JEAN WELLS - TRY ME AND SEE

Here's a red hot stormer from New Orleans' own Jean Wells; I love how the drummer controls this song so well with slightly changing the tempo! Plus, Ms Wells always delivered top notch, saucy and sassy vocals on top of a killer song.

Have a great New Year's eve celebration, everyone!

from 1968...

WALES WALLACE - SOMEBODY I KNOW

Here's a great record from a singer that is unjustifiably obscure; produced, arranged and written by the great Eugene Record (Chi-Lites), this top notch song should have been a massive hit. It was released on a Brunswick subsidiary so distribution wasn't a factor. Another example of a great one lost in the shuffle. Little is known about Wales, other than that he later became a member of the Steelers, and he was a friend of Eugene Record and Barbara Acklin.

The song itself is of the typical high quality of Eugene's writing (which was some of the finest of the early 70's), the arrangement is fantastic, and Wales vocal delivery is simply awesome. Great backing vocals (probably the Chi-Lites) and a particularly cool ending tag. It all adds up to a perfect side.

from 1970...

TY HUNTER - SOMETHING LIKE A STORM

Produced by Carl Davis (although he's not credited on the label) and with a song co-written by Tony Clarke (Landslide, They Call Me A wrong Man) you know it's gonna be a great record, and this one DOES NOT disappoint! Cracking drums, driving organ, superb vocals and overall a fantastic song; another example of a massive Detroit-Chicago soul summit!

Starting and ending his career in Detroit (Ty became lead singer with Motown hitmakers THE ORIGINALS), Ty cut a few records in Chicago for Chess. Sometimes it even surprises ME that over 1000 posts later, there are still records of this quality that I'm able to feature; just another bit of evidence that 1963-1969 was the most creative and magic time for soul and rock n roll.

from 1964...

KNIGHT BROTHERS - THAT'LL GET IT

While they weren't blood brothers, Richard Dunbar & James Diggs (aka the Knight Brothers) were certainly joined together in a deep bond as singers. Soul duo records (whether it's Sam & Dave, Etta James & Sugar Pie DeSanto, Otis & Carla) had a tendency to bring some very hot stuff to wax, and this record is a mighty fine example of call and response soul at its best.

from 1966...

THOMAS & RICHARD FROST - SHE'S GOT LOVE

My advance apologies if this song gets stuck in your head ALL DAY and you just wanna play it over and over again. I certainly do!

My lady Angeline & I had the pleasure of meeting Richard Frost the other night and we had a great time talking about what it was like to be a mod in the bay area in the mid '60's. Unlike virtually every other US city, San Francisco didn't have much of a rock n roll scene before the hippie invasion (with the exception of the Beau Brummels, one of my ten favorite rock n roll bands of all time). However, heading south down the peninsula and into San Jose it was another matter, where bands like the Art Collection (who evolved into Powder and featured the Frost brothers) and The Chocolate Watchband were playing incredible British inspired R&B/ psych.

Cutting forward a few years to the late '60's, The Frost brothers relocated to Los Angeles, became part of Sonny & Cher's backing group and cut some records of their own. This single was a minor hit, but it should have been massive. Superb songwriting, a fantastic arrangement, and those excellent brotherly harmonies.

from 1969...

THE MOOVERS - ONE LITTLE DANCE

This seems to a be a one off from this group from Miami, and what a gorgeous one-off it is!

This record was originally released on a small Miami label called DEEP CITY (before it was picked up by Brent records) and I have read that the Moovers (who were a vocal quartet) worked as backing singers on almost all of the other Deep City label releases. It's certainly believable, as these guys have an incredibly smooth and lush vocal blend. Stellar stuff.

from 1967...

OTIS REDDING - MERRY CHRISTMAS BABY b/w WHITE CHRISTMAS

Here's an incredible double-sided bit of holiday wonderment from the master. Released in 1968 (exactly one year after Otis' tragic death), this superb record showcases the two sides of Otis; his reading of the perennial "Merry Christmas Baby" shows his uptempo driving vocals, while his take on "White Christmas" shows that this man could pull so much emotion out of a ballad and turn a song completely into his own.

