Three 45s You Can’t Help but Dance to

by Administrator 31. August 2018 17:46

Okay, so we’re sort of cheating with this title since two of the three 45s today are songs about doing a specific dance, but bear with us! We’ve put together a few songs that will be impossible—and we mean impossible—not to tap along to. Enjoy!

Breakdown by The Millionaires — Big Bunny 508 (Released 1966)

A Side: Breakdown

B Side: (I Never Know When to Leave) The Party

“The Millionaires” or just “Millionaires” (another name this band goes by) might just be the most common band name ever. Because of that, good luck ever finding out any information about them. We did manage to scrounge up a little, though—enough to know that The Millionaires is made up of Milton Grier, Floyd Gibson, James Sturkey (who had a few solo releases—the only member of the group that did), and James Warren. Besides Sturkey, none of the rest went on to do much with music, which is a shame.

“Breakdown” is a bit of a departure from the sorts of songs we usually write about. The lead singer has a higher, tamer voice than many of the other artists we cover. The whole tune has a sort of jazzy, big-band sound, which is only amplified by the brass solo in the middle of the song, as well as what sounds like a tuba in the background. We would still call it soul, but it definitely shows its jazz roots.

“(I Never Know When to Leave) The Party” picks up right where “Breakdown” leaves off, and it begins with some meltingly sweet saxophone notes. The sax and lead singer’s voice are about equal in volume, which gives the impression that they’re both equally important elements of the song. Another fun bit about this song is that, instead of ending where you’d expect, it rises a key and plays on just a little longer.

The Pearl by Gwindon Murphy — Crazy Horse 1306 (Released 1968)

A Side: The Pearl

B Side: Baby Baby Baby

At first glance, you might be inclined to think that Gwindon is a woman. He is not. In fact, he has an incredibly deep, funky voice that suits his name perfectly. But like so many other artists we feature, this was his only release. Still, better to enjoy what we have than wonder what could have been!

This is one of those songs that’s all about a dance. In this case, the title, “The Pearl,” refers to a dance of the same name. The whole song enthusiastically suggests that you should do the pearl, but it never actually tells you how to do it! It’s a shame, because the songs energy makes the pearl, whatever it is, sound like quite a bit of fun.

It would appear that the dance is lost to the world, because searching for “The Pearl Dance” only gives you videos about people dancing to the Pirates of the Carribean theme. Seriously.

“Baby Baby Baby,” on the other hand, isn’t available for listening anywhere. If you want to hear it, you’re just going to have to buy it!

Do the Philly by Music City All Stars — Music City 857 (Released 1965)

A Side: Do the Philly

B Side: Do the Philly (Instrumental)

Nashville has always been “music city,” but it shares that name with Berkeley’s Music City, which is both a retail shop and music label. The shop was something of a local legend, and many of the tunes it put out are now sought after, particularly by northern soul aficionados.

What’s most interesting about this 45 is that there’s no information about the band themselves. The name would suggest that it’s a mishmash of other artists who have performed on the label before, but the identities of those people seem to be lost to history.

Despite being released in the ‘60s, “Do the Philly” has a very ‘90s R&B sound to it. Considering the roots that R&B had in jazz, funk, and soul, this isn’t altogether very surprising. Like “The Pearl,” “Do the Philly” is all about a song that nobody knows how to do anymore. Still, it’s fun to listen and imagine what that dance might be.

Add Some Dance to Your Collection

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

Breakdown — The Millionaires

The Pearl — Gwindon Murphy

Do The Philly — Music City All Stars

We provide a simple online ordering form for all of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and sit back.

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3 Rare Promo 45s

by Administrator 24. July 2018 09:16

A promotional copy is a recording that is sent for free to radio stations and DJs to get the word out about a new 45 that will soon enter stores. Promo copies typically feature different labels, often with white backgrounds and PROMO COPY or DJ COPY stamped across the front. These copies are not initially intended to be sold, but over time they tend to become sought-after collector’s items. We have 3 of them today for your listening pleasure.

Before I Turned My Back on You by Elmore Morris – Crackerjack Records 4006 (Promo Copy) (Released 1962)

Label Owner: Henry “Juggy Murray” Jones. 271 W. 125th St, New York, NY. 725 Riverside Dr, Suite 4C, New York, NY. 265 West 54th St, New York, NY (1957-1970).

A side: Before I Turned my Back on You

B Side: It Seemed Like Heaven to Me

Elmore Morris, in addition to being a solo artist, was in a group called Elmore Morris and The Spinners. With the spinners, he only released 1 45, but alone, he released 4. Of those 4, 3 were with Peacock Records, and the other 1 was with Crackerjack Records, which is what we’re writing about today. What’s more, this group flew so far under the radar that they don’t have even a Wikipedia page to their name. All we have to go off of is a small autographed photo of Elmore that dubs him “Elmore “The Voice” Morris.

“Before I Turned My Back on You” is much, much more energetic than “It Seemed Like Heaven to Me,” which does much to explain why the record’s sides were switched for the final release. Elmore earns his “The Voice” moniker with an energetic, upbeat tune that showcases his impressive vocal range. The track has a group of backup singers, but they aren’t credited as Elmore’s Spinners, so we can only assume that they are some of Crackerjack’s stock background artists. The song is great enough on it’s own, but the trumpet solo in the middle really solidifies this piece’s place as a feel-good tune.

“It Seemed Like Heaven to Me” is an interesting piece because of how small of a role that the background instruments play. In the previous song, Elmore shares the stage with a trumpet that carries the tune’s melody along behind him. This song, however, has quiet instruments that play at a slow tempo. Frequently there are short pauses between instruments, leaving only Elmore’s voice and drums in the song. This has the effect of highlighting Elmore’s great voice as well as building tension for where Elmore and the instruments crescendo together into the chorus. As before, there are background singers in the track, but they don’t appear to be the Spinners that Elmore would later work with.

Baby What’re You Gonna Do by Mike & The Censations – Highland 1189 (Promo Copy) (Released 1966)

 

Label Owner: Sid Talmadge. 2580 W. Pico, Los Angeles, CA. (1958-1980).

