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All music presented on this site is shared under the premise of "fair use"; this site is solely intended for the purpose of education and critique. If you are a rights holder to any of the music presented and wish for it to be removed, simply contact me directly and it will be taken down.

Thursday, November 16, 2017


(originally posted 6/19/2008)

Here's what I wrote originally:

Phew, is THIS one red hot mystery record! It's a Chicago release, and I'm gonna guess it was released around 1965. Haven't been able to find any info about the artist at all (other than he cut a few more sides, but in the mid-'70's). Just when you think they cant possibly cook any more, they throw in the whoa whoa whoas and we're left picking up a roomful of rubble from the devastation.

One of the coolest things about all of my years featuring records on this blog was when the artists or their relatives would contact me. Shortly after the posting, I received these messages:

"This Is my GrandFather his stage name was Jimmy Dobbins but everyone knew him as Jimmy Brown, He is Deceased now, he died in 1995 My name is Devin Brown and i inherited his amazing vocals"

"He was Born 1945 in Jackson Mississippi,
But after he Graduated from High he moved to Gary Indiana, which is where he met my Grandmother, and they moved to Chicago thus, My uncle, Jimmy Brown Jr. was born,1967, then My Mother, Jaconna Brown was Born in 1969.Most of the love songs he made were dedicated to my grandmother"

Pretty cool, huh?

from 1965...


Sunday, November 12, 2017


(originally featured early on in this blog, sometime in 2007)

Happy birthday Neil! Such an inspiration to so many of us. Whether he's pulling at our heart strings with a gorgeous acoustic ballad, blowing the roof off with Crazy Horse, gettin' freaky with a vocoder, or kicking out a freakbeat side such as this, Neil RULES.

On it's own, 'Mr Soul' is one of THE classic '60's rock n roll tracks; of course it was heavily influenced by 'Satisfaction', but Neil and the Springfield take it someplace entirely different; the alienation of stardom, which is a world that Neil has revisited several times in his career. Dewey Martin clearly shows off his soul fanaticism with a drum performance that's straight outta Stax, Bruce Palmer freaks out on bass, and the three guitarist/ vocalist, driven by talent and ego, turn in a performance for the ages.

Even cooler is that the 45 features an alternate guitar solo that is less 'to the gut' and more tripped out psychedelia.

from 1967...


Bonus! Here are two other examples of Neil 45's with a different mix ('Cinammon Girl'), and an exclusive live performance ('Last Trip To Tulsa')

Wednesday, November 8, 2017


(originally posted 9/2008)

Evie Sands has had a fascinating career in which there were far too many near misses, mostly due to competing versions of the same songs by other artists released at the same time. However, her records have grown legendary throughout the years, and for good reason! Evie is still out there performing; she was a true pioneer in that she's not only an incredible vocalist but also a highly skilled guitarist.

Transcendent is the only way to describe this one. A masterpiece in production (reminds me of what a Brian Wilson/ Phil Spector/ Motown collaboration would sound like), this song is infectious and jaw dropping. Quite possibly the best fake out ending on record, too.

from 1965...


Tuesday, November 7, 2017


Alright! Sorry for the gap in posts... Back with a red hot side that has never been previously featured here.

Big Ella (Ervaerlla Tate) is a bit of a mystery figure; she cut 3 singles in the late 60's and qwuickly disappeared from the world of recorded music.

Being as Bobby Rush is listed as writer and producer, it's safe to say that this is a Chicago joint.

The best story though is in the grooves; 'Too Hot To Hold' is a scorching, intense slab of sister funk with an incredible vocal and a band that can easily give the JB's a good bit of competition.

from 1969...


Saturday, September 16, 2017


(originally posted 5/ 2008)

The great Little Willie John (big brother to Stax artist Mable John) lived a tragic life; while many of his records were big hits on the R&B charts (and several were covered later by other artists), he battled alcoholism. He died at age 30 while in prison.

This man's voice is one of the most powerful and haunting in all of R&B, and he could deliver a ballad in a way that can break your heart, and blaze a rocker in a way that can kick start everything immediately into 5th gear.

"I'm Shakin'" stands among his greatest records; the vocal delivers the lyrics in a way that cuts straight to the bloodstream, and the stop-start arrangement is brilliant, and is known to drive dancers wild out on the floor. This track was reissued in 1963 with drums overdubbed during the verses; in my opinion, the extra percussion only makes the record lose a little bit of its magic and I prefer the original. Either way, though, you're gonna groove.

from 1960...