Happy holidays, all: thank you for your kind words and comments which help keep this labor of loving going strong, three years down the line!

MERRY CHRISTMAS BABY

WHITE CHRISTMAS

BILLY HAMBRIC - TALK TO ME BABY

Even though New York based Billy Hambric released a handful of 45's, little is known about him, and even the exact release date of this record is unknown (Fury records catalog numbers did not seem to follow a logical sequence)!

Whatever the story, this is an incredible slice of driving r&b with some fantastic, gritty vocals from Mr Hambric. I'm guessing the year.

from c1965...

GEORGE MCGREGOR & THE BRONZETTES - TEMPTATION IS HARD TO FIGHT

How many soul records feature pedal steel guitar? Not many (although the great 'Soulshake" by Peggy Scott & Jo Jo Benson is another example), and this one features it in such an amazing way on the intro creating an eerie hook that just blows my mind.

This haunting record is easily in my all time top ten favorite deep soul tracks; the vocals, both lead and backing are simply divine.

This is a record that I NEVER thought I'd find, as it is so hard to find it's practically non-existent. It was reissued by the Numero Group on the incredible Chicago soul collection 'Twinight's Lunar Rotation' and subsequently used to great effect ending an episode of "Mad Men".

from 1967...

GEORGE MCGREGOR & THE BRONZETTES - TEMPTATION IS HARD TO FIGHT

THE THRILLS - WHAT CAN GO WRONG

Perhaps this group was a studio concoction? I dunno, but it's a fine fine sound indeed and I know nothing and haven't found any info on this record or the group itself.

You know me; I love these pounding beat girl group numbers, so it's only natural that this one, with its pounding beat and sassy female vocals is gonna tickle my fancy. Hope it does yours, as well.

from 1966...

WILMER & THE DUKES - I'M FREE

Out of all the early compositions written by Jagger/ Richards, "I'm Free" is one that had so much promise but was seemingly very rushed in the Rolling Stones own recording and didn't meet its potential until the band revived it in their 1969 concerts.

However, one year before the Stones revival, upstate New York show band Wilmer & The Dukes cut a fully realized version of the song that, to my ears, takes it to its full potential (perhaps the Stones themselves heard this version which caused them to revisit the song? hmmmmm)

Wilmer & The Dukes were one of those bands that played the bar/ fraternity circuit that were oh-so-common in the 60's; judging by their brilliant reading of this song, the band must have been a fantastic live group.

from 1968...

THE SPECIALS - YOU STOOD ME UP

This is not the famous UK band that began life in the late '70's, but a Chicago based group that seemingly only cut this one record. That's all I know, I'm afraid (and have no idea of the actual year, either).

Whatever the story (and if you know more, please write!), this is an absolutely gorgeous piece from the group harmony resurgence that started in the late '60's.

from c1969...

GINO WASHINGTON - LIKE MY BABY b/w I'LL BE AROUND (WHEN YOU WANT ME)

My oh my this is SUCH a fantastic double sider!

Early in his career (and before he turned 20!) Gino Washington cut a handful of incredible records (most of which have been featured here) until he was drafted in 1964, just as 'Out Of This World" seemed poised to become a national hit. Many tales have been told of his legendary performances that were full of infectious energy, and his music crossed over strongly to white kids in the Detroit area and became a massive influence on the fantastic Detroit rock scene, as spearheaded by the MC5 (whose own Rob Tyner was massively influenced by Gino)

Sadly, Gino's musical career never recovered after his release from service, and it didn't help that there was an American calling himself Geno Washington that was masquerading around England pretending to be the real thing.

Even with strong national distribution (which very few of Gino's records ever saw), this record never became a hit; perhaps the raw recording and backing hurt its chances, but to these ears it only adds to the charm and power of the record. While it's not as manic as his earlier sides, it's dripping with sincerity and verve. Gino later found celebrity as a Detroit talk show host, and his music continues to be revered worldwide by those in the know.

from 1968...

LIKE MY BABY


I'LL BE AROUND (WHEN YOU WANT ME)

MARY "B" - SOMETHING FOR BABY

A complete mystery! I know nothing of this Mary B(anks), and cannot find any info ANYWHERE other than that she may have released another record, and may be from my home turf (San Francisco bay area).

