great record. This one is no exception, and perhaps one of the greatest ever.

from 1966...

PEPPERMINT HARRIS - WAIT UNTIL IT HAPPENS TO YOU

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THE SAVAGE RESURRECTION - THING IN "E"

2012-01-05T08:17:00.000-08:00

Bay area psychedelic teens The Savage Resurrection cut only one LP, but what an album it is! This single is also the lead off track, and establishes a hypnotic groove that grooves along relentlessly for a mere 40 minutes. Unlike many of their plodding contemporaries, these youngsters were waxing cuts like this that can light up a ballroom dance floor into a swaying, grooving amoeba.

Sadly, the band only lasted one year, imploding after two key members quit. The group fulfilled some tour dates with replacement members but completely folded by the end of '68. The group HAS had a resurrection of sorts, as they are known to play the occasional gig here in the bay area.

from 1968...

THE SAVAGE RESURRECTION - THING IN "E"

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NEWSOUND - BET YOU NEVER THOUGHT ABOUT IT

2012-01-04T07:15:00.000-08:00

Thankfully the label shows that the record is from Chicago, as other than that, I cannot find any info whatsoever about this talented group. What a vocal blend, and what a glorious falsetto lead.

I'm guessing the year.

from c1971...

NEWSOUND - BET YOU NEVER THOUGHT ABOUT IT

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MARK MURPHY - WHY DON'T YOU DO RIGHT?

2012-01-03T08:03:00.000-08:00

Poised for massive success as a jazz crooner (he was predicted to be a contender to Sinatra's fame), New York vocalist Mark Murphy snuck out this incredible jazzy r&b number on the flip side of his schmaltzy rendition of "Fly Me To The Moon", that, Frankly, is no match at all for Sinatra.

The song itself has a long and interesting history and started life in 1936 titled "The Weed Smoker's Dream", and was re-vamped by writer Kansas Joe McCoy in 1941 as "Why Don't You Do Right" (as recorded by Lil Green). The song's initial reading is meant to be sung by a woman, and was made most famous through Peggy Lee's sultry version. It's a bit odd for these lyrics to be sung by a man, but all socio-political connotations aside, this track flat out cooks, in a finger snapping "come here chick" kinda way.

from 1962...

MARK MURPHY - WHY DON'T YOU DO RIGHT?

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WILLIE HIGHTOWER - BECAUSE I LOVE YOU

2012-01-02T08:19:00.000-08:00

From rural Alabama, Willie Hightower was "discovered" by a local radio DJ that hooked him up with Bobby Robinson (of Fire and Fury Records fame) in New York City. After the release of three singles for the Fury label, Bobby Robinson sold Hightower's contract to Capitol Records and this incredible single was the first result.

Willie shows off his remarkable voice in what is perhaps his greatest performance here, absolutely soaring over an excellent arrangement from Robert Banks. Especially interesting on the label is the production credit of (Richard) Gottehrer and (Seymour) Stein as Sire Productions; The following year, Stein and Gottehrer launched their Sire Records label that went on to be THE most important label for American punk and new wave in the 70's.

from 1967...

WILLIE HIGHTOWER - BECAUSE I LOVE YOU

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THE CONTINENTAL 4 - THE WAY I LOVE YOU

2012-01-01T08:50:00.000-08:00

Still, after all the time I've spent studying records and the history of groups it blows my mind to know that a group containing this much talent never scored much in the way of national chart action.

On this debut recording from Philadelphia-area group The Continental 4, the vocalist show off an extraordinary blend, led by smooth falsetto singer Freddie Kelly. While some of the other falsetto led groups of the era can be a bit cloying, the Continental 4 were full of earthy richness that oozes pure soul.

Good way to start off the year, I'd say!

from 1970...

THE CONTINENTAL 4 - THE WAY I LOVE YOU

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MOD SINGERS & MOD LADS - LET'S HAVE SOME FUN

2011-12-31T08:56:00.000-08:00

Happy new year, all; this rollicking jam seems like a good way to help bring in the new year!

While I love a good serious side as much as the next music fanatic, sometimes an infectious little happy number such as this one simply goes directly to my heart, changes the heart rate a bit and instantly endears itself. Records just don't come any more genuinely happy.

Wish I could tell you anything about these Mods, but their story seems to be lost to history. I believe that they were Chicago based. I'm also guessing the year. As always, if you know anymore, please write!

from c1971...

MOD SINGERS & MOD LADS - LET'S HAVE SOME FUN

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CHRIS AND CRAIG - ISHA

2011-12-30T08:19:00.000-08:00

Hailing from southern California, Chris (Ducey) and Craig (Smith) were early pioneers of the type of psychedelic sounds that incorporate middle eastern sounding melodies (aka "raga rock") that were explored more deeply in 1967-68. Behind all the droning, though, is an excellent, catchy beat number from this pair that, shortly after the release of this single, formed a group called The Penny Arkade. The saga of that group is fascinating, and it involves music, money, drugs, intrigue and madness (read Richie Unterberger's excellent account here.

This duo showed a massive amount of potential that, apparently, was never fully realized.

from 1966...

CHRIS AND CRAIG - ISHA

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J. GARDNER - MUSTARD GREENS

2011-12-29T08:17:00.000-08:00

Cut nearly two years before the boogaloo craze swept New York City and beyond, this incredible New Orleans instrumental takes a cue from both the NOLA groove with a heaping helping of Latin hot sauce.

J. Gardner is actually drummer Albert Gardner (aka "Gentleman June" Gardner) who spent several years in the early 60's touring with Sam Cooke. Shortly after Cooke's tragic death, Gardner cut this single which was originally released on the local NOLA Hot Line label, and when its fire started spreading it was reissued on the Chicago based Blue Rock label (an offshoot of Smash Records) for national distribution.

Hot stuff indeed, and one that those who love drum breaks will especially dig.

from 1965...

J. GARDNER - MUSTARD GREENS

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GLORIA TAYLOR - TOTAL DISASTER

2011-12-28T08:34:00.000-08:00

Long believed to be a Detroit based artist, while trolling the web for info on Gloria (alas, there's hardly any out there) I've come to find that she is from the Toledo, Ohio area (which is where this record was cut, I believe). No surprise that she was believed to be part of the Detroit scene, as this record certainly has the kind of (almost spooky) vibe that we hear on, say, Pat Lewis' brilliant motor-town releases.

This is a highly unusual record and arrangement (co-arranged by the singer, which is also unusual) and the W. Whisenhunt name seen on the labels is said to be her husband.

from 1971...

GLORIA TAYLOR - TOTAL DISASTER

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THE JEWELS - OPPORTUNITY

2011-12-27T07:34:00.000-08:00

This group is, undoubtedly, a different group than the one with the same name featured a few months ago ("We Got Togetherness") although there is seemingly an odd coincidence. The previously featured Jewels (aka The Family Jewel) was a Lady Bo (from the Bo Diddley band) fronted group, and these Jewels (from Washington DC) were also affiliated with Bo (who cut their debut single for Checker Records). Hmmmm....