A side: Baby What’re You Gonna Do

B side: Don’t Sell Your Soul

Mike & The Censations is actually a family band, and, unlike many others we’ve reviewed, they’ve been active for quite some time. They even appeared on some compilations as recently as 2011! The band is made up of Mike James Kirkland and his two brothers, Robert and Walter. They got their start in Yazoo City, Mississippi, where they starting singing as a local gospel act. Mike and Robert would later go on to start their own label, Bryan Records. Interestingly enough, the group’s first record, which made the top 50 of the R&B charts that year, came as the result of a bet Mike made with his brother that he could make a record as good as any in Motown. The socially conscious lyrics of the group led to some thinking of Mike James as an underground Marvin Gaye. John Legend covered Mike James’ “Hang On In There” back in 2011, which brought a fresh wave of ears to Mike & The Censations.

The best way to describe “Baby What’re You Gonna Do” is “smooth,” especially after the pounding voice of Elmore Morris. Mike and his brothers have calm, relaxing voices that give this song a soothing feel. The xylophone in the background enhances this effect, and its mellow chimes ring out like church bells.

“Don’t Sell Your Soul” is much bluesier than the other track. It stands out not only because of its 12-bar blues progression and slow buildup, but because it’s one of those rare blues songs that doesn’t feature a woman as the topic. Instead, it’s a man reflecting on some advice given to him by his father—specifically, that the son should never “sell his soul.” The father tells his son to be good to others and to create his own change. This socially conscious message of the song pairs well with the brothers’ harmonizing voices.

She’s a Lover by Henry Moore – Hermitage 805 (Promo Copy) (Released 1963)

 

Label Owner: Bill (Hoss) Allen. 1 Hermitage Ave, Nashville, TN. 1719 West End Building, Nashville, TN. (1962-1965).

Side A: She’s a Lover

Side B: Let the World End Tomorrow

Henry Moore is another one of those artists who, despite having several 45s under his belt, didn’t attract a whole lot of attention. Because of that, next to nothing is known about him. People have determined that he almost certainly resided in Texas and Louisiana based on where his 45s were recorded, but that’s about it. This has led to his music being described as “classic Texas R&B.”

“She’s a Lover” stands out as a rock ‘n’ roll tune among a sea of soul and blues. Of course, the blues undertone present in all rock can be heard beneath the surface, but readers of our blog will agree that this tune has a decidedly less soul-y feel than others we’ve written about. The only recording of “She’s A Lover” you can find for free is a tinny, grainy sounding recording of someone holding up a cellphone to a rotating turntable. In it, Moore’s already nasally voice takes on an almost comical pitch because of the phone’s poor microphone quality. All this to say, you won’t be able to hear this song in all it’s glory unless you order it from us.

“Let the World End Tomorrow” doesn’t have so much as a grainy YouTube video to its name. It was described by one listener as “a pleasant if unremarkable beat ballad.” Think you’d agree? There’s only one way to find out!

Add Some Promos to Your Collection

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

Before I Turned My Back on You Elmore Morris

Baby What’re You Gonna Do – Mike & The Censations

She’s a Lover – Henry Moore

We provide a simple online ordering form for all of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and sit back.

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3 Records About The Ends of Relationships

by Administrator 29. June 2018 19:21

 

Fact is, more relationships do have an end than don’t. And if you’ve ever been in love, you’ve probably also known the feeling you get when things don’t work out the way you’d hoped. You might also know how silly you feel when you look back on good times with a sad perspective. Well, that’s exactly what these records do. One side is all sunshine, but the other is after (or during) the time when things come crashing down!

Hand in Hand by Johnny Darrow – Sue 7426 (Released 1960)

 

Label Owner: Henry “Juggy” Murray. 271 W. 125th St, New York, NY. 725 Riverside Dr, Suite 4C, New York, NY. 265 West 54th St, New York, NY (1957-1970).

A Side: Hand in Hand

B Side: Why Do You Treat Me This Way

Johnny Darrow (whose real name is John Darrel Moore) is a big name. He is perhaps best known as one of the lead singers of the Drifters, which he joined as a lead vocalist in 1955 (though he did not ascend to lead singer until 1964). Darrow was born in Alabama, moved to Cleveland, and ended up in New York, where he met the Drifters. Darrow (and the rest of the Drifters) relocated to the UK in the early 1970s, but their most popular hits came about while they were in the states. Darrow was inducted into the Rock N’ Roll Hall of Fame along with the rest of the Drifters in 1988.

We’ve seen various online sources indicate that the A and B side of this record should be reversed. However, our copy has “Hand in Hand” as the A side, and that’s what we’re sticking with. Johnny Darrow sounds remarkably like singer Sam Cooke, and not just because of his voice—both singers utilize violins in the background that give their music similar feels. Nowhere is this more apparent than Darrow’s “Hand in Hand,” where he sounds like a smoother, lighter Cooke. But Darrow is more than just a discount Cooke; he holds his own in this song, which sounds surprisingly modern in its progressions. As the title suggests, this song describes the bliss Darrow experiences when walking hand in hand with his sweetheart.

“Why Do You Treat Me This Way” begins with a bassline that has always reminded me of a galloping horse. Whatever romance Darrow has in the 45’s A side, it is gone by the time the record is flipped. Rather than walking hand in hand, Darrow laments over the mistreatment and abuse he receives from his former lover. With lines like “I should have known all along that you would treat me this way,” it’s hard not to wonder if the feelings described in “Hand in Hand” were ever really there at all.

Same Old Sweet Lovin’ by Devotions – Tri-Sound, Inc. 501 (Released 1966)

Label Owners: Robert Eaton and Benjamin Knight, 11825 Hamilton St, Detroit, MI (1966).

A Side: Same Old Sweet Lovin

B Side: Devil’s Gotten Into My Baby

Devotions wasn’t around for very long. In fact, this record here is the only one they ever recorded. Devotions, not to be confused with The Devotions, is a 3-woman group from Detroit, if YouTube is to be believed. Otherwise, there’s no information about them or their members anywhere out there. Whatever they did with their lives after this, we can all be thankful that they left us with these songs, right?

“Same Old Sweet Lovin’” starts in a different place than Darrow’s heartbreak progression 45. Rather than love-heartbreak, this one follows a departed-together path. In this song, Devotions sing after their departed lover, telling them that their love still burns hot for the departed if they ever change their mind about leaving. Despite the desperation that his premise dregs out, the song is surprisingly upbeat and resilient. It seems to say “no matter how badly you treat me, I’ll always be myself.” Additionally, the song features a xylophone where a piano would normally be, which gives the song an almost childlike quality.