As you may have guessed, I'm a massive fan of uptempo, hard driving songs with brassy and sassy female vocals. This one has plenty of sass, brass and the lyrics just absolutely slay me. Too bad we didn't hear more from Mary, but if this is her only record, it's truly one marvelous one shot.

from 1962...

THE ARTWOODS - I FEEL GOOD

For some odd reason, this "maximum r&b"/ mod UK band never scored ANY hits in England or elsewhere during their existence. The musicianship was top notch (organist Jon Lord later went on to Deep Purple, drummer Keef Hartley his own Keef Hartley Band, singer and namesake Art Wood is the brother of Ron Wood) and the quality of their singles is uniformly excellent (they also cut a scorching version of Marvin Gaye's "One More Heartache" for their lone LP release).

The song itself was written by New Orleans legend Allen Toussaint under his occasion pseudonym "Naomi Neville" and was originally cut by Benny Spellman (which itself is a great version, but I actually prefer the Artwoods revved up, fuzzed out rendition in this case, although Spellamn's vocals are far superior in my opinion).

from 1966...

PAT LUNDY - IT'S RAININ' OUTSIDE

What a phenomenal record! An early composition from the legendary Al Kooper (who is on record saying that the song was written as a replica of Martha & The Vandellas "Heat Wave") is certainly strong enough that it should have been a massive hit.

With stellar backing and other worldly vocals, this is an absolutely perfect record.

from 1963...

PAT LUNDY - IT'S RAININ' OUTSIDE

THE DAYLIGHTERS - TELL ME (BEFORE I GO)

The Daylighters, from Birmingham, Alabama, relocated to Chicago in the 1950's to find their fortune as a doo wop group. Eventually embracing the Chicago r&b soul sounds in the early sixties (as well as once counting writer and producer Gerald Sims amongst their ranks) the group had a few minor hits that seemed close to breaking nationally. This, their fine final single, found the group reduced to just a duo (original members Tony Gideon and Eddie Thomas) showcasing fantastic vocals and chemistry between two fellas who, by this point, had been performing together for over a decade.

from 1966...

SATURDAY'S CHILDREN - DECK FIVE b/w CHRISTMAS SOUNDS

One area that wasn't explored very deeply by US garage bands was the Christmas record; however, Chicago's Saturday's Children were way too sophisticated to be called a garage band.

Here, the band (deeply influenced by the Beatles) melds "Deck The Halls" with Dave Brubeck's jazz standard "Take Five' and turns it into a jazzy, quasi-psychedelic number that I almost guarantee will bring on some holiday cheer. This group had an incredible knack for harmonies, and tackle the tricky 5/4 time signature with ease making for the most hypnotic Christmas record I've ever heard. The other side is an exceptional holiday original showcasing their excellent group harmonies and songwriting skill.

I don't know what was in the water and air in Chicago & Detroit during the 60s, but whatever it was it propelled soul and rock music into the stratosphere, with massive amounts of high quality records being released.

from 1966...

Deck Five

Christmas Sounds

LITTLE GIGI - I VOLUNTEER

An absolutely STORMING track! Every second of this track from the double time drum intro to Gigi's massive performance just flat out COOKS.

Other than the familiar name Vernon Harrell on the label (he wrote "Seven Days Too Long" for Chuck Wood among a handful of other incredible tracks) I can't find any hard facts on who Little Gigi is/ was, other than she cut a duo record with Vernon (haven't heard it, but it's certainly on my radar as one to check out.)


from 1965...

OTIS REDDING - SATISFACTION

43 years ago today, the world lost the greatest singer who ever walked the face of the earth. While I've never featured any Otis records on this blog (as they are such a part of our consciousness, I never felt it necessary to spread the word), I would count myself as his biggest fan and feel it's about time to pay tribute (and way past due, I might add).

With some of the most incredible backing ever put to wax, thanks to Booker T & The MG's, Otis turns the Stones classic protest/ gripe song into an AFFIRMATIVE statement; got to GET some satisfaction. Where Mick was just content to complain, Otis took matters into his own hands on this reworking where he DEMANDS satisfaction.