Anyhow, this exceptionally great girl group cut did make the pop charts (#64) in the year that Billboard stopped using an R&B chart, which tells me that single must have been a huge seller. Much has been made of the fact that, with their skewed combination of (white) airplay and sales the Billboard charts have had an unfair advantage against R&B records, and I firmly believe it. Considering the sheer NUMBERS and quantity of some of these great records out there 'in the field", they sold a helluva lot more than the bigoted charts would indicate.

And they sold well for good reason.

from 1964...

THE JEWELS - OPPORTUNITY

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DONNY HATHAWAY - THIS CHRISTMAS

2011-12-25T08:21:00.000-08:00

May it be a fantastic day for you and yours.

Among his brilliant skills arranging, producing and performing, Donny Hathaway also co-wrote and put to wax the first version of this song that has since become a Christmas standard. Tragically, Donny only lived 34 years; however, the gifts of music that he left behind are immortal.

from 1970...

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BETTY LLOYD - SNOWFLAKES

2011-12-24T07:34:00.000-08:00

One of the prettiest, yet little known soul Christmas singles.

I'm not sure if this Betty Lloyd is the same singer who was a member of the east coast girl group The Percells; Thomas Records (named after Jamo Thomas) was a Chicago label, and this track certainly has an indelible Chicago stamp on it.

The lyrics brilliantly capture the feeling of being alone at Christmas, but without self pity. Oozing with quality, this song should truly be a holiday standard.

from 1969...

BETTY LLOYD - SNOWFLAKES

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THE VOICE MASTERS - IF A WOMAN CATCHES A FOOL

2011-12-23T08:40:00.000-08:00

Fabulous St Louis soul; and fools, let it be a lesson- if your woman catches you being a fool, she WILL bump your head. It's not worth it, fools! They *are* far smarter than us so you will be caught.

Bamboo records apparently believed in the hit potential possibilities of this record strongly enough to issue it once in 1968, then again in 1970 (with a different flip side). It's certainly a catchy enough record with massive hit potential within its gorgeous group harmony.

from 1968...

THE VOICE MASTERS - IF A WOMAN CATCHES A FOOL

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THE DYNAMICS - YOU MAKE ME FEEL GOOD

2011-12-22T08:23:00.000-08:00

For a group with a rather long recording history (c1963-1970), there is precious little info about this Detroit group. Their catalog is excellent and they (or at least a certain lineup) cut "Misery" in 1963 (a past 45 of the day, and also the basis for "Zoot Suit" by The High Numbers who became The Who), and also the later hit "Aint No Sun (Since You've Been Gone)".

This record is an excellent slow burner, with that stomping (piston like) Detroit snare drum sound, sublime harmonies and a top notch lead vocal.

from 1967...

THE DYNAMICS - YOU MAKE ME FEEL GOOD

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BETTYE SWANN - I THINK I'M FALLING IN LOVE

2011-12-21T08:29:00.000-08:00

Bettye Swann (transplanted from Arcadia, LA to Los Angeles in 1963 at age 19) recorded this final single for Money Records before moving on to Capitol Records during her string of excellent 60's singles.

This is one of those sides that immediately sinks in its claws with a fabulous intro that completely takes off with Bettye's fabulous vocal entry matched with some equally excellent female backing vocals. I especially love what happens at 1:28; pure nirvana achieved at 45 RPM.

from 1967...

BETTYE SWANN - I THINK I'M FALLING IN LOVE

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ERIC & THE VIKINGS - TIME DON'T WAIT

2011-12-20T07:32:00.001-08:00

This record just flat out COOKS!

Eric (aka Eryke McClinton) and The Vikings were (and apparently sometimes still are) a group from Detroit that found enough success with their debut single "Vibrations" (bound to be a future 45 of the day) that it landed them a contract with Gordy/ Motown Records.

The record is an intense slice of vocal group perfection.

from 1972...

ERIC & THE VIKINGS - TIME DON'T WAIT

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MABLE JOHN - SAY YOU'LL NEVER LET ME GO

2011-12-18T08:30:00.000-08:00

I can say unequivocally that I enjoy listening to records far more than an ipod (that's a given, right?) but nothing can top the joy of random play reminding me of a record like THIS that had languished outside of my memory for too long.

This came on while I was driving yesterday, and it was like hearing this beautiful record for the first time; of course it wasn't, since I owned the record and had transferred it to a squished little MP3 file, but it was an ear awakening experience nonetheless. This gorgeous ballad shows off the majesty of Mable's voice in a stunning way.

sister of Little Willie John, Mable was discovered by Barry Gordy's wife at the beginning of the Motown records eras, while Gordy was seeking talent. Mable's two singles for Tamla Motown were not a commercial success, and after a gap of a few years she recorded some excellent sides for Stax (all past 45's of the day). Gordy did believe in the record enough to reissue it in 1963 (from when my copy was pressed).

from 1960...

MABLE JOHN - SAY YOU'LL NEVER LET ME GO

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current EBAY auctions end tomorrow!

2011-12-17T08:22:00.001-08:00

I'm clearing out some more doubles and things HERE:

Derek's current ebay auctions

Some pretty hot stuff here! Buy more than one, mention the blog and get a shipping discount!!!!

THE FORTUNES - FIRE BRIGADE

2011-12-17T08:11:00.000-08:00

While it's certainly not uncommon for a British release to go unissued in the United States, here's the curious case of a British hit-making group and a single that was ONLY issued in the US (and a small handful of European countries)!

Hailing from the UK midlands region (the industrial city of Birmingham), the Fortunes came around at the right time; their excellent harmonies were matched to the incredible song "If You've Got Troubles" (their fifth single) which was a worldwide smash in 1965, and with a quality that was practically on par with the other major players, it lumped in perfectly with the British Invasion.

By 1969, the hits had dried up, and the group was finding its biggest success in commercial jingles(!) as their brand of Brit beat had basically become passe. On a whim, the group covered The Move's UK hit "Fire Brigade" for the US market, in a record that captures, in essence, the last gasp of the swinging London/ mod beat style. Sadly, it sunk without a trace without any chart action.

The Fortunes DID hit big in the US two years later, with the excellent single "Here Comes That Rainy Day Feeling Again".

from 1969...

THE FORTUNES - FIRE BRIGADE

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JOE HAYWOOD - I WOULD IF I COULD b/w WARM AND TENDER LOVE

2011-12-16T07:52:00.000-08:00

The story of Joe Haywood unfortunately is a sad one. It seems as though he was the writer of "Warm And Tender Love", which was Percy Sledge's followup hit to "when A Man Loves A Woman", but apparently Haywood (as was the case with so many songwriters in the 50's and 60s) sold the rights and credit to publisher Bobby Robinson. I'm not a gambler, but I'd also be willing to bet that Haywood wrote the other side, "I Would If I Could", which is a slamming r&b number that complements the deep soul of "Warm And Tender Love" beautifully.

Haywood was known in his native area of Spartanburg, South Carolina not only as an excellent vocalist but also an equally great drummer. Haywood released a handful of other singles up til around 1970, then disappeared from the music scene.