“Devil’s Gotten Into My Baby,” as the name would suggest, takes place before the events of “Same Old Sweet Lovin.’” The B side of this 45 seems to chronicle the events shortly before the couple’s split—not that there’s much to tell. Apparently, before he left, the significant other was completely fed up with the singer, saying things like “woman, shut your mouth and do the things that you’re told.” Despite the somber topic, the song still have the xylophone backing it that seems to make it pop.

Here We Go Baby by Johnnie & Joe – Tuff 379 (Released 1964)

 

Label Owners: Abner, Spector, Chuck Fly, and Zelma “Zell” Sanders. 758 Tremont St, Indianapolis, IN. 1650 Broadway, New York, NY (1959-1967)

A Side: Here We Go Baby

B Side: That’s the Way You Go

Johnnie & Joe are something uncommon around here. That’s because they’re a male-female duo. What’s more, their partnership is purely professional: the two were never married or even dated (as far as I could tell, anyway). They’re a pair from the Bronx that were active until Johnnie died in 1988. They had a few Billboard top 100 hits, including “I’ll be Spinning” and “My Baby’s Gone.”

“Here we Go Baby” is your typical love song. The heavy bass and snare drums in the background give this song a much bluesier feel than the other ones in this article, which makes sense since Johnnie & Joe are primarily an R&B group.

At first listen, “The Way You Go” seems like it will describe a lover in the process of leaving. However, give it a closer listen, and you’ll realize that it’s about the pair singing about the other’s less-than-perfect romantic habits. The title of the song could be rephrased to say “what your preferences are” and the title would be just as descriptive. What’s interesting about this song is that it describes being left by a loved one, but it does so through the perspective of the one not being left. Lyrics like “Hey Joe, don’t it get you down / How you spread yourself around runnin’ all them women down.” Another key feature of this song is that Joe’s voice is about as rough as gravel. You’ll like it; give it a listen.

Add Some Heartbreak to Your Collection

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

Hand in Hand – Johnny Darrow

Same Old Sweet Lovin’ – Devotions

Here We Go Baby – Johnnie & Joe

We provide a simple online ordering form for all of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and sit back.

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Two Heartbreak Records (and a Lovesick One)

by Administrator 1. June 2018 13:21

Where would music be without love? Love, in all its forms, has been a prominent theme in music since, well, forever. Although there are no statistics per se, it seems plain to everyone that love and the excitement it brings (not to mention the heartbreak that comes when it goes) have directly (and sometimes indirectly) influenced music and musicians for as long as music has existed.

Today, we are bringing you records that cover all sides of the spectrum. From love and lust to heartbreak and denial, here are two heartbreak records (along with a lovesick one).

It Won’t Stop Hurtin’ Me by Jean DuShon – Lenox 5568 (Released 1963)

 

Label Owner: Bill Simon. 157 West 57th St., New York, NY. (1962-1963).

Side A: It Won’t Stop Hurtin’ Me

Side B: Look the Other Way

Jean DuShon had influence far outside the worlds of R&B and soul, which was rare for a singer at the time. In addition to her soul contributions, Jean was famous as both a jazz singer and a stage actor. Her singing career began at the early age of 15 when she took to singing at nightclubs. Her next stop on her road to fame was as a featured vocalist in Cootie Williams’ band, which got her the attention of product Phil Spector. Together, they recorded a version of Little Willie John’s “Talk to Me, Talk to Me,” which, despite being unsuccessful, marked her entrance as a solo performer. DuShon stopped recording forever after her recording of “For Once in My Life” flopped because Berry Gordy asked that it not be promoted due to it’s association with Ron Miller. The song went on to be covered (and better received) by more prominent artists such as Stevie Wonder. Defeated by the flop, DuShon swore off recording, claiming she no longer “[had] the song.”

If the title wasn’t indication enough, Jean DuShon’s “It Won’t Stop Hurtin’ Me” has a heavy heartbreak at its center, despite the upbeat tempo and bright sound. Interestingly enough, this song has been classified as “Northern Soul Popcorn” by some, and they’re not talking about the movie snack. Popcorn music, also called Belgian popcorn or Belgian northern soul, is music that was frequently slowed down and played on a Belgian radio station called The Popcorn. These songs typically had a very specific groove. Today, popcorn music is more commonly called popcorn oldies. One last fun fact: The Popcorn took it’s name from James Brown’s The Popcorn LP.

DuShon’s “Look the Other Way” has also found itself in popcorn oldies collections. The bounce typically associated with popcorn music is much more pronounced on the record’s B side. If the first song was sad and self-pitying, the second one marks progress. The singer acknowledges that her ex-love has hurt her and that she should “look the other way” to avoid hurting herself. Though she knows this, she can’t bring herself to do it.

One Heart Lonely by Walter Jackson – Okeh 7263 (Released 1965)

 

Label Owner: Label Owner: Otto Heinman. 1473 Barnham Ave. Bridgeport, Ct & 799 Seventh Ave, New York, NY (1951-1970).

Side A: One Heart Lonely

Side B: Funny (Not Much)

Walter Jackson was an inspiration to many. A severe case of polio as a child left him crutch-ridden for the rest of his life. Despite that, he went on to have one of the deepest, richest voices in soul. Unfortunately, Jackson died young. At only 45 years, he passed due to a cerebral hemorrhage, which is bleeding that happens within the brain. However, his music carries on his legacy.

“One Heart Lonely” begins with a powerful opening that doesn’t let up. Trumpets and snare drums blast into the forefront before taking a backseat to Jackson’s booming voice. Despite being sad at its core, the upbeat tempo of the song and the lift of Jackson’s voice leaves you feeling a sense of hope and resilience after everything.

At first listen, you might think “Funny (Not Much)” that this song is less about love and more about having moved on. And it’s true that the song features lyrics such as “I can pass you on the street and my heart don’t skip a beat” and “Now that you’re standing here, darling, I don’t shed a tear.” However, give this one a few more listens (or maybe read the lyrics) and you’ll see that the song is actually the singer’s halfhearted attempt at veiling their hurt. Three things give this away. First, the singer is actually crying when he insists he doesn’t. The lyrics that follow “Darling, I don’t shed a tear” are “This is just the rain in my eyes,” which is clearly untrue despite the singer’s insistence. Second, the song is descriptive enough that it’s clear the singer is thinking very much about the things he purportedly doesn’t miss, such as in the line “And it’s funny I don’t miss all the heaven in your kiss.” Finally, the song’s message isn’t “I don’t love you,” it’s “I don’t love you that much.” The singer constantly tries to downplay that parts of himself that don’t love someone anymore through his inclusion of “not much” throughout the song, but this only highlights how much trouble he actually has letting go of his former love.