The music of Otis Redding will live on as long as human beings continue to have ears and hearts.

from 1966...

THE HOLIDAYS - LOVE'S CREEPING UP ON ME

With a very complex history of different lineups, bogus groups and cash ins, there were many great Detroit productions using a group called the Holidays (and, in some cases "The Hollidays".)

I especially dig the sweet strings countering the raw vocals and hard hitting drums and bass. Motown's "Funk Brothers" were known to have done some moonlighting around town, playing on sessions for Revilot and Ric Tic. while there is no documentation (this was done on the hush hush to save the musicians the wrath of Berry Gordy), I would bet that they are heard on this track (especially in the bubbling bass sound as exemplified by the legendary James Jamerson). Exciting stuff!

from 1967...

TIMMY SHAW - GONNA SEND YOU BACK TO GEORGIA

In dedication to John Lennon; thirty years gone today, here is one of the selections that was inside John's personal jukebox that featured his favorite singles. I have mentioned this many times, but it needs to be mentioned again- I am eternally grateful to the Beatles not only for their own music, but the fact that they introduced me (and so many others) to deep rhythm and blues.

I can certainly see why John liked this one, as he especially appreciated the funky, gritty soul sounds and incorporated plenty of that influence into his personal vocal stylings.

From the deep south but transplanted to Detroit, Timmy Shaw had a minor hit with this one. Sadly, he died just a few years later in 1968.

Thanks to all of the great artists who have passed on; thankfully, the music lives forever whether it's on wax or a digital file, the soul is forever.

from 1964...

SILKY HARGRAVES - HURT BY LOVE

I'm a sucker for a great stop-start arrangement, and this one keeps on pulling it out to such great effect! Also dig that snare drum rattle (sounds like there was a mic placed right next to a loose snare bottom)- what a cool effect!

Detroiter Silky Hargraves is quite a mystery figure; he only released 4 45's, and this was his first. I know of no biographical info about him, nor could I find any this morning doing a quick search to see if there was any info out there (came up with zilch). He must have been a powerful figure to get his name listed as co-producer on his debut record!

from 1965...

THE AMBASSADORS - I CAN'T BELIEVE YOU LOVE ME

Showcasing the punchier side of sweet Philly soul, the (almost always exceptional) Ambassadors turn in a lovely record here. Uniquely structured, this song shows some nice dynamics and a great tiwst for the verses (or are those the choruses? I just don't know! This isn't structured like a standard verse-chorus- verse-bridge kinda song). For all of their talent (and releases on two different labels), the Ambassadors never found the success they deserved.

from 1969...

THE PRIDE & JOY - IF YOU'RE READY

If this group sounds similar to the Del-Vetts that were featured a while back ("Last Time Around") it's no coincidence- they are the same group. Allegedly, the Del-Vetts fan club suggested that they change their name to The Pride & Joy and the group obliged (such nice Chicago boys!)

This record also boils over with driving fuzz tone intensity but adds an amazing melodic sense that, in a perfect world, would have been a massive hit. These guys were VERY good- listen to those spot-on group harmonies on the chorus as well as the fantastic musicianship that seems ready made for your very own perfect world mod freakout dance scene complete with flashing lights and beautiful go-go girls dancing in, out, or around cages. Ah, for a perfect world...

from 1967...

THE APOLLAS - JUST CAN'T GET ENOUGH OF YOU

Pure genius happens for the first time in this song at the 15 second mark; a brilliant hook that reappears throughout the song that I just can't get enough of!

The Apollas were a glorious group (who apparently are active again entertaining on cruise ships!) of southern women relocated to (I think) Los Angeles during their recording career. Most famous for their stunning cut "Mr Creator" (a past 45 of the day), this underrated track showcases their lovely vocal blend on a song that explodes out of the speakers. Extra credit goes to whoever plays the driving bass (mixed LOUD) that helps propel this record into the stratosphere.

Another incredible song from the pens of Ashford-Simpson-Armstead.

from 1966...