Thanks to the Soul Detective for uncovering information on Joe Haywood.

from 1965...

JOE HAYWOOD - I WOULD IF I COULD

b/w WARM AND TENDER LOVE

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JULIE DRISCOLL, BRIAN AUGER & THE TRINITY - BREAK IT UP

2011-12-15T07:55:00.000-08:00

From the same sessions/ LP that yielded the masive Driscoll/ Auger version of "Save Me" (a past 45 of the day) comes this almost equally killer track that continues on within the soulful, funky, Hammond Organ vibe with Driscoll's massive voice driving the train into the ozone.

from 1968...

JULIE DRISCOLL, BRIAN AUGER & THE TRINITY - BREAK IT UP

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THE DECISIONS - I CAN'T FORGET ABOUT YOU

2011-12-14T08:26:00.000-08:00

As this is a Dennis Coffey co-production, I would assume this group was from Detroit. Not a whole lot of other info out there to be found, either. Whatever the story, the side is an intense harmony driven belter!

from 1971...

THE DECISIONS - I CAN'T FORGET ABOUT YOU

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my current ebay auctions!

2011-12-13T08:08:00.000-08:00

I'm clearing out some more doubles and things HERE:

Derek's current ebay auctions

Some pretty hot stuff here! Buy more than one, mention the blog and get a shipping discount!!!!

THE O'JAYS - SHATTERED MAN

2011-12-13T07:28:00.000-08:00

Ohio's O'Jays are, quite simply, one of the finest r&b vocal groups in the history of the music, and their career now spans seven decades since their high school beginnings in 1958.

Throughout the sixties, the group released a brilliant run of soul records that, in most cases, did not achieve the chart success they so greatly deserved. Allegedly, the group was ready to call it quits until Philadelphia producers Gamble & Huff decided to take them on. This collaboration yielded the massive hit "Back Stabbers" and a successful run of brilliant singles.

This release, their final before release before their signing to Philadelphia International Records and their debut side at that label ("Back Stabbers"), captures a group at the crossroads, and it's an intense and deeply soulful side that oozes desperation and determination. POWERFUL stuff, my friends.

from 1971...

THE O'JAYS - SHATTERED MAN

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THE ANGELOS - BACKFIELD IN MOTION

2011-12-12T07:53:00.000-08:00

The only info I can find on this record is an ad from Billboard Magazine from 1964 in which Vee Jay states that thanks to the chart action of this record, an LP was in the works from The Angelos. Perhaps there's a master tape in a vault somewhere with more excellent tracks such as this one, that show off some righteous and powerful vocals as heard on this excellent track.

Chicago? Los Angeles? Wish I knew. Also, no relation to the Mel & Tim soul classic of the same name released a few years later.

from 1964...

THE ANGELOS - BACKFIELD IN MOTION

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THE LOVELITES - BUMPY ROAD AHEAD

2011-12-10T08:21:00.000-08:00

Some of the greatest records of female romantic turmoil were brought to us from the Lovelites (led by the great Patti Hamilton), from the time they broke through with their second single (and past 45 of the day) with their second single "How Can I Tell My Mom And Dad" which was one of the first records (if not the first) that deals with teen pregnancy directly.

Here, Patti with a new duo of Lovelites (Rhonda Grayson and Joni Berlman replaced the orginal members Rozena Petty and Ardell McDaniel), Patti takes on a love triangle with similarly spectacular results. Her voice expresses the words of the song in a very powerful way.

from 1971...

THE LOVELITES - BUMPY ROAD AHEAD

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THE MANDELLS - DON'T TURN YOUR BACK ON ME b/w NOW I KNOW

2011-12-09T08:13:00.000-08:00

I am afraid that I know nothing about this excellent record in the way of origin and group details. There was another group known as the Mandells that were active in the fifties, but I don't think this group was affiliated with that group in any way, shape or form. This group might have been from Chicago, but I'm not sure.

Whatever the back story, the story as told in the grooves is one of a group with excellent vocalists paired up with two stellar songs.

from 1969...

THE MANDELLS - DON'T TURN YOUR BACK ON ME

b/w NOW I KNOW

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DJ DEREK SEE: WARFIELD, SAN FRANCISCO 12/4/11 (warmup for IGGY & THE STOOGES)

2011-12-08T08:35:00.000-08:00

I had the honor of spinning records before the mighty Iggy & The Stooges took the stage at San Francisco's Warfield Theater for two nights. Unfortunately, we blew it with the recording of the second night's set, but here's the first night. download as a ZIP file with tracklist. Nothing can compare to the righteousness of hearing this records loud thru the massive Warfield PA, but turn it up anyhow.

This was a "full circle" night for me- I first heard James Brown when I was 7 played as set opening music for Iggy, and my mom told me who it was and it began my love and passion for soul music. Here it is, 30 years later and "Live At the Apollo" is still played before Ig takes the stage!

WARFIELD 12/4/11

FENTON ROBINSON - I BELIEVE

2011-12-08T08:21:00.000-08:00

Fenton Robinson was born in Greenwood Mississippi in 1935 and moved to memphis at age 18 where his recording career began. In 1962, Robinson moved to Chicago where he became a part of the blues/ r&b scene.

This incredible side was cut in 1967, and the flip side "Somebody Loan Me A Dime" (technically the a-side) of which was "appropriated" a few years later by Boz Scaggs. After years of legal struggles the writing credit was finally given back to Fenton Robinson. However, THIS is the side brimming with fire and fury, and while both sides are great this is the one I feel like sharing.

One minute forty seconds. Blink and you'll miss it, or play it over and over again as I do.

from 1967...

FENTON ROBINSON - I BELIEVE

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DUSTY SPRINGFIELD - HAUNTED

2011-12-06T08:21:00.000-08:00

After the success of Dusty's 1969 Dusty In Memphis LP and the massive "Son Of A Preacher Man" single, Atlantic Records arranged for her next LP to be produced in New York by hit making producer Jeff Barry. An entire LP was cut and given the working title "Faithful"; this track was one of two singles drawn from the album before release. For whatever reason, Atlantic chose not to release the album, allegedly due to the failure of the two singles drawn from it.

This is the type of scenario that seems much more common today than in the early 70's, when Atlantic Records had an incredibly high standard of quality in the music they released. While I have no evidence, my over-active imagination thinks that there is something more to the story than has been reported. This track in particular is just too good to wither away. The rest of the tracks (long rumored to have gone up in flames in the tragic Atlantic vault fire of the late '70's) were issued officially in 1999.

This may be my absolute favorite track from Dusty; the dramatic arrangement and lyrics are a perfect match for her emotive and explosive voice.

from 1971...

DUSTY SPRINGFIELD - HAUNTED

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HOWLIN' WOLF - TAIL DRAGGER (IN TRIBUTE TO HUBERT SUMLIN)

2011-12-05T07:40:00.000-08:00

First the great Howard Tate, now the incredible Hubert Sumlin has passed.