Love What You’re Doing to Me by Janet & the Jays – Hi 2129 (Released 1967)

 

Label Owners: Joe Cuoghi, Nick Pesee, Willie Mitchell & Carl McVoy.
425 Commerce Title Building, Memphis Tn. (1958-1977).

Side A: Love What You’re Doing to Me

Side B: Pleading for You

Of the three 45s in this article, this final one is the most obscure. This was one of Janet & the Jays’ three releases, and not much about the group is known (aside from their individual names). They only recorded over the course of three years. Still, Janet & the Jays put out some music that stands with the other 45s on our list today.

Where the other songs in this article deal with heartbreak, “Love What You’re Doing to Me” is an exultation of the thrill of new love. The more cynical among you might note that, because this is a song about new, not established love. Perhaps the sort of heartbreak expressed by the other artists isn’t too far off. Either way, it’s difficult not to tap your foot while listening.

If “Love What You’re Doing to Me” carried sexual undertones, “Pleading for You” takes things five steps further. “You know I need your kiss” is one of the first lines of the song, and that was a much stronger statement in the ‘60s than it is today. Faint electric guitar and quick, hard bursts of trumpets decorate this song while Janet and her background singers fill the remaining space.

Add Some Love Songs to Your Collection

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

 

It Won’t Stop Hurtin’ Me – Jean DuShon

One Heart Lonely – Walter Jackson

Love What You’re Doing to Me – Janet & the Jays

 

We provide a simple online ordering form for all of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and sit back.

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Three Records That Highlight the Depth of Blues

by Administrator 30. April 2018 12:44

Gospel, R&B, soul, funk—all these genres have something in common: blues. When people think of blues, their minds tend to go straight towards sad singing with a 12-bar progression behind it. And, to be fair, that is a lot of blues. But blues laid the foundation for an entire generation of music, the effects of which ring loud and clear today. It’ll only take one listen to the records we’re writing about today to show you just how deep blues goes.

My Name is Hannibal by Hannibal and Hanna Savage – Pan World 523 (Released 1960)

Label owner: Aki Aleing. Hollywood, CA (1959-1960)

Side A: My Name is Hannibal

Side B: Fall in Love with Me

The Hannibal in this record is better known as “The Mighty Hannibal,” or maybe “King Hannibal,” depending on the decade. He changed his stage name multiple times throughout his career, and it was pretty early on that he went by just “Hannibal.” This single was Hannibal’s 5th ever release, and his 3rd as “Hannibal.” Before then, he went by his given name: James Shaw. He went on to record three full albums, but he is best known for his single “Hymn No. 5,” which he released in 1966.

Hanna Savage, on the other hand, appeared on this record only before disappearing forever. Whether she went onto other pursuits or took on a stage name, nobody knows.

Another fun fact is that there are two versions of this 45: one reading “Hanna Savage and Hannibal,” and the other reading “Hannibal and Hanna Savage.” The former features both songs while the latter only contains “My Name is Hannibal.”

The 45’s A side, “My Name is Hannibal,” lures you in with is gospel-like chanting before erupting into an explosion of percussion, guitar, and blues, giving the song a rough feel. The heaviness of the percussion (and the tambourine that later exaggerates it) contributes heavily to this effect, not to mention the screaming present later in the song. Despite Hanna Savage’s place on the album label, she has a small role in the song, serving only to fill the call-and-response spot that’s such a staple of the genre.

But Hanna can sing, and it shows in the 45’s B side, “Fall in Love with Me.” In fact, we can’t find any trace of Hannibal in the song at all! Unfortunately for you, the song is all but impossible to listen to online. The closest you can get is the 1-minute sample on our website. If you want to hear the rest of this beauty, you’ll have to order the record yourself. But we will say this: fans of doo-wop will find themselves right at home with this one.

One Hundred Years by Freddy King – Federal 12491 (Released 1963)

Label owner: Sydney Nathan. 1540 Brester Ave, Cincinnati, OH. 1255 South Wabash, Chicago, IL. 2131 South Michigan Ave, Chicago, IL. P.O. Box 8188, Nashville, TN (1950-1973)

Side A: One Hundred Years

Side B: (I’d Love to) Make Love to You

If you’ve heard of any of our three groups/artists today, we’d wager it’s Freddy King. Called by some as one of the “Three Kings” of electric blues guitar (along with Albert King and B.B. King), Freddy King is a force. In fact, he was voted 15th of the Rolling Stone’s 100 greatest guitarists. This 45 came out in the middle of King’s career, and it doesn’t get nearly as much attention as his other hits, but don’t let that put you off: this record has a lot going for it.

When it came out, “One Hundred Years” wasn’t quite the Northern Soul scene’s cup of tea. That changed, though (the Northern Soul scene is alive and well, after all!), and now the song is an “all-nighter,” a record played during a Northern Soul’s all-night dance sessions. And it’s no wonder: even by modern standards, this is one catchy rune. King’s booming voice and smooth electric hollow-body blues guitar find themselves backed up with maracas in this song. It also sounds quite a bit like “Stand by Me,” which came out two years beforehand.

Funnily enough, (I’d Love to) Make Love to You, also has a backing track similar to “Stand by Me.” But the similarities stop there. The combination of piano, trumpets, guitar, and King’s singing makes the song seem to bounce. But believe us: it will sound much better on your record system than online.

Soul Girl by Jeannie and the Darlings – Volt 156 (Released 1968)

Label owners: Estelle Axton and Jim Stewart. 929 East McLemore Ave, Memphis, TN (1961-1975)

Side A: Soul Girl

Side B: What’s Gonna Happen to Me

After you listen to this 45, you’ll wonder how Jeannie and the Darlings only lasted three years. There was so much personality and soul behind their voices that we’d have expected these three to go on for many more years. A biography of theirs says they also recorded some music as the Dolphus Sisters, but that music seems to be lost to the world.

Fans of Sam & Dave’s “Soul Man” will be delighted to find that “Soul Girl” is a complete response, from the tune to the lyrics, which playfully riff off the original. “Soul Girl” is every bit as catchy as the original, and it’s hard not to bob your head along. Another fun fact about the song is that it was sampled in House of Pain’s “Jump Around.”