THE VIBRATIONS - GONNA GET ALONG WITHOUT YOU

With a long and varied career (beginning in the doo wop years as The Jay Hawks who hit with "Stranded In The Jungle" and also a detour as the Marathons and the hit "Peanut Butter"), the Vibrations were a consistently exciting group with always excellent group vocals and songs that, more often than not, were uptempo pounders.

While the Vibrations recorded for two of the Chicago soul label biggies, they were in fact a Los Angeles group. This record features a great Motown style baritone sax solo and superb lyrics.

from 1966...

My current ebay auctions! And some other goodies...

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

Derek's current ebay auctions


As usual, cheap starting prices, no reserve, and sound samples!

Plus, my good pal mod9933 has some great records up for auction ending today, all with sound samples. Check his out here!

PAULETTE PARKER - (GIMME BACK) MY LOVE

From Tulsa, OK singer Paulette Parker (briefly) was one of Ike & Tina's Ikettes circa 1967. This was her debut record as a solo artist, and she had one followup on Duke records in 1970. After these releases she went back to her given name (I think) Maxayn Lewis and recorded some highly regarded funk throughout the 70's. With a voice like hers, she could seemingly have done anything!

My question for the day is WHERE are singers of this caliber today in popular music???? With the exception of Sharon Jones, I am not hearing the caliber of singers that were seemingly everywhere during this era. Please let me know if I'm missing something.

from 1969...

RONNIE HAWKINS - WHO DO YOU LOVE

While Hawkins is typically thought of as a rockabilly legend, this record is pure, unadulterated r&b! Hawkins, an American (born in Arkansas) relocated permanently to Canada in 1958, found his brand of rockabilly found huge favor with the rowdy bar crowds in and around Toronto. when he decided to call Canada home, all of his "Hawks" decided to leave the band with the exception of drummer Levon Helm. Young native American (also relocated to Canada) Robbie Robertson joined the band as well; first on bass, then switched to guitar. These two men became the core of roots rock revolutionaries THE BAND after a few years of playing on their own as well as backing Bob Dylan as The Hawks on his tumultuous "gone electric" tours of '65-'66.

Going back to today's selection; as this group progressed, more and more r&b was added to their repertoire which was also a huge hit with the Canadian crowds they were performing for. This is one of the greatest ever white r&b covers, as this group ups the intensity of Bo Diddley's original to near incinerator levels, Helm's drumming is as solid and danceable as it gets, Hawkins is laying out some of the greatest ever hillbilly soul vocals and it's all capped off by Robbie Robertson's BLAZING guitar break.

from 1963...

BILLY BUTLER - RIGHT TRACK

A long time Daily 45 subscriber/ friend wrote and recently asked me why I never featured this song; it was yet another instance where I was almost positive that I had (in the very early days of this blog) but I did a quick search and found I hadn't (shame on me!)

This record is not only (yet another) highpoint of Chicago soul delivered by Jerry Butler's younger brother, but was also one of the defining tracks of the early days of the UK's northern soul movement. The driving beat, uplifting lyrics and overall excitement set the standard for a disc that would find favor on the northern scene (for those who don't know this phenomenon here it is in a nutshell; in the late 60s, British record dealers noticed that buyers from the north of England liked a certain type of record. Namely, ones with the driving Motown style beat, tuneful vocals and high excitement leading to the classification "northern soul". The movement was massive throughout the seventies with all night dance parties, and has continued in popularity with diehards worldwide of which I include myself within the ranks! If any of my English friends who read this blog and want to chime in, feel free!) Also, big thanks to the UK scene who gave these artists a second life in their careers that they so justly deserve.

I am always amazed at how this record remains so tuneful holding onto one chord as it builds up excitement in such a subtle way, all the while Billy pushes his vocals just a LITTLE bit more throughout the song until the downright explosive final verse and chorus take it home. Just listen to the way he starts enunciating certain words; pure GENIUS! Practically every record bearing the names Gerald Sims and Carl Davis are worth hearing; these two had a knack for this sort of thing which created some of the most sublime music ever cut to wax.

from 1966...