Hubert Sumlin joined forces with Howlin' Wolf in 1955 and added some of the most sophisticated and ripping lead guitar work in all of electric blues. Sumlin had a way with phrasing on guitar that simply cannot be duplicated; he created his own musical fingerprint that was as unique as a strand of DNA. for all of his primitive vocal wailing, Wolf had the unique foresight to send Sumlin for classical guitar training after he relocated to Chicago from Greenwood, Mississippi to join Wolf's band.

Just take a listen to the intro Sumlin plays on this track; it's pure genius. Hubert Sumlin was the last of the breed that could do it.

from 1964...

HOWLIN' WOLF - TAIL DRAGGER

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DEON JACKSON - I'LL ALWAYS LOVE YOU

2011-12-04T08:19:00.000-08:00

Ann Arbor, MI native Deon Jackson ended his recording career on a very classy note with this record. Deon's career began in 1964, when, fresh out of high school, he was discovered by brilliant producer Ollie McLaughlin. A year later he scored a massive hit with the beautiful "Love Makes The World Go Round". Deon continued to release records in that vein which showed off his gorgeous, clear tenor voice. He is now a principle at a suburban Illinois high school!

Soul fans will always love Deon Jackson.

from 1969...

DEON JACKSON - I'LL ALWAYS LOVE YOU

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THE PETS - I SAY YEAH

2011-12-03T08:27:00.001-08:00

If one were to judge this record simply by the intro, it may be a turn off. While the girls sing the "yeah's" in cool harmony, it may lead the listener to think the record may be a lesser effort than it is. As soon as the verse kicks in, the lyrics transcend the simplicity of the intro and chorus, not only with the words but also the somewhat gloomy melody over the stomping beats. No surprise that George Clinton was involved; the melody has his indelible stamp all over it!

from 1965...

THE PETS - I SAY YEAH

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MARSHALL & THE CHI-LITES - THE PRICE OF LOVE

2011-12-02T10:29:00.000-08:00

While this isn't the first release from the Chi-Lites, it is the first release from the group under the production of Chicago legend Carl Davis. It's a glorious record that was a mere hint of the continued genius that was Chicago's mighty Chi-Lites.

A few years back I featured the Artistics equally excellent version of this song on this very site.

from 1967...

MARSHALL & THE CHI-LITES- THE PRICE OF LOVE

THE PROMISES - LIVING IN THE FOOTSTEPS OF ANOTHER GIRL

2011-11-30T08:42:00.000-08:00

I'm afraid that I know about the Promises, other than this is obviously a Chicago record.

This track was also cut in a far more famous (and equally sublime manner) by Chicago's mighty Chi-Lites; while The Promises don't quite have the vocal chops of the Chi-Lites, the record is incredibly charming in its performance. There's something about the harmonies that conveys a charming naiveity that lends itself beautifully to the song.

from c1971...

THE PROMISES - LIVING IN THE FOOTSTEPS OF ANOTHER GIRL

DENNY LAINE - SAY YOU DON'T MIND

2011-11-29T06:17:00.000-08:00

Before his ascent to mass stardom in Wings, and after his initial taste of success with the Moody Blues (Laine was replaced by Justin Hayward in 1966), Denny Laine showed off his songwriting talents to an incredible level on this single released at the height of the flower power era. Laine also proved his r&b chops when his reading of Bessie Banks' "Go Now" became the first Moody Blues hit single, and that influence is apparent on this track, with an added dash of psychedelia.

from 1967...

DENNY LAINE - SAY YOU DON'T MIND

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JESSIE HILL - WHIP IT ON ME

2011-11-28T19:26:00.000-08:00

Jessie Hill unleashed some furious New Orleans r&b heat on this number that was the follow up release to his massive Mardi Gras staple hit "Ooh Poo Pah Doo". While "Ooh" is a fantastic, transcendent track, this is the one that just knocks my socks off. 100 miles per hour, and oozing the type of funky scent that only those who have been to NOLA can understand.

from 1960...

JESSIE HILL - WHIP IT ON ME

THE LARKS - THE JERK

2011-11-28T09:04:00.000-08:00

One would be completely forgiven in thinking that this record was cut by Curtis Mayfield & The Impression, or at the very least a Chicago group.

It's neither; The Larks (aka The Meadowlarks, led by Texan transplant Don Julian) were a Los Angeles based group, who had been active since the 50's. This record was a massive hit on the r&b charts (much deserved, as it's one of those records that just makes you feel great, whether or not you're dancing the jerk).

While there are a massive number of L.A soul records, L.A never had that elusive "defining sound" that allows for easy aural ID. L.A records tend to ape the styles of other sounds and add a bit of west coast sunshine to the mix.

With the massive population of folks coming to the sunshine, it's no surprise that L.A was home to many talented musicians and singers, most of whom are forgotten by all but us dedicated.

from 1964...

THE LARKS - THE JERK

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VERNON HARRELL- DAISY, DAISY

2011-11-27T09:11:00.000-08:00

Vernon Harrell, from New York, found his biggest success (at least in the long term) as writer of Chuck Wood's immortal "Seven Days Too Long"; a stellar classic tune long favored by the northern soul crowd.

Harrell did release some fine records on his own as lead singer, as we hear here on this lovely and sweet side. The quality of this tune is so high that one would think it would have become a standard, and it's driven home by Harrell's beautiful voice.

from 1966...

VERNON HARRELL- DAISY, DAISY

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FABULOUS SHALIMARS - AFRO SOUL b/w PLAYING A LOSING GAME

2011-11-26T08:40:00.000-08:00

Sounding quite similar to Gabor Szabo's "Gypsy Queen", Washington DC's Fabulous Shalimars are UNLEASHED on this track which is 2:16 of pure HEAT!

The flip side is a sweet soul track that may be a bit repetitive and feel like it needs to go SOMEWHERE but it completely wins me over anyhow with its charm.

from 1968...

FABULOUS SHALIMARS - AFRO SOUL

b/w PLAYING A LOSING GAME

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CATAPULT - NO TIME TO TURN ME ON

2011-11-25T08:43:00.000-08:00

An absolute mystery!

My friend (and super DJ) Eric Colin (Chicago, IL) hipped me to this amazing record which manages to be moody and magnificent yet bubbling and effervescent.

Probably a New York City studio concoction, I reckon.

from 1970...

CATAPULT - NO TIME TO TURN ME ON

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THE ISLEY BROTHERS - MOVE OVER AND LET ME DANCE

2011-11-24T08:37:00.000-08:00

In lesser hands than The Isley Brothers (with young Jimi Hendrix on guitar, no less) this track could have been a very pedestrian number that was downright forgettable. The song itself isn't much of anything, but in a way it's the precursor of James Brown's funk revolution that was brought on my the following year's "Papa's Got A Brand New Bag"; a rhythmic musical jam with lyrics that are more shouted/ chanted than sang. And other than JB himself, there was simply no one better at shouts than The Isleys, as they had been showing off since "Shout" back in 1959.

Plus, Hendrix plays some incredible, DRIVING guitar throughout; the definition of soulful, loose and fluid.

from 1964...