Saturday, September 9, 2017


 (originally posted 1/2008)

Gary, IN's (about 30m from Chicago) Lonnie Lester cut three fantastic and RAW singles in the mid-60's (some copies of this record are billed as Lonnie Lester & Chuck Danzy; Danzy was the saxman) of which this is his first.

This record has a fantastic, late night party atmosphere kind of feel, capped off with a storming, powerful vocal from Mr. Lester.

from c1966...


Tuesday, September 5, 2017

Daily 45 tribute to CAN (RIP, Holger Czukay)

2017 has taken away the incredible CAN rhythm section; earlier this year, drummer Jaki Leibezeit passed, and today we lost bassist Holger Czukay.

While CAN was always a complete showcase for the brilliance of all members, Holger was responsible for getting the bands music onto tape, as he engineered and edited most of their recordings. It's downright mind boggling to think about how great these records sound, and taking into account that they didn't even have a multitrack recorder until after completing 1974's Soon Over Babaluma. All of their incredible work from 1968-1974 was recorded LIVE to 2 track tape. While there was quite a bit of splicing and editing done to the music (mostly in turning improv sessions into songs), there was no 'fixing it in the mix'. While so much time today is spent in studios doctoring tracks with beat correction, pitch correction, etc, no amount of trickery can EVER sound as good as brilliant musicians kicking out the jams HARD.

For a band that stretched out into long improvisations that are best experienced on LP, they released some COOL singles along the way (one of which, 'Spoon' was a massive hit in Germany). The single mix of 'I'm So Green' is WAY different than the LP, and has a trippy intro that didn't make it on to the LP.

I'm forever grateful to Musician magazine; back when I was 15 in 1990, I read a review that covered reissues of their early albums. I had not heard of them until this review, and the words were incredibly captivating, and the writing drew me in with parallels to the influence this group had upon hip hop, noise rock, post punk, new wave. Through this review, they became a favorite band of mine before I even heard a NOTE. With my limited allowance (which was almost ALWAYS spent on music), I picked up the CD of Ege Bamyasi (which the article pointed out was 'the' one to start with). I filled out the catalog as I could, and eventually replaced the shiny discs with vinyl as they appeared. My high school band tried in vain to play 'Vitamin C' and 'Mushroom', but we just couldn't get those songs to sound anywhere near what they should have. It was great to hear 'Vitamin C' used so well on the excellent series The Get Down. The 45 version is the same as the LP, but I'm presenting it here because it is such a defining moment of the CAN ideology - freaky, haunting, psychedelic, and flat out FUNKY. Holger and Jaki are locked in as tight as a James Brown rhythm section.

Tago Mago is perhaps the bands crowning artistic achievement, and it certainly is an album that I have listened to hundreds of times and somehow always take away something new each time. 'Halleluwah' was released as a highly edited single, with a non-LP b side to boot ('Turtles Have Short Legs'). While 'Turtles' may be a bit silly and almost novelty like, it's still so damn funky.

Tuesday, August 29, 2017


Folks, please donate whatever you can to help the good people (and pets) of the great state of Texas.

In honor of the Lone Star state, here are two of my FAVORITE Tejas rock n roll records- originally posted here sometime in 2007-2008.

The Moving Sidewalks featured Bill (later Billy) Gibbons on vocals and guitar, pre- ZZ Top. The group became one of the big draws on the Houston scene and not only opened for fellow Texans The 13th Floor Elevators but also when big time touring acts came thru town. Legend has it, when the Sidewalks opened for the Jimi Hendrix Experience, Jimi was so taken by Billy's playing that he gave him a pink Stratocaster and Hendrix was on record as stating how much he liked Gibbon's playing.

Two Sidewalks were drafted, which revamped the lineup and the band became ZZ Top in late 1969. I had the pleasure of meeting the ZZ fellas a few years back, and I mentioned this record to Billy and how much I loved it. His response was 'keep that one in a safe place', and I could swear thatas he said that sentence it sounded like one of harmonized voices as heard on Eliminator and Afterburner.

'99th Floor' will always be a garage rock perennial, as its inclusion on the Pebbles Vol. 2 helped cement its status as one of THE great psychedelic garage rock cuts.

from 1967...