BILLY BUTLER - RIGHT TRACK

LANNY HUNT AND THE THEMES - I CAN'T SAY I LOVE YOU

Portland, OR's first racially integrated band only had a chance to cut this lone 45. As the legend goes, Lanny was walking past a house where he heard a band practicing (first known as the Majestics) and he boldly asked them if he wanted to form a band together! After a name change to the Themes, the group cut this 45, which shows a STRONG early James Brown influence (to my ears). Lanny kept the band going up until the early 70's, apparently. Too bad there aren't more recordings, as his unique vocals are very, very strong. The song has also grown on me more and more with repeated listens; it has that "late night mysterious radio broadcast" kinda sound; the type of thing you hope to come across while driving on a long road trip twisting the dials late into night, blows your mind for two and a half minutes and makes you wonder what the HELL was that!

from 1964...

LONDON FOG WITH THE CONTINENTALS - EASY MOVER

Initially formed in Dayton, OH as an a capella group while still in high school, The Continentals eventually enlisted a group started by a classmate called the London Fog to be their backing group. In turn, these youngsters formed Dayton's first integrated band! This great record was picked up for national distribution by Imperial Records; sadly, they couldn't get it into the hit status that it deserved. This is one of those songs where arrangement and delivery tell the story so well; the slow burning groove and vocals that are laid back but soulful as all get out!

The song was written by Brenda Lee Jones (who we heard from a few weeks back on the kinda silly but still infectious "Love Game" side recorded as Brenda Lee Mason).

from 1968...

EASY MOVER

TRIPPIN'

THE YOUNG RASCALS - COME ON UP

Happy Thanksgiving, everybody.

The other day, I had a memory from around 30 years ago (I would have been around 5 years old) get triggered into my head; who knows where these things come from, but it popped into my mind and I was very pleased to remember! I grew up in a very musical environment- my mom is a musician, and my uncle had a drool worthy record collection and state of the art 1977 hi-fi. Both of them gave me piles of records from the 60s in my very early days that began my collecting obsession. But back to this memory; mom and I were driving somewhere in her c1971 Chevy Malibu listening to the Rascals Greatest Hits on the 8 track when THIS jam came on. She cranked it up louder and told me this was always one of her favorites and my young mind certainly agreed; it's impossible to resist Dino Danelli's relentless drumming, Felix Cavaliere's Hammond organ and vocals added to the tight and the overall butt kicking soulful ensemble playing of these guys. Plus, it's one of those songs that just MOVES you; Come On Up? Where? It doesn't matter- just have a good time.

As a musician myself, I am always reminded of my childhood days when I see little kids reacting and being excited when they hear and see someone playing music and THAT'S a kick. One of the greatest gifts a parent can give is to share these things with their kids. I know this from experience! And that is something to be very, very thankful for!

from 1966...

THE AMAZERS - WITHOUT A WARNING

I try my best to keep things well balanced over here, but with the massive amount of Chicago soul records that I love it can be very difficult to feature anything BUT Chicago soul. Today's offering is yet another example of that 60's Chi-town magic.

Almost punk rock-like in its velocity and brevity (would have fit perfectly on Elvis Costello's "Get Happy" LP), this track just keeps firing off one hook after another in just over a minute and a half. While the label doesn't say it, Curtis Mayfield probably produced this track, and allegedly it was the first session recorded for his newly formed Curtom records. For whatever reason, it was not released on Curtom but one of Mayfield's other labels that was relatively dormant at the time.

from 1967...

JOE HICKS - HOME SWEET HOME part 2

It's no surprise when hearing this track that Sly & The Family Stone are the backing group! All of the signs of their greatness are in the grooves- funky as hell, tight as a well tuned snare drum and rhythmically popping in a way that drove all of the great Sly hits into immortality.

As for Joe Hicks himself? I'm afraid to say I don't really know much about him; he puts on a great performance in this record, though. He cut an LP a few years later for Stax offshoot Enterprise records.

Also notice how 'We Got To Live Together" on the Hendrix Band Of Gypsies record cops the hook from this song, released just a few months before the Gypsies recording on new year's eve 1969.

from 1969...

RAY & DAVE - WRONG WRONG WRONG

There's plenty of serendipity involved in today's entry. While I was researching this record (which I love but knew nothing about) I came across some very valuable info here. Not only was I happy to see some info that related this record to Jimmy Dobbins (I featured his "Little Miss Perfect" on this blog a few years back- turns out Ray & Dave sing the harmonies on THAT record), but also that the post linked back to MY blog and the Jimmy Dobbins post!