THE ISLEY BROTHERS - MOVE OVER AND LET ME DANCE

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THE APOLLAS - SEVEN DAYS

2011-11-23T08:30:00.000-08:00

A prime example of funky, sassy girl group soul provided by this Los Angeles group. The members of the Apollas were all southern ladies relocated to the west coast, and this record drips with southern heat.

What else can be said, other than the fact this this record is PURE DYNAMITE!!!

from 1968...

THE APOLLAS - SEVEN DAYS

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TAMIKO JONES - READ ME RIGHT

2011-11-22T07:36:00.001-08:00

This song just flat out COOKS, in a very sexy, slow burning style.

Tamiko Jones started her career in the early 60's singing jazz while still a teenager (many of her early records were billed simply as Timiko, then eventually Tamiko). Her career allowed her to work with artists such as Herbie Mann and Solomon Burke (who she produced).

By the time this record was cut, the jazz was gone (other than remnants in her excellent vocal phrasing and pitch) and replaced by some seriously funky soul. Eventually a few years later she scored a big disco hit "Can't Live without Your Love".

But THIS one, in my opinion, is her greatest cut.

from 1975...

TAMIKO JONES - READ ME RIGHT

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DOROTHY & THE HESITATIONS - TRYING TO WORK A PLAN

2011-11-20T08:37:00.000-08:00

When I first found bought and listened to this record, I was wishing that the harmonica wasn't wailing through the majority of the cut, as it tends to distract from everything else happening. A little bit of harp goes a long way! Regardless, the excellent song shines through, highlighted by some fantastic vocals from the ladies. Or perhaps it's just one lady (Dorothy Moore) overdubbing the harmonies (which is what it sounds like to this listener).

A fantastic cut that may not grab you on first listen, but well worth giving another chance.

from 1968...

DOROTHY & THE HESITATIONS - TRYING TO WORK A PLAN

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JIMMY SMITH - THE CAT

2011-11-19T08:07:00.000-08:00

This is one that I thought I featured in the first year of the blog, but an email from a reader asking about it made me look back in the archives and I noticed it's never been posted! This definitely needed to be rectified, as this record is truly the pitome of the type of jazz sounds that were adopted as the soundtrack to the original mod movement in early sixties England, and a hell of a swinging record to boot!

Jimmy Smith was truly the king of the jazz organ; a pianist since he was a child, in his early 20's (c1953) Jimmy purchased a Hammond B3 organ, rented a warehouse space to practice and emerged a full year later with his whole new thing perfected. What a story, right?

Admittedly, my interest in jazz runs shallow ( I *am* a 45 fanatic afterall, and long improvisation doesn't bode well at 3 minutes per side) but the way Smith always made his music move and groove makes him stand out as someone I can truly dig.

from 1964...

JIMMY SMITH - THE CAT

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THE FIREBALLS - COME ON, REACT!

2011-11-18T08:45:00.000-08:00

Recorded towards the end of their long and (interesting) career, this track from New Mexico's Fireballs has quickly become one of my favorite blue eyed soul tracks as of late. It's one of those records that I've had for ages and didn't think a whole lot about it until recently; now I can't stop listening to it!

The Fireballs initial claim to fame was working with producer Norman Petty in overdubbing instrumental backing onto dozens of Buddy Holly recordings, released posthumously. Taking not only Buddy's acoustic demos and also some of his early (country/bluegrass) material, Petty & The Fireballs "updated" and "completed' those recordings (which is a discussion in itself). Controversy aside, the Fireballs were a fine group of musicians, led by super cool (musically and personally- I met him a few years back) guitarist George Tomsco.

The Fireballs scored a massive hit earlier in the year with 'Bottle Of Wine", and it seems as though they were grasping stylistically to come up with another hit. This one wasn't a hit, but it sure is excellent. While I have major problems with Norman Petty's handling of Buddy Holly's career and finances, there is no denying that the man was a genius in the studio; his recordings are always punchy, clear and sublime.

from 1968...

THE FIREBALLS - COME ON, REACT!

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GUYS & DOLLS - LOOKING FOR A LOVER

2011-11-17T08:02:00.000-08:00

Looking for a record that makes it feel good to be alive? This one just might fit the bill; it does for me! An excellent, rollicking groove and superb vocals- how can anyone NOT love it???

A few months back I featured another record from Guys And Dolls from a few years later; not sure if this group is the same (while I assume they are, both being from Chicago). I still don't know anything about the group. Thanks to Robert Pruter's excellent book "Chicago Soul", at least we know that Mellow Records was active from '66-'67.

from c1966...

GUYS & DOLLS - LOOKING FOR A LOVER

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LOUISE MURRAY - THE LOVE I GIVE

2011-11-16T08:57:00.000-08:00

This is one of those records that hypnotizes from the opening bars; an absolutely perfect soul record, driven by the stomping beat, spiced with brilliant horns, and rocketed into outer space by the incredible vocal performance.

Louise Murray started out in a female doo wop group called The Hearts in 50's New York City; eventually, members of the Hearts ended up as The Jaynetts for the mythical "Sally Go Round The Roses" session in 1963. The Jaynetts name itself had been used with different lineups (including Baby Washington) since the '50's as well.

Legend has it that producer Abner Spector holed up in the studio for days to cut "Sally", and there were as many as 20 voices heard on the final cut, one of which belonged to Louise Murray!

Louise Murray still performs (with her husband) as a duet (referencing her old group) The Two Hearts.

from 1965...

LOUISE MURRAY - THE LOVE I GIVE

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LABRENDA BEN - JUST BE YOURSELF b/w I CAN'T HELP IT, I GOTTA DANCE

2011-11-14T07:38:00.000-08:00

This record sounds far more Chicago to me than Detroit (if I didn't know the pedigree and someone told me it was a VJ records release I'd believe it in a heartbeat). However, it was recorded in the period of Motor City experimentation just before Motown found the absolute winning formula that drove them to the massively successful 1964-67 period.

I've seen "Just Be Yourself" described (negatively) as MOR, but with the depth and power of LaBrenda's voice, this track is certainly on the soul side of pop soul, not to mention the fact that it really swings underneath the strings. Plus, the sentiment behind the lyrics is especially touching, and her delivery just really hits me in the heart.

The flip side is interesting in that it's almost awkward in its stomp, but ultimately succeeds by the time LaBrenda unleashes those "Turn Me Loose" lines with ferocity! Plus, extra points are given for her lyrical mention of going to a (Gordy label mates) Contours concert.

LaBrenda Ben (probably a pseudonym) released two singles for Motown/ Gordy, then seemingly left the music business. This is the second and last one; another brilliant, unheralded voice. In this day and age of singers that rely on pitch correcting software and instant stardom via TV contests and manufactured groups, when I think of the amount of truly talented and unique vocalists that are forgotten to history it reminds me of why I have spent four years of sharing this music with the world via this website. It's the real thing; something the world could desperately use more of these days.

from 1963...

LABRENDA BEN - JUST BE YOURSELF

b/w I CAN'T HELP IT, I GOTTA DANCE

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Current ebay auctions end tomorrow, plus many NEW titles listed yesterday!