“What’s Gonna Happen to Me,” on the other hand, is blues in the truest sense. A common blues progression backs the Darlings’ sad tune recalling the heartbreak that comes with a lost lover. It provides a perfect contrast to the A side’s energetic tune.

Put Some Blues on Your Shelf

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

 

My Name is Hannibal – Hannibal and Hanna Savage

One Hundred Years – Freddy King

Soul Girl – Jeannie and the Darlings

 

We provide a simple online ordering form for all of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and sit back.

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3 Great Records from Bands with Just One Release

by Administrator 29. March 2018 09:47

A lot of the records we put out come from extremely well-known artists. Some of them come from artists who released two or three records and then vanished. Today, we found three records from unknown artists to feature.

The records we have lined up today are the only ones of their kind. They are the only records released by the groups. You might expect that they would be low quality because of that, but they’re actually quite good. So, sit back and enjoy these three records that you probably would never have heard otherwise—you’ll be glad you did!

Pop Corn by Jimbo Jackson & Violators – Brainstorm 124 (Released 1969)

 

Label owners: Leo Austell, Hillery Johnson, and Archie Russel. 1809 South Indiana. Chicago, IL (1965–1972).

Side A: Pop Corn Pt. 1

Side B: Pop Corn Pt. 2

Not only was this Jimbo Jackson & Violators’ only 45, we couldn’t find any information out there about them. The only thing we know for sure is that they’re from Chicago, and we only know that because they say so in the song.

This record by Jimbo Jackson & Violators bring to light a little bit of trivia about 45s, which are 7 inches in diameter and named for the speed at which they spin, 45rpm (which stands for rotations per minute). Most 45s can only hold about 3.5 minutes of song. That mostly has to do with the diameter of the record (and 45s are pretty short) and the size of its grooves. And sometime in the ‘60s, the size of those grooves grew. That’s because of the shift from mono (one source) to stereo (two sources). The grooves in newer 45s had to be etched so that there was a separate wavelength for each end of the stereo. So that’s why almost all songs on a 45 are similar in length.

A notable exception to this is Bob Dylan’s “Like a Rolling Stone,” which fans demanded exist in it’s full 6-minute glory on one side of the 45. So, the reason “Popcorn” is split up into 2 parts like it is is because of the physical limitations of the 45.

The whole point of this song is to accompany a dance, also called the popcorn dance by the group. Unfortunately, the dance seems to be lost to history. The song doesn’t do a great job of providing instructions for it, and there aren’t any videos demonstrating it online (though there are lots of other fun results if you search “The Popcorn Dance”).

Despite the loss of the accompanying dance, the song stands up well on its own. Jimbo Jackson & Violators were ahead of their time, and the song sounds very much like rapper DMX stepped back into the ‘60s. This is a hard one not to love.

Silly Savage by Golden Toadstools – Minaret 138 (Released 1968)

 

Label owner: Shelby Singleton. Nashville, TN (1961–1969).

Side A: Silly Savage

Side B: Weeping River

Even less is known about Golden Toadstools than Jimbo Jackson & Violators. Speculation has it that they’re from New York. People don’t even agree if the groups members are white or black. Take a listen yourself and you’ll agree that it’s a tough call.

Silly Savage is so good that it’ll probably take you about two listens to realize that the only actual lyrics of the song are the odd lines the singer reads, such as “Chuck Berry, strawberry, cranberry and dingleberry, baby!” followed by whistles and laughter from the other members of the group. The whole thing is so good-natured that it’s tough not to laugh along. In fact, the song only has three lines despite being a little over two minutes long. What fills most of its time is a hypnotic mix of drums, electric organ, and smooth guitar solo. Give it a listen; you’ll be glad you did.

The record’s B side takes a long departure from the records we usually show. This one is pure blues, with the singer’s deep southern voice taking center stage. If you like the Animals’ “House of the Rising Sun,” you’ll love this one. The two songs share extremely similar chord progressions and strumming patterns, so sit down and get ready for some blues.

I Cried Boo Hoo by Willie Gresham and the Free Food Ticket – Majesty 1040 (Released 1970)

 

Label from Los Angeles

Side A: I Cried Boo Hoo

Side B: Step by Step

We have a confession to make: Willie Gresham did go on to appear in a few more records. However, he did so as Reverend Willie Gresham, a moniker he wouldn’t adopt until years later in 1984. Furthermore, all the records he appeared in weren’t individual releases. They were compilations, mostly of gospel and traditional songs. So even though Willie Gresham wasn’t a one-release artist, Willie Gresham and the Free Food Ticket only have this 45 to their name.

“I Cried Boo Hoo” oozes ‘70s despite having been released right in 1970. Despite the bluesy sound and topic of the song, it’s hard to describe it as anything other than funky. Give it a listen and Willie Gresham’s bouncy voice will have you tapping along.

“Step by Step” is even funkier than the 45’s A side, with groovy guitar effects and an electric organ backing the whole song.

Put These Lesser-Known Artists on Your Record Shelf

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

 

Pop Corn – Jimbo Jackson & Violators

 

Silly Savage – Golden Toadstools

 

I Cried Boo Hoo – Willie Gresham and the Free Food Ticket

 

We provide a simple online ordering form for all of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and sit back.

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3 Records with Killer Saxophone Solos

by Administrator 28. February 2018 21:50

The saxophone is a few decades shy of its 200th birthday, having been invented in 1842 by Adolphe Sax. That’s pretty young, depending on where you stand. Classical music as we tend to think of it didn’t begin until the Renaissance in the 1400s. For reference, many of the instruments that we are familiar with didn’t arrive until the 1700s or later, most notably the piano, which was invented by Bartolomeo Cristofori sometime around 1700.

The saxophone is best known for its role in jazz. Saxophones and jazz are woven so tightly together that you basically can’t have one without the other. However, the saxophone also features prominently in both soul and funk. This is partly because the three styles all have their roots in African American music, and also because the dividing line between the styles are often blurrier than their titles would make them seem.

To illustrate this, we’ve collected three 45s that will blast you out of your seat with their punchy sax solos.

I Found Out by Bobby Byrd – Federal 12486 (Released 1963)

Label owner: Sydney Nathan. 1540 Brester Ave, Cincinnati, OH (1955).