As for the record, it's yet another one of those records from what is possibly my favorite soul city; Chicago. While it was a local hit, for some reason it never broke through nationally. A travesty, as the record has it all; strong hooks, great lyrics, creative arrangement, and those heavenly voices of Ray & Dave.

As this is Thanksgiving week, I will say it again- I am so thankful that music like this was made and that we have ears to hear it.

from 1966...

JOHNNY DAYE - WHAT'LL I DO FOR SATISFACTION b/w I NEED SOMEBODY

I'm gonna go on record and say that Johnny Daye is the greatest of all white soul singers. Pittsburgh native Johnny cut a few records that went nowhere beginning in 1965; during this time, he met and became friends with Otis Redding, who took young Johnny under his wing as a protege of sorts and brought him to Stax records.

Paired up with Steve Cropper (another incredibly soulful white fellow and one of my biggest personal guitar heroes), this record is pure magic and stands up to the repertoire of his mentor. Too bad more people didn't get to hear the record, full of gritty, gutbucket vocals, guitar licks that are dripping with grease and of course the laid back but slamming Stax rhythm section.

Sadly, Johnny dropped out of the music biz shortly after this record was cut; perhaps it was no coincidence that it was also around the time of the tragic death of his mentor.

from 1968...

WHAT'LL I DO FOR SATISFACTION


I NEED SOMEBODY

NATHANIEL MAYER - I HAD A DREAM

With his voice soaring over the gritty, funky band, this record shows off the RAW Detroit sound that was happening just before the slicker Motown sound was stamped out and adopted by virtually everyone in the motor city.

Nate was only 19 when he cut this record (a year after his debut hit "Village Of Love".) By 1966, he was off of Fortune records and off of the scene. His whereabouts were unknown until he staged a comeback in 2002, releasing a few albums and touring (in fine voice and energy) until his untimely death two years ago.

from 1963...

PORGY & THE MONARCHS - THAT'S MY GIRL b/w THE GIRL AND THE BOY

This New York group released only a small handful of singles, and their lack of chart success did not match their high level of talent. INCREDIBLE group vocals on both sides of this record, and both songs are strong; I love the unexpected twists and turns on "The Boy & The Girl".

This is yet another one of those records that when listening to it I feel very privileged to be able to HEAR this stuff, let alone own the actual artifact (but when it comes down to it, that's the same with every record I post; sometimes I just think about it more than others!). A huge thank you to all of the trailblazing, brave artists (and also those in the biz that believed in this music) who struggled, kept trying, and shared their talents with the world. As long as there are ears and turntables you will never be forgotten!

from 1966...

WALTER SCOTT - WATCH OUT

This record just flat out SWINGS!

Walter Scott was the lead singer for Bub Kuban & The In Men (of "The Cheater" fame; an absolutely brilliant record), and he released some excellent solo sides (including "Silly Girl" which was featured here a few years back). Walter was white and possessed a very strong set of soulful pipes which are shown to great effect on this record.

In a horrible twist of fate, Walter was murdered in the early 1980's by the man his own wife was cheating on him with (along with the killer's own wife). At least "the cheaters" were caught, convicted and thrown in jail (Walter's wife was an accessory). Luckily, a handful of records were cut that show off the talent of this man, snuffed out well before his time.

from 1966...

JOE - L - (I'M NOT GONNA) BE WORRIED

Mystery time!

I know nothing about Joe-L, but I *THINK* this is a Detroit record. I really love the odd twists and turns in the song and the vocal melody. Doesn't have that potential hit sound to my ears, but I find this record so strangely compelling.

I'm guessing at the year; any other info would be appreciated!

from c1968...

Current EBAY auctions end tomorrow!

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

Derek's current ebay auctions


As usual, cheap starting prices, no reserve, and sound samples!

THE ACCENT - RED SKY AT NIGHT

Here we have the greatest British one shot of all time.

