EDDIE BO - GOTTA HAVE MORE

Just realized it's been over a month since there's been an Eddie Bo post (and that is simply too long of a gap!)

Here we find Eddie in full on crooning mode with an excellent NOLA backing (very reminiscent of Allan Toussaint, musically).

The Blue Jay label was one owned by Eddie, and the label design is one of my faves.

New Orleans vocal group The Barons make their vinyl debut on this side as well; for some odd reason, vocal groups were not part of the NOLA culture as they were in other cities during this era.

from 1964...

EDDIE BO - GOTTA HAVE MORE

Hello Europe...

Hi to all my friends in Europe-

I will be working in many European countries throughout the year, and I would love to try and book some DJ gigs on my nights off; please write to me directly (dereksdaily45@gmail.com) if you would like to help. It will be great to meet you!

Derek

JIMMY HOLIDAY - HOW CAN I FORGET

This is one of those tracks that sounds as if it's being broadcast by a radio transmission from far away (a swamp? another planet, perhaps?) with a murky, dreamlike sound. You just KNOW a record like that is gonna be lovable (kinda like "Quarter To Three" by Gary US Bonds, right?), and this record does not disappoint, with deep southern soul vocals and a lush arrangement, washed in some of the lowest fidelity reverb this side of the Jaynetts "Sally Go Round The Roses"

Jimmy Holiday's greatest commercial success was as the co-writer of "Put A Little Love In Your Heart".

Sadly, he died in 1987, at age 53.

from 1963...

JIMMY HOLIDAY - HOW CAN I FORGET

CAROL FRAN - I'M GONNA TRY

This is one of those records that when I hear it, I'm amazed that something this intense can even exist, and after that point I accept it and just realize how thankful I am that records like this WERE made, as they are the juice that keeps this blog going.

From Lafayette, LA, Carol Fran became a professional musician at 15 years old (1948) in a career that found her performing all over Louisiana, not only as a featured performer but also as backing pianist for the likes of Lazy Lester and Slim Harpo. Her piano playing on this record is chilling, and her vocals are simply out of this world (especially the "he should be pulling a rabbit out of a hat" line- good GOD what a performance). When this record was cut, Carol was briefly based in new York City, and this is actually the flip side of "Crying In The Chapel" (which was made into a huge hit by Elvis Presley, stealing Carol's possibility of getting a hit with the record).

Carol is still performing!

from 1964...

CAROL FRAN - I'M GONNA TRY

TRIBUTE TO WILLIE MITCHELL: SYL JOHNSON - TAKE ME TO THE RIVER

Had to think about it for a few days, but along with the classic Al Green sides, this tracks stands up in my opinion as the ultimate expression of the production genius of Willie Mitchell.

Taking cues from not only southern soul but also with a strong country flavor, Mitchell productions always swung in slow motion with a smoky, down home feel that, if a record had an odor, would smell like the finest barbecue.

As anyone who's been checking out this blog for a while knows, I'm a MASSIVE Syl Johnson fan, and on this track he shows off his ultra-funky strained vocals in a way that practically ROARS out of the track.

At the time this record was recorded, most r&b had gone in the direction of more rhythm/ less song and as another testament to Willie Mitchell productions, the SONG is first and foremost.

Thanks for the music, Willie and may you rest in peace.

from 1975...

SYL JOHNSON - TAKE ME TO THE RIVER

THE FANTASIONS - UNNECESSARY TEARS / THAT'S WHERE THE ACTION IS

Definitely a Chicago group, but I can't find any other info on the Fantasions. This is one of those absolutely SUBLIME double siders; "Unnecessary Tears" is an amazing ballad, and "Where The Action Is" is a superb Motown style number (with a big helping of Chicago grit!). Incredible!

from 1965...

THE FANTASIONS - UNNECESSARY TEARS

b/w THAT'S WHERE THE ACTION IS

WILLIE & THE HANDJIVES - GOTTA FIND A NEW LOVE

Yet another mystery...I'm guessing it a New York group? Any info is always appreciated! I really dig how the song seems like it can explode at any time but keeps itself restrained but steady.

from 1966...

WILLIE & THE HANDJIVES - GOTTA FIND A NEW LOVE

THE LOVETTES - I NEED A GUY

Sounding very much like a Chicago group/ production, this is the Lovettes out of Jersey City, New Jersey in a record recorded in New York City. To my ears, this song screams HIT RECORD but alas, that wasn't the case...This is the Lovettes third and final 45, as all four singers left the music business after this record was cut.

Other than the obviously gorgeous, yearning vocals, I'm a huge fan of just about any record with prominent vibraphone like this; so gorgeous!

from 1967...

THE LOVETTES - I NEED A GUY

BOBBY PARIS - PER-SO-NAL-LY

Like many others, I was quite surprised to learn that Bobby Paris is a white (actually, Puerto Rican) dude. What a voice!

I'm a massive fan of "kiss off' records like this one, and truly there are far too few of them out there (must mention Willie Tee's "First Taste Of Hurt' which is not only one of my all time favorite 45's but also another quintessential good riddance jam).

Bobby Paris had a long career of releases which spanned 1960 until 1973 but sadly, he never was able to grab a hit, although this song has been a massive favorite on the northern soul scene since the 70's.

from 1968...

BOBBY PARIS - PER-SO-NAL-LY

KIM WESTON - I GOT WHAT YOU NEED

After leaving Motown due to royalty disputes, Kim Weston released this explosive single as her first with MGM records. As was typical during this time, MGM seemed to have no concept on promotion and this record sunk without a trace.

While Kim was always a powerful singer during the Motown years, this record shows her reaching new peaks as a powerhouse vocalist, and the backing musician manage to peel off a very convincing, Motown groove. Stellar stuff.

from 1967...

KIM WESTON - I GOT WHAT YOU NEED

AMERICAN SPRING - SHYIN' AWAY

Known either as SPRING (for their LP) or American Spring (for this 45 release), this group was made up of sisters Marilyn (Wilson) Rovell and Diane Rovell (formerly of THE HONEYS) with Brian Wilson himself behind the boards.

On first listen, this song may seem half baked and repetitious (not to mention the Rovell sisters don't have the strongest voices, although what they lack in power they make up in charm), but something about it keeps drawing me back. The chord progression is classic Brian Wilson, and his production is just magnificent (especially the oboe!) especially surprising considering this track was recorded when he was at a very bad time personally. Perhaps co-producer David Sandler truly helped him "get it together" for this session.

Sounds great to me on a new year's day, too.

from 1973...

AMERICAN SPRING - SHYIN' AWAY