Side A: I Found Out

Side B: They Are Sayin’

Bobby Byrd’s claim to fame in the music industry comes chiefly through his associations with James Brown. That said, his contributions to soul are often understated. In fact, he is credited with having discovered James Brown himself. Another little known fact is that Byrd actually founded soul supergroup The Flames and has songwriting credits for many of their hits, including “Get up (I Feel Like Being a) Sex Machine” and “Lost Someone.” All of these contributions got him posthumously inducted into the Rock & Roll Hall of Fame in 2012.

In fact, Brown and Byrd pioneered the funk genre as a whole, though Byrd often gets little credit for this.

If you’re expecting “I Found Out” to feature a story of negativity that’s being “found out,” you’ll be pleasantly surprised when you’re met with the opening lines of “I found out / that you really love me.” Despite not being one of Byrd’s commercial successes, “I Found Out” is a great song that shows that Bryd is more than just a good songwriter.

The B side of this 45, on the other hand, is nowhere for listening on the internet. If you want to hear it yourself, you’re best off just placing an order with us.

Out of the Pan (Into the Fire) by Al “TNT” Braggs – Peacock 1936 (Released 1965)

Label owner: Don D. Robey. 4104 Lyons Ave, Houston, TX & 2809 Erastus St, Houston, TX (1949–1968).

Side A: Out of the Pan (Into the Fire)

Side B: Joy to My Soul

It’s tough to say whether Al Braggs was a better singer or songwriter. Overall, he had much more success as a songwriter, being credited with Maxine Nightingale’s “Lead Me On” and Bobby Bland’s “Call on Me,” both of which reached gold status. He also co-wrote “Share Your Love with Me,” which enjoyed many weeks at the top of the charts. However, he also wrote and recorded his own songs. The closest Braggs ever got to a hit of his own came from his 1966 song “Earthquake,” which struck a chord with the UK’s northern soul scene, something which we’ve written at length about in the past.

After listening to “Out of the Pan (Into the Fire),” you’ll find yourself wondering how those few minutes passed by so fast. The song is very smooth, and it sounds way ahead of its time at 1965. It still retains the traditional rhythm and call and response that indicate soul music, but it incorporates an energy that takes it above many of the more generic songs of the genre. This is exacerbated because not just one saxophone, but an entire brass section seems to be backing Braggs and his backup singers.

Just like before, the audio for this 45’s B side is nowhere to be found on the web. The only way to hear it for yourself is through its printed vinyl form, which you can get through us.

Give It Up by Richard Berry – Paxley 751 (Released 1961)

Label owners: Label owners: Kim Fowley, Gary ("Alley Oop") Paxton & Bobby Rey (Note: Kim Fowley, Gary ("Alley Oop") Paxton both records records). 6365 Selma Ave, Hollywood 38, CA (1960-1961)

Side A:  Give It Up

Side B: I Want You to be My Girl

Richard Berry, not to be confused with the actor of the same name, is a soul singer and songwriter from Louisiana. His claim to fame was the song “Louie Louie,” which remains one of the most recorded songs of all time.

If you didn’t’ know what you were listening to beforehand, you might be fooled into thinking this was Chuck Berry’s “Johnny B. Goode.” We don’t know for sure whether or not Richard Berry took Chuck Berry’s hit for inspiration, but we feel pretty confident that he did. That’s okay, though. Chuck Berry himself took the iconic opening for Johnny B. Goode from a 1946 song called “Ain’t That Just like a Woman.” Give it a listen to see how similar the songs are. In fact, “similar” doesn’t do it justice. The two songs are a few notes shy of identical. Despite the similarities in openings, “Give It Up” stands up all on its own. It’s more traditionally soul-y than the other entries on our list, but it’s no less enjoyable because of it.

Even the B side of this 45 is primarily defined by it’s incredible brass section, which takes the spot that a rhythm guitar would typically occupy. While being a little less energetic than the A side, this sultry song is sure to delight.

Add Some Sax to Your Collation

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

 

I Found Out – Bobby Byrd

Out of the Pan (Into the Fire) – Al “TNT” Braggs

Give it Up – Richard Berry (1st entry on the page)

 

We provide a simple online ordering form for all  of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and sit back.

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Three Records at the Intersection of Soul and Pop

by Administrator 26. January 2018 10:45

Pop and soul don’t have much in common, but there is one thing: they both originated in the United States around the 1950–1960s. Because of the widespread popularity of each, the genres blended together some. Pop music borrowed soul’s background chorus (which soul got from its gospel roots), and some soul songs borrowed pop’s verse-chorus structure and upbeat progressions.

Since soul with pop conventions isn’t something you hear every day, we wanted to share some of our favorite examples of the style.

Hey There You Girl by James Bryant – Renee 108 (Released 1964)

 

Label owners: Leo Austell & Bob Lee. Chicago, IL (1962–1964 & 1973).

Side A: Hey There You Girl
Side B: Three Step

Not to be confused with Jimmy Bryant, the singing voice of Tony in West Side Story, James Bryant is a little-known singer/songwriter who got his start in Wisconsin and later moved to Chicago. According to On That Wisconsin Beat, one of the only books that mentions him, his real name was James Bartleme, and he had several other releases under several different names. Unfortunately, not much is known about those other names or releases under them. His only release under the name “James Bryant” is the one we’re writing about now.

With his songs “Hey There You Girl” and “Three Step,” Bryant unknowingly became a member of an underground English music and dance revolution called northern soul. In fact, the northern soul movement as a whole tended to reject the more popular Motown releases and focused on a particular style of music that had a heavy beat and fast tempo, a style which Bryant embodies perfectly.

With its quick-but-danceable beat, subtle guitar riffs, and Bryant’s smoky voice, this record is sure to keep you humming along the whole way through.

Got to Get A Hold of Myself by Chuck Bernard – Zodiac 1050 (Released 1973)

Label owner: Ric Williams. 1345 Diversey Parkway Chicago, IL (1966–1976).

Side A: Got to Get A Hold of Myself
Side B: Everybody’s Got Their Own Thing

In an industry dominated by separate singers and songwriters, Chuck Bernard stands out as an artist who wrote most of the songs he performed. It was common practice during the time for producers or dedicated songwriters to write a song that would later be assigned to a singer. This might seem strange to some, since the tradition has since shifted to artists mostly performing their own original work.