Ahhhh my beloved Sir Douglas Quintet; originally "designed" by producer (and, most disturbingly a convicted pedophile) Huey P. Meaux to be a Cajun flavored answer' to the British Invasion, the group went on to be pioneers in mixing beat, blues, soul, cajun, psychedelia and Tejano music in a way that shouldn't work but practically ALWAYS did, thanks to the brilliance and genuine soul of Doug Sahm.

This incredible track was cut for the excellent Kris Kristofferson film "Cisco Pike", and was only released as a 45 (itself a record that took me MANY years to find).

from 1971...


(2017 note) FUCK 'Sheriff Joe' for busting these guys for pot back in the '60's, and FUCK HIM for all his other racist atrocities.

Saturday, August 26, 2017


A few folks have written asking if I plan on making the tracks downloadable again. The answer to that is no, I'm afraid. However, there are several advantages to the new mode: for one thing, artists + songwriters (or their estates) will make a little $ off of the streaming listens. I'm uploading everything in uncompressed audio, so my transfers are nifty quality (other than the surface noise/ groove wear present on my copies). Also, everything will stay up forever (or at least as long as this is all possible). If you MUST d/l, there are plenty of ways to do it off of youtube, but you'll have to figure that out on your own (hint: it's very easy).

(Originally posted 8/2009)

One of the greatest (and quite possibly THE finest) west coast soul records, this sublime 2 sider is a record I dreamed of owning for a long time, and happily it now resides in a special place in my collection. Sure, the labels may be in rough condition but the record sounds great and I am just glad to have it any any condition, and very happy to share it with everyone here. Part of the fun in collecting records is the anticipation of getting certain ones, and if we had 'em all, there's nowhere else to go (so I don't mind if it takes me many years to get that particular record; it's worth the wait). (2017 addendum: I don't have much at all on my want list these days, and the ones remaining are STILL so tough to find, even after so many years of digging IRL and in the virtual world).

The Seven Souls were formed at the University of Oregon, and were an integrated group who moved south to Los Angeles and were taken under the tutelage of musician/ producer/ pimp Larry Williams who cut this absolutely perfect record with them. Sadly, they only released one other record (OK but not at the 'other worldly' level of this one). The group sported not only two phenomenal lead singers (Ivory Hudson takes the lead on 'I Still Love You", and sax player Henry Moore sings 'I'm No Stranger') but also young Bob Welch (later of the early 70's lineup of Fleetwood Mac which gave us "Sentimental Lady") is playing those righteous, upfront guitar licks.

from 1967...


Also, I'm making my debut behind the 1's and 2's tonight at FUNKY SOLE... LA's greatest soul party, at The Echo. I'm on the patio at 11:00.

Thursday, August 24, 2017


(first posted 9/16/08)
Gene Chandler was featured MANY times on Daily 45.  I absolutely love the guy, and am fascinated with his career which found him not only as performer, but also songwriter, A&R man, and producer. Gene also worked closely with the incredible creative forces behind the Chicago soul sound (Curtis Mayfield, Carl Davis, etc) and his choice of songs, writing, arrangements, and vocal style is (in this writers humble opinion) are the epitome of (Chicago) soul. This is a tricky record to find, as it was released at the very end of the line for Constellation Records. The label was out of luck, out of money, and out of hits and very few copies were pressed/ distributed. In a way, this record was ahead of its time, in that it shows a much harder edged soul sound (here, the guitar takes front and center in the mix) that started to be more prevalent within the next few years.

from 1966...


Tuesday, August 22, 2017

Belita Woods - Grounded b/w Magic Corner

(originally posted 3/2007)

Although Belita Woods only released three solo singles, they are three records that I deeply cherish. In the later 70's Belita went on to sing with disco band Brainstorm, and had a few dance hits (driven mightily by her powerful voice) with that group.

Her first release (1967) was the incredible double sider "Magic Corner b/w Grounded"; which, in my opinion, is one of the greatest two-siders in 45 RPM history. 'Grounded' was the b-side, but it's just so damn powerful that I'm featuring it first. I'm a massive fan of the period in soul when the hard edged, funk tinged sound was coming in to more vocal oriented tracks; that sound is displayed here in an unparalleled way. 'Magic Corner' is a dreamy song, but it's no less intense thanks to the unbelievable vocal performance; Belita sings so hard that her voice distorts the tape and/ or microphone in several spots. Magic stuff indeed.

Belita Woods passed away far too young (63) in 2012; she was a touring member of the P-Funk mob for many years, a tiny little lady with a massive voice.

from 1967...