2011-11-14T07:08:00.000-08:00

I'm clearing out some more doubles HERE:

Derek's current ebay auctions

Looking for an instant collection? MANY great soul titles with a 79 cent starting bid!!!! Plus, I added a few dozen more excellent titles with sound clips.

Happy bidding! Mention that you are a visitor to this site and I'll give you an even better deal with shipping on multiple items.

ABRAHAM & HIS SONS - YOUR MOTHER UNDERSTOOD

2011-11-13T08:31:00.001-08:00

Seemingly the only release from this group. Given that the producers are Richard Parker and Sonny Sanders I am assuming that they were based out of Chicago (which the sound certainly backs up).

The song itself is a gorgeous salute to one of the most maligned figures in all relationships- the mother-in-law/ girlfriend's mother. A very classy and heartfelt.record!

from 1968...

ABRAHAM & HIS SONS - YOUR MOTHER UNDERSTOOD

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WILLIE HUTCH - USE WHAT YOU GOT

2011-11-12T08:43:00.000-08:00

From Dallas Texas, Willie Hutch(inson) moved to Los Angeles shortly after high school and (while not a household name) had a very successful career.

Around 1967, Willie began working with hit makers The 5th Dimension, and also found some of his original tunes covered by Motown artists (including the massive hit "I'll Be There" by the Jackson Five). In the 70's, Willie's name was attached to the soundtracks of some classic blaxploitation films, "The Mack" being the most famous of the bunch.

This excellent single was released under his own name right around the time he was in the early stages of his songwriting career, and finds him in excellent, powerful voice with some fabulous musical backing behind him.

from 1968...

WILLIE HUTCH - USE WHAT YOU GOT

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JOSEPHINE TAYLOR - IS IT WORTH A CHANCE? b/w I'VE MADE UP MY MIND

2011-11-11T09:15:00.000-08:00

Josephine Taylor hails from Evanston, IL (a university suburb just north of Chicago) and she cut a handful of singles between 1966-69, and sadly hasn't been heard from since (although there are rumors that she occasionally sings gospel in public in Chicago).

This single, her final release, is just staggering! "Is It Worth A Chance" is pure fire, typical of the best Syl Johnson productions. The b-side is a gorgeous ballad; both sides showcase the remarkable voice of this woman who left behind precious few incredible records.

JOSEPHINE TAYLOR - IS IT WORTH A CHANCE?

b/w I'VE MADE UP MY MIND

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THE PROFILES - RAIN DROPS

2011-11-10T08:15:00.000-08:00

This is possibly the most mysterious record I have ever featured on this site!

One fact that is almost a given with records is that, in the run out groove/ dead wax area, there's a matrix number that is the record's identification. These numbers, which almost always apply to the mastering catalog system, can be very helpful in both dating a record and also differentiating fakes from the real thing. This record has NO matrix number, which I have never seen before. Not only THAT, but there is no songwriter and no publisher listed on the label! Very, very strange! The song is a re-working of the 1961 Dee Clark hit, but I REALLY dig this uptempo version far better. How they got away without listing the writer and publisher just boggles my mind!

The one name that *is* listed is producer Mel Friedman; Mel was most certainly based in St Louis, MO. Mel's claim to fame was behind the boards for Bob Kuban & The In-Men's classic "The Cheater', which was a big hit right around the time this record was released (luckily there's at least a catalog number present on the label).

I would say almost certainly that this is not the same Profiles that were based in Detroit.

from 1966...

THE PROFILES - RAIN DROPS

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PEARL WOODS - DON'T TELL IT ALL b/w LONELY AVENUE

2011-11-09T06:49:00.000-08:00

Pearl Woods biggest claim to fame is writing the massive "Something's Got A Hold On Me", as cut by Etta James (she also penned "Poverty", recorded by Bobby Bland).

This track, the top side of which is also self-penned, finds the South Carolina native had a fantastic, sexy and powerful voice of her own. The flip side is a stellar cover of the Doc Pomus written Ray Charles classic "Lonely Avenue".

Pearl recorded a small handful of singles up until 1965, and one more in 1970. She seems to have vanished from the music business at that point, leaving a VERY impressive cache behind.

from 1963...

PEARL WOODS - DON'T TELL IT ALL

b/w LONELY AVENUE

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Current EBAY auctions: 79 cent BLOWOUT!

2011-11-09T06:32:00.000-08:00

I'm clearing out some more doubles HERE:

Derek's current ebay auctions

Looking for an instant collection? MANY great soul titles with a 79 cent starting bid!!!!

CARL PERKINS - SOUL BEAT

2011-11-07T07:55:00.000-08:00

While it's relatively well known that Charlie Rich cut some of the greatest blue-eyed, red-necked soul records of the sixties, it seems that the r&b sides cut by Carl Perkins are relatively unknown. A pity, as this track still retains Carl's country/ rockabilly roots but put it into the then-modern framework of a record that could easily be played at the local a-go-go. Artists who got their start in the fifties were getting lost in the shuffle of the musical changes of the sixties, and some had more success than others in adapting (just as it took Elvis until 1968 to "get with it", and when he did he cut some of his greatest records).

Just DIG that Hammond organ grooving alongside Carl's guitar pickin'; a mighty fine example of musical integration!

from 1969...

CARL PERKINS - SOUL BEAT

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JESSE JAMES - I NEED YOU BABY

2011-11-06T07:44:00.000-08:00

Singer Jesse James was transplanted from Arkansas to right here in the bay area when he was a child, thanks to his father finding work as a fisherman. In his early 20's Jesse (real last name McClelland) adopted the stage name Jesse James and became a working musician, and also cut some sides with the help of Sylvester Stewart (aka Sly Stone).

This excellent ballad shows off his deep southern vocal roots that are seemingly straight out of the church, with a brilliant arrangement as well.

Notice the sticker on the label from "The Hosea"; from what I can gather, "The Hosea" was a west coast radio promotion man, hired by labels to get their records played on the radio. I've found other records locally with similar stickers.

from 1971...

JESSE JAMES - I NEED YOU BABY

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THE SOUL BLENDERS - THE DEAL

2011-11-05T09:00:00.000-07:00

This great record is out of St Louis, MO, and that's about all I know!

St Louis producer Oliver Sain's name is on the label, which is one of those magic names that almost guarantees a record to be interesting, if not BRILLIANT in the case of this one. Thanks to an online database of radio surveys, I found that this record charted locally in St Louis in early '67.

The Soul Blenders had a few later releases, and they seem to be an offshoot of a group called The Tabs that I know very little about. Something else to investigate!

from 1967...

THE SOUL BLENDERS - THE DEAL

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THE RACKET SQUAD - SUBURBAN LIFE

2011-11-04T07:51:00.001-07:00

Morphing into the psychedelic bag from vocal groups (The Four Chaps, The Townsmen & The Fenways) in the Happenings/ Four Seasons mode, The Racket Squad were basically straight out of the Pittsburg, Pennsylvania suburbs. The Four Chaps worked for a time as backing singers on TV's "Shindig!" in 1964-65.