Relocated from Yorkshire to London, The Accent sadly only had one chance to record, and luckily the groundbreaking and creative Mike Vernon was behind the boards which led to this creating this absolute masterpiece of mood, folky guitars and some of the heaviest psychedelic beat committed to wax, this side of the Open Mind (remember "Magic Potion", posted here last spring?)

A real tragedy that this band wasn't given a chance to cut an LP or at least a few more singles as who KNOWS what else they may have come up with. However, it's kinda cool in a way that their one release is simply flawless. Too bad more people haven't heard it throughout the years. Kind of amazing that this record was released in the US at all; however, as this was the day when creativity ran free and the suits had no idea what those crazy kids were doing, musicians were able to freely explore their creativity. Too bad that hasn't been the case for a LONG time.

from 1967...

THE DREW-VELS - IT'S MY TIME

Made up of three Drew sisters (Patti, Erma, & Micki) plus one fella (Carlton Black), Evanston, IL's Drew-Vels simply had too-short of a career which comprised only four singles. All of their sides show off those beautiful family/sisterly close harmonies and Patti's rich, sexy voice (Patti later cut some excellent solo singles including the hit 'Workin' On A Groovy Thing' but her career was allegedly cut short due to a drug problem).

I love the breezy, Caribbean-like groove that was so popular in Chicago soul at the time, and the simple, direct nature of the song that seemingly ends just as it begins begging to be played more than once!

from 1964...

THE ARTISTICS - HARD TO CARRY ON

One of many consistently great Chicago groups, practically every release from the Artistics is top notch in their performance, execution and songwriting.

Released shortly after lead singer Marvin Smith left the group, he did contribute some lead vocals to studio sessions. I'm pretty sure he's singing the glorious falsetto lead on this track, but if you know otherwise, please let me know!

from 1968...

THEE MIDNITERS - JUMP, JIVE, AND HARMONIZE

Thee Midnighters were possibly thee most versatile band on the L.A scene in the sixties; whether it was the deep soul of "Dreaming Casually", the prideful "Chicano Power", lowrider anthem "Whittier Blvd" or their huge hit version of "Land Of 1000 Dances", this great band was equally adept at virtually any style of music and their superb musicianship and stellar vocals are as good as they get.

However, THIS track finds the group whipping out what is perhaps the greatest garage soul record ever made. While I love practically everything the group ever recorded, for my ears this is their peak, and if I were to compile a list of the 100 best 45's of the 60's, this side would certainly have an important place. Luckily, I haven't had to compile a list like that, as it would be a tortuous task! I've wanted to feature this song since day one of the blog, but I've been hunting down a copy for ages and only recently did it make it into my clutches.

I can only IMAGINE what this song sounded like live back in the day from the band radio man Casey Kasem described as "the greatest band I ever hired"(although the raw recording full of fuzz guitar, fuzz bass, and even fuzz vocals, probably gives a good idea of this bands' live abilities).

from 1967...

THEE MIDNITERS - JUMP, JIVE, AND HARMONIZE

THE ENDEAVORS - I KNOW YOU DON'T WANT ME

A friend/ list member turned me on to this one; I'd never heard it before and he sent it to me as one he thought I'd like. I like it indeed and couldn't believe I hadn't heard it before!

I can't seem to find any info about this group, or even if they released any other records. Oddly enough, they recorded for country musician/ producer's label Stop records out of Nashville.

whatever the story of the group is, the story in the grooves is an intense one; the vocals are incredible and the arrangement is unique with that unusual, cooled out breakdown part that builds the song to an explosive ending. Hot stuff!

Once again, I'm guessing at the year.

from c1969...

Current EBAY auctions!

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

Derek's current ebay auctions


As usual, cheap starting prices, no reserve, and sound samples!

BRENDA PARKER - GET READY

Man, what a FUNKY version of this Motown classic!!!! Brenda has an ultra cool vocal delivery, the drumming is outtasite, the truly odd thing is that the bass is mixed ridiculously loud (but I'm not complaining- it just makes for a nice garage/ basement kinda sound).

I know nothing of this record; web searches on the artist and Rare Bird records leave me empty handed. Anybody know anything??? I'm guessing on the year as well.

from c1970...