Being from the 70’s, “Got to Get A Hold of Myself” has a much more electronic, synth-y sound than many of the other 45s we feature. Despite being classified as soul, “Got To Get A Hold Of Myself” is a balancing act between pop, soul, and funk. With the help of a nylon-string guitar (like the kind used in mariachi music), these three styles come together beautifully in Bernard’s hit.

“Everybody’s Got Their Own Thing,” on the other hand, kicks things up a notch. Immediately when you put on this record, you are punched with a blend of trumpet lines and electric piano/organ. With the power and energy that flows from this song, it’s surprising that it isn’t the record’s A-side.

No matter which side you prefer, Bernard’s record is certain to delight.

It Doesn’t Matter How I Say It by Florence Ballard – ABC 1104 (Released 1968)

 

Label owner: Samuel H. Clark. 1501 Broadway, New York, NY (1955–1979).

Side A: It Doesn’t Matter How I Say It
Side B: Goin’ Out of My Head

Florence Ballard is one of the few female soul singers that we feature on this blog. It was unfortunately the case that, in general, fewer women recorded records than men. Despite that, Florence is probably the most famous of any singer we’ve ever featured on this blog.

Ballard was a founding member of The Supremes. You’re probably familiar with them if you’re reading this blog, but The Supremes were national megastars. In fact, during their peak years in the mid-1960s, their worldwide popularity rivaled that of the Beatles.

As The Supremes went through their career, tension grew between Ballard and Diana Ross, another member of the group who producer Berry Gordy was presenting as the leader. Eventually, this tension lead to Ballard’s depression, alcoholism, and subsequent expulsion from the group. After she recovered, she went on to pursue an unsuccessful solo career, which spawned this record.

Ballard’s record was a commercial failure, true, but that had more to do with the changing tides of musical taste rather than bad singing or poor production. By the time this record hit the shelves, the world preferred more traditional gospel-inspired soul over soul-pop infusions. It was the shift in fads that made Ballard’s 45 a bust.

Despite the commercial failure, “It Doesn’t Matter How I Say It” features all of of Ballard’s soft-spoken, feminine singing that she was known for during her time with The Supremes. Many fans of the song refer to it as “cute,” and that’s exactly what it is. With lyrics like “If I was a pillow, I’d want to be the one you’d rest your head on / And dream on,” “It Doesn’t Matter How I Say It” oozes cuteness. With the right promotion, this one could have been a hit.

“Goin’ Out of My Head, on the other hand, is a slow tune with maracas and tambourines leading the pace. In this one, Ballard ditches the cutsey tone and lays down deep, sultry vocals that match the theme of the song.

This record showcases some of the best Ballard had to offer, and it’s a shame that it never got the attention it deserves.

Add Some “Pop” to Your Collection

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

 

Hey There You Girl – James Bryant

Got to Get a Hold of Myself – Chuck Bernard

It Doesn’t Matter How I Say It – Florence Ballard

 

We provide a simple online ordering form for all  of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and sit back.

 

 

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Three Records That Blur the Line Between Funk, Soul and R&B

by Administrator 29. December 2017 16:07

It’s no secret that funk, soul and R&B music all have their roots in African American gospel music. But too often, those associations get lost in the hard lines of a genre. Today, we’re breaking out of that mold.

So, we lined up some records that really highlight the shared roots of these genres. Check them out!

Mr. Cool by Charles Spurling – King 6077 (Released 1967)

 

Label owner: Sydney Nathan, 1540 Brewster Ave, Cincinnati OH; 1255 South Wasbash, Chicago IL; & 2131 South Michigan Ave, Chicago IL (1943–1973)

Side A: Mr. Cool
Side B: You’d Be Surprised (The Way I Love You)

Charles Spurling is an artist who got his start right here in Cincinnati. Despite having recorded a few records of his own, Spurling is best known for his prolific songwriting. He was the driving force between megahits such as the oft-sampled “Unwind Yourself,” “Ball of Fire,” and “The Boy Needs Someone To Love.” Spurling also was involved with the legendary James Brown, known as the “Godfather of Soul,” all the way until the 70s, working as both a songwriter and later as head of the artists and repertoire department for King Records. There, he was in charge of discovering and nurturing new talent for King Records. As a part of his pursuits, he discovered artists who would later become legendary, most notably Bootsy Collins.

One of Spurling’s favorite parts of King Records was that they would allow him to record his own records from time to time. “Mr. Cool” was born out of that arrangement. “Mr. Cool” is the soul record of our arrangement, with a true call-and-response that echoes the actual words Spurling sings. Despite being soul, “Mr. Cool” does not stray far from it’s blues roots, featuring a classic blues progression in the song’s background.

The record’s B side is a stark contrast to its A side. The song begins with a beat and bassline that can only be described as intense. Listening to it feels as though you’re about to charge into battle. Suddenly, the instruments unleash the song’s true melody, and the intensity fades into an upbeat soul tune with background singers echoing Spurling and frequently drawing out other parts of the song.

Fool, Fool, Fool by Elliott Shavers – Magnum 718 (Released in 1964)

 

Label owner: Roger Davenport & Hunter Hancock, Los Angeles, CA (1964-1968)

Side A: Fool, Fool, Fool
Side B: A Swingin’ Party

Elliott Shavers is a Texas-born musician who got his start as an R&B singer after he moved to Los Angeles. He was only active for six years between 1961 and 1967, but in that time he recorded over 30 published songs for smaller labels such as Imbo, Ellen, and Magnum, the latter being where this record came from. Several times he garnered near-national attention and got picked up by a bigger label for national releases, which happened with “Scratch That Itch,” which he released on King Records under the name “Elliott Shavers & His Blazers.” Shavers kept a low profile after those 6 years in the industry. In fact, nobody knows if he is even still alive.

At first listen, “Fool, Fool, Fool” is as bluesy a song as they come. A 12-bar progression, distorted guitar riffs, and a simple beat all call forth the essence of sadness that started on plantations so long ago. However, the piano and saxophone featured in “Fool, Fool, Fool” from pure blues into a place where mournful vocals share the spotlight with background instruments: rhythm and blues. Whether you feel that Shavers’ hit is pure blues or R&B, it’s blues all the same, filled with mournful lyrics like “Things ain’t what they used to be/And your love for me is not the same.”

The record’s B-side picks up right where the A-side leaves off. Despite “swing” being included in the title, “A Swingin’ Party” is a pure blues instrumental where a saxophone takes the spot that a singer ordinarily would. Also, a piano takes on the role of rhythm guitar, playing the 12-bar progression that signals blues.