Everything gels together on this track; the group's r&b influences match perfectly with their own brand of psychedelic exploitation for a 3 minute blast with superhuman drumming and a groove that predates the hypnotic sound of German bands such as Can and Neu, all matched with excellent lyrics that provide an even more cynical alternative to "Pleasant Valley Sunday".

from 1968...

THE RACKET SQUAD - SUBURBAN LIFE

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JEANETTE WHITE - MUSIC

2011-11-03T07:04:00.000-07:00

An absolute BLOWOUT of a record, and seemingly the only release by Jeanette White.

The intro to this record lays out the thick fuzz tone guitar and some taps from the drummer (which immediately establishes its cool factor), only to explode in a stomping four-on-the-floor belter when the drums kick in and Jeanette begins her celebration of all things music (specifically soul) while the record just keeps building up steam like an out of control locomotive.

Being as Los Angeles musician/ producer/ arranger Jack Eskew is listed as the arranger (and it was also reissued on LA based A&M records) I think it's safe to say this is an L.A record. Also, the west coast delta matrix number in the dead wax puts the pressing date as July 1969.

from 1969...

JEANETTE WHITE - MUSIC

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BROTHERS OF SOUL - HURRY DON'T LINGER

2011-11-02T07:59:00.000-07:00

Starting around mid-1967, many Detroit soul records took on an ethereal sound that veers on sinister sounding but still retain the Motown beat, albeit in a less manic fashion.

The brothers Of Soul were a vocal trio made up of Robert Eaton, Richard Knight and Fred Bridges (who takes the lead here). Eaton and Knight's harmonies are absolutely other worldly, and Bridges' lead is gritty but in absolute control. The trio went on releasing a few more records under this name, but also shared their songwriting talents with other artists, and worked steadily as backing vocalists (aminly for Holland-Dozier-Holland's post-Motown productions)

from 1968...

BROTHERS OF SOUL - HURRY DON'T LINGER

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MARION BLACK - WHO KNOWS

2011-11-01T07:48:00.001-07:00

This was the debut release on Columbus, OH's Capsoul record label; a label which documented the soul scene in Columbus from 1970 until 1975 and releasing some gorgeous singles along the way. The output of Capsoul was brilliantly collected together on one of Numero Group's "Eccentric Soul" collections. For what it's worth, one of the very first Daily 45 postings was the Capsoul release "You're My Desire" by The Four Mints.

This record was also Marion Black's debut as not only performer and writer. Working as a head waiter, Marion approached Capsoul founder Bill Moss with this tune, and allegedly it was this song that inspired Moss to start the label. Easy to believe, as this track is an incredibly powerful melding of soul, blues and gospel and it's one of those songs that, with better promotion and perhaps less raw production, could have been a massive hit. However, the raw production makes it a MASSIVE hit in these parts.

from 1970...

MARION BLACK - WHO KNOWS

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OCTOBER COUNTRY - MY GIRL FRIEND IS A WITCH

2011-10-31T07:00:00.000-07:00

Happy Halloween!

Produced by the precocious, 16 year old L.A mover and shaker Michael Lloyd (whose career in music began at age 13!), this 6 piece group whip up a real spooky piece of macabre psych on this excellent track, which is ripe for the season. The story of the group is complex (but interesting) and their allmusic entry is well worth checking out.

Surprisingly, this record was not released at Halloween time, but in the spring of 1968.

from 1968...

OCTOBER COUNTRY - MY GIRL FRIEND IS A WITCH

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My new site! Record Collector's Journal

2011-10-30T10:28:00.000-07:00

Don't worry; Daily 45 isn't going anywhere! I've simply launched a new site to focus on the visual aspect of records; namely, label designs, picture sleeves and album covers (as well as information to help other vinyl junkies identify original pressings.)

Check it out here:

Record Collector's Journal

CASINOS - HOW LONG HAS IT BEEN?

2011-10-30T09:21:00.000-07:00

The Casinos were an all white soul group from Cincinnati that did a fantastic job in nailing the dreamier sounds of the time. The group started out as The Legends in the late 50's, and after it was apparent that their was at least one other group with the same name, they changed it to The Casinos. As with practically every other ensemble with a long run, this nine piece group experienced numerous personnel changes throughout the years.

This record was the followup release after their excellent version of "Then You Can tell me Goodbye" (a past 45 of the day) was a good sized national hit. This track follows in the same vein, has a bit more of a kick behind it but still retains the ethereal qualities of "Then You Can Tell Me Goodbye".

from 1967...

CASINOS - HOW LONG HAS IT BEEN?

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THE STANDELLS - TRY IT

2011-10-29T08:05:00.000-07:00

While the Standells are lumped in with the crowd of garage rock bands that formed in the wake of the British Invasion, their history goes back further than that, as they formed in 1962. So, in effect, the claims of this Los Angeles group as being the fathers of garage are not too far from the truth (although their early records are quite pedestrian until they hooked up with producer Ed Cobb for the immortal "Dirty Water" and its equally excellent followups).

Unfortunately, after the release of this record a reactionary right wing radio man Gordon McLendon (himself the man who was thought to have created the top 40 radio format) stated the suggestive record as "obscene" and unfit for young minds on the radio. Precisely the reason why it's great.

The song was an early co-composition of Joey Levine, who went on to great success in the bubblegum scene of the late 60's (his rockin' nasal voice is heard on those hits from The Ohio Express, Kasenatz-Katz Singing Orchestral Circus, as well as the Nuggets LP classic "Run Run Run" by The Third Rail). The Ohio Express later recut this track with Levine on lead vocals which is cool, but it just doesn't pack the wallop that this original does.

from 1967...

THE STANDELLS - TRY IT

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BOBBY WOMACK WITH PEACE - ACROSS 110TH STREET

2011-10-28T07:58:00.000-07:00

Bobby Womack has had an extraordinary career; discovered by Sam Cooke while he was barely a teenager, Bobby released a long string of excellent singles with his brothers in the group The Valentinos (read my post about them here at Bedazzled), Bobby struck out on his own beginning in the mid-60's with an earthy, rootsy, powerful voice and the ability to pen lyrics with the type of depth that earned him the well-deserved nickname "The Poet".

On this track (taken from the film of the same name), Bobby takes on a number of subjects that deal with life on the mean streets of the ghetto in the early 70's and tries to make some sense of it. Just give a listen to Bobby's vocals on this track, especially what starts happening around the 3 minute mark; the man was FEELING this track. Sadly, the following year his brother Harry (who he sang with in the Valentinos) was dead of a drug overdose.

from 1973...

BOBBY WOMACK WITH PEACE - ACROSS 110TH STREET

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THE BARRONS - I'M SO LONELY

2011-10-27T07:10:00.000-07:00

For some unknown reason, New Orleans has never had much of a harmony singing group tradition. Surprising, considering this city has been (and continues to be) one of the universal epicenters of musical melting pots incorporating jazz, r&b, soul and funk into the local styles and beyond.