Let’s Get Nasty by Chuck Stephens – East Coast 1001 (Released 1975)

Label Owner: Roy Charles, Hammond, Jamaica, NY

Side A: Let’s Get Nasty
Side B: Girl, I Want To Make Love To You

Both Chuck Stephens and East Coast Records are shrouded in mystery. Both are obscure, and there’s next to no information out there on either of them. East Coast Records only ever published one record: this one. And Chuck Stephens only ever recorded three records. Whatever caused Stephens to give up recording after only two years, we can be thankful that he left us the funky recordings he did.

“Let’s Get Nasty” came out in the middle of the 1970’s, when the Sexual Revolution was at full swing, and it shows. Whereas other records that we’ve featured on our blog make various references to sex and sexuality, none is so plainly explicit as “Let’s Get Nasty.” The song features (what appear to be) violins that have a sound to them similar to that of an electric piano, placing it in a place somewhere in between soul and funk.

The record’s B-side is as obscure as Stephens himself. There are no recordings of it publicly available. The closest you can get is to listen to the sample on our website (link). If you want this B-side for yourself, you had better order the record!

Diversify Your Record Collection

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

Mr. Cool – Charles Spurling

Fool, Fool, Fool – Elliott Shavers

Girl, I Want To Make Love To You – Chuck Stephens

We provide a simple online ordering form for all  of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and sit back.

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Three Soul Records from Non-Soul Artists

by Administrator 30. November 2017 13:55

As a musician grows and gains notoriety for their music, they often get shoehorned into a specific genre. They become known for their jazzy voice or bluesy style, and all of a sudden their audience gets surprised if they release any music that is different from the kind recorded in the past.

Because of that, it’s difficult for musicians to break free from the mold they cast themselves in. But musicians are artists! Most of the time, they want to make music that expresses themselves. Most of them don’t enjoy being stuck in one genre. That’s why you get records where an artist has a completely new sound.

To give you a taste of how it feels when a musician embraces their role as an artist and breaks free of the restrictions that genre imposes upon them, we’ve gathered a few incredible soul records from artists who weren’t known for their soul singing.

Answer to the Want Ads by Bobo Mr. Soul – Ovide 252 (Released 1968)

Label owner: Skipper Lee Fraser, 4406 Reed Rd., Houston, TX & 1831 Southmore, Houston, TX (1967-1971)

Side A: Answer to the Want Ads
Side B: H.L.I.C.

We’re starting off the record with Beau Williams, also known as Bobo Mr. Soul. His name suggests that he’s most soul-focused artist on this list. However, he isn’t. Mr. Soul has an interesting history. Despite focusing on soul under his alias, he is most commonly known for his gospel song “Wonderful,” which stayed in the top ten charts for two straight months. In fact, Wikipedia only mentions Williams’ time as Bobo Mr. Soul in passing.

Williams recorded “Answer to the Want Ads” when he was only 18 years old. Despite his young age, and record captures perfectly the essence of soul. Bobo Mr. Soul shows us that age is only a number when it comes to soul music.

The A side of this album, “Answer to the Want Ads,” puts the soul in “Bobo Mr. Soul.” The song features the claplike rhythm and chorus sound. that are so typical of soul. Instead of the typical call-and-response that soul typically features, the trumpets and guitar in the backround boom with their light, treble-y sounds and fill the role that background singers would have played. If you try, you could almost imagine those trumpets in the background as high-pitched singers.

The B side has a distinctly funkier sound, with a hard beat and the guitar laying down a backing that seems to bounce. Whereas the first was more desperate and pleading, this song is confident and authoritative.

96 Tears by Big Maybelle – Rojac 112 (Released 1967)

Label Owner: Jack Taylor. 115 West 116th St., New York, NY; 417 West 126th, New York, N.Y.; 112 West 78th St., New York, N.Y., & 129 Lenox Ave. New York, N.Y.

Side A: 96 Tears
Side B: That’s Life

Big Maybelle, full name Maybel Louise Smith, went by another name: America’s Queen Mother of Soul. Despite her title, she is known mostly as a R&B singer. Her most popular song, “Candy,” (recorded in 1956) is a sultry blues song that received the Grammy Hall of Fame Award in 1999.

Big Maybelle didn’t get her name from her large size. She got it from her deep, rich, and booming voice. Listen to anything—anything at all—of hers, and you’ll understand. She could fill any room with her voice.

Big Maybelle’s recording of 96 tears was her only single that ever reached the Billboard Pop charts, and it was her last hit before she died. It’s also a cover of the same song by ? and the Mysterians. The most interesting thing about this recording of 96 tears is that Big Maybelle completely transformed the song from garage punk (early punk from the 60s) into a deep, soulful song. This is especially surprising considering Maybelle’s upbringing as a gospel singer and her prominence as a R&B singer.

But don’t sleep on the B Side! It’s also very soul-like, a saxaphone playing in quick, short bursts, resembling hand claps, indicative of the typical call and response that features in soul music.

How I Feel About You by Frank Butler – Space Age 260 (1960s)

Side A: How I Feel About You
Side B: Some One Outside

Like the rest of our featured singers, Chicago-based Frank Butler was much more of a blues singer than a soul one. In fact, this record in particular seemed to have struck a chord with soul fans in northern England during the ‘60s, becoming one of the earliest entries of the rare genre known now as northern soul.

Little is known about the Space Age label. In fact, the only other record released by Space Age was another Frank Butler single. We don’t know where they came from or where they went, but we’re grateful for the records they left us with.

“How I Feel About You” is definitely the fastest-tempoed soul record on this list. It’s also the only one to feature an organ. Like the other tracks in this list, the trumpets take the role of background singers and call forth the image of a chorus singer in church. One listen to this track and you’ll with Frank Butler had stuck around to sing some more soul.

The B side, Some One Outside, is just about impossible to find on the internet. To give it a listen, you can check out the sample on our site! Of course, you could always buy the record and listen to the whole thing yourself.

Add Some Soul to Your Collection

Pricing, details (grade, side A/B, quantity) and sound clips for each of the above records can be found via the following links:

Answer to the Want Ads – Bobo Mr. Soul

96 Tears – Big Maybelle

How I Feel About You – Frank Butler

We provide a simple online ordering form for any of our records. Enter your billing and shipping information, provide details about the record you’re requesting, hit submit, and relax knowing that your ears will have all the soul food they could want.

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