The Barrons (or as they were more commonly known on most releases, The Barons) were an exception, and the group shows off a gorgeous harmony blend on this record, featuring falsetto lead singer Lloyd Shepard in full flight. The group found their recording debut in 1964, co-billed with Eddie Bo on Eddie's "Gotta Have More" (a past 45 of the day which I'll re-post at the Daily 45 Facebook page to correspond with this posting).

By the time this record was released, the group had experienced the type of line-up changes that are seemingly always an inevitable in the world of groups.

from 1973...

THE BARRONS - I'M SO LONELY

JUNIOR PARKER - I GOT MONEY

2011-10-25T07:26:00.001-07:00

Junior Parker released an almost unfathomable amount of records in his career which spanned from 1950 until his young death (of a brain tumor) in 1971. For the most part, his late 60's records are sub-standard; not as a fault of his own (his voice was ALWAYS stellar) but more as a result of weak material.

Luckily, producer Huey P Meaux helped Junior NAIL this one, which is one of his greatest records. Huey is one of those people in the music field whose personal life was full of deplorable acts (he did jail time TWICE for statutory crimes) but was simply brilliant behind the mixing board. Huey's production work with the likes of Barbara Lynn and The Sir Douglas Quintet yielded some of the greatest music of the 60's. This record takes Junior's deep south blues roots (he was born in the heart of the delta in Clarksdale, Mississippi) and adds some sophisticated uptown swing for results that are simply magic. Junior's cool vocal delivery is just outta sight.

from 1968...

JUNIOR PARKER - I GOT MONEY

BOBBY HUTTON - I'VE GOT A MEMORY

2011-10-24T08:53:00.000-07:00

Driven along mightily by bubbling bass (more than likely played by the great Bernard Reed) and brassy backing vocals by Jo Armstead (who also co-produced and co-wrote the track), Bobby Hutton's excellent vocal rides smoothly right along top this excellent track. Anyone who has been following this site for any length of time knows my love of Chicago soul, but I'll state it again; I LOVE the Chicago sound, which is epitomized so nicely here on this track. while the lyric may be melancholy, the propulsive Chi-town beat just DRIVES the song into another world.

Dig in and dig it!

from 1969...

BOBBY HUTTON - I'VE GOT A MEMORY

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DAN PENN - I NEED SOME ONE

2011-10-23T08:36:00.000-07:00

even if they would have written only one of the three following songs: "I'm Your Puppet", "Dark End Of The Street" or "Do Right Woman, Do Right Man", the writing team of Dan Penn and Spooner Oldham would go down in history as perhaps THE greatest writing duo in all of southern soul music. Not bad for a couple of young white fellas.

What is relatively unknown, however, is that Dan Penn is one of the greatest blue eyed soul voices as well; a pity, as his own recorded output is scant compared to his "behind the scenes" work. I saw Dan perform in new Orleans a few years back at Ponderosa Stomp, and the mere thought of the majesty of his voice performing THOSE songs makes the hair on the back of my neck stand at end. He may not be able to hit the high notes today as he did in this majestic recording, but his voice is so full of depth and passion that it can easily be ranked as one of the greatest in soul music, regardless of ANY color.

This record was one of the final collaborations Dan made with Muscle Shoals producer Rick Hall, before his move to Memphis and association with Chips Moman at American Studios. These collaborations resulted in a cache of music that is simply some of the finest to be recorded anywhere, by anyone.

This record shows the depth of Dan as an artist, and I am at a loss for words at describing its beauty. Curiously, this track was initially the b-side of the record (the a-side being a good but rather pointless cover of "Willie And The Hand Jive". Why would a man of this talent be reduced to covering a novelty number?). The tell-tale "X"'s on the label show that the promo person who sent the record out to radio knew better; THIS was the side.

from 1966...

DAN PENN - I NEED SOME ONE

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SONS OF SLUM - RIGHT ON

2011-10-22T08:27:00.000-07:00

Unfortunately, I don't know a whole lot of info (actually, none at all) about this group that recorded a few sides for Stax, with both Stax c0-founder Jim Stewart and Staple Singer Pervis Staples behind the mixing board.

Whoever they are, The Sons Of Slum waxed this fabulous take on Marvin Gaye's "Right On" which, of course, was taken from the 'What's Going On" LP; a groundbreaking record (to say the least) in which Marvin expressed serious social commentary which went against the commercial grain, causing a big change in soul music and mass shift towards social comment within lyrics.

The lead vocalist sounds quite familiar, but I don't wanna make an assumption on who it might be; I would sure like to know more info about this group!

from 1972...

SONS OF SLUM - RIGHT ON

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PEARLEAN GRAY - HAVE YOU EVER HAD THE BLUES

2011-10-21T08:28:00.000-07:00

New England is typically not known as a hotbed of rhythm and blues activity in the 60's, but here we have a fantastic side from Pearlean Gray, who is thought to be from Connecticut. Unfortunately, that's all I know about her. This excellent track was co-written by Lloyd Price, and Pearlean's voice cuts through some judicious (and delicious) layers of reverb like glass.

New England certainly LOVED r&b though, as a visit to the great Boston record store "In Your Ear" proved to be a treasure trove of great singles. The man who was working in the store (who I think was the owner) explained that there was a local distributor who was bringing in small label soul records from all over the country to meet the insatiable quest for records.

from 1964...

PEARLEAN GRAY - HAVE YOU EVER HAD THE BLUES

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TONI LAMARR - IF I DIDN'T LOVE YOU b/w I'D DO ANYTHING

2011-10-20T09:00:00.000-07:00

A fabulous double sider, and yet another with producer/ writer Van McCoy's stamp displayed prominently.

The mysterious Toni LaMarr had two releases on Buddah records, and seemingly there are no other records cut by her (at least under that name).

Both sides are excellent, and Van McCoy's ethereal backing vocals (one of his trademarks) offer an excellent complimentary counterpoint to Toni's earthy lead vocals.

I believe that the bouncier "I'd Do Anything" was the actual a-side, but in my humble opinion the gritty "If I Didn't Love You" is the stronger side. But it's a tough choice, as BOTH cuts are A-side material.

from 1968...

TONI LAMARR - IF I DIDN'T LOVE YOU

b/w I'D DO ANYTHING

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LENNY O'HENRY - ACROSS THE STREET

2011-10-19T07:48:00.000-07:00

It always surprises me when there's a record released by a big label and there is barely any biographical info about the artist known. It is known that Lenny was in a doo-wop era group called The Vibra-Harps with Donnie Elbert (who cut a few hit sides in the early 70's) and that his real name is Danny Cannon.

I'm gonna go out on a limb and speculate that Lenny may have passed away young, as this WAS after all, the Vietnam war era...Of course I have nothing to back my hypothesis, but being as this record has been so revered by "Beach Music" enthusiasts since the 60's and there has been no sightings of Lenny, it may be logical.

As for the song, it's absolutely gorgeous and behind its upbeat enthusiasm features incredibly deep lyrics that deal with alienation and a female sung brudge that outright KICKS.

To my ears, this record has MASSIVE hit appeal and truly should be one that is ubiquitous on oldies radio.

from 1964...

LENNY O'HENRY - ACROSS THE STREET

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