Ahhhh, the holiday season. Everyone seems to be a little bit happier, we’re hopeful it snows, and we get to listen to our favorite Christmas tunes.

Do you ever turn on the radio and feel like you’re hearing the same ol’ songs? Us too. That’s why we’ve pulled out some of our less-commercial favorites to spin this year.

Little Jimmy Thomas-Deck the Halls (Fa La La La La)/Jimmy’s Christmas

Label Owners: Shad O’Shay (?). Cincinnati, Ohio (3 records on official label, all released in 1964)

A Side: Deck the Halls (Fa La La La La)

B Side: Jimmy’s Christmas

The funky deck the halls track is fit for any holiday gathering. It makes you want to get up and dance, to fully enjoy the holiday season. It’s a unique take on the song. On side B, you’ll have to order the record to listen! You won’t find any sound clips online.

Sound Clip (deck the halls) and Order Information

Poets-Merry Christmas Baby/I’m Stuck On You

Label Owners: George Goldner, Jerry Leiber & Mike Stroller. New York, NY. 1964-1967

A Side: Merry Christmas Baby

B Side: I’m Stuck On You

Slightly upbeat, soulful, joyous, loving. This record has everything you want in a couple of Christmas songs. Sit back and enjoy!

Sound Clips and Order Information

Arlington Sylvester-A Christmas Carol/Crescent Legacy-I’m Gonna Miss You

Label: 1432 N. Broad St, New Orleans, LA (Just 2 records released on Brou-Larch Inds. Label. Both in 1972 according to 45cat.com)

A Side: Arlington Sylvester-Merry Christmas Baby

B Side: Crescent Legacy-I’m Gonna Miss You

Not all Christmas songs need to be booming with joy. A Christmas Carol makes gives a bit of a somber and reflective feeling. On the other hand, I’m gonna Miss You is funky and enjoyable to listen to. The subject matter however, offers a hint of sadness.

Sound Clips and Order Information

Whether you’re listening to 45’s, or the commercial classics, Merry Christmas and Happy Holiday’s from us to you. We truly appreciate you taking the time to read, and listen with us. We hope that 2019 brings you health and happiness, and more music! Thank you!

As fall comes to an end and we enter the winter months, it’s good to have a special someone to push through the cold with. These 45’s cover that feeling of want, or even need. Everyone needs to be loved! 2 out of our 3 records this month were on labels that only released 3 records, giving them some rarity. Enjoy!

Barbara Perry-Unlovable/Say You Need It

Owners: Quinton M. Claunch & Rudolph “Doc” Russell. 2445 Chelsea Ave, Memphis, TN. (1963-1970’s.)

A Side: Unlovable

B Side: Say You Need It

Two great songs! The A side is a bit slower, while Say You Need It delivers a groovy baseline that will have you dancing through the holiday season. When a love is so good, you might just absolutely need it. Barbara conveys this, and the fact that even people tough to love are worth loving, on this 45.

Listen to Sound Clips

Persians-I Can’t Take It Anymore/Detour-GWP’s Grapevine 201. Released in 1969.

Owners: New York, N.Y. Only 3 records released on this label. 1969.

A Side: I Can’t Take It Anymore

B Side: Detour

You can count on The Persians to deliver some soul. Love has ups and downs, and sometimes it pushes us to our breaking points. If you’re feeling like that, you’ll enjoy the A side of this record. Flip to Side B, and the trials and tribulations of dating, or pursuing someone you think could be match. Sometimes you’ll do whatever it takes, even a round-about detour.

Listen to Sound Clips

Harriet Reeves-Just Friends/Come To Me-Eon 103. Released in 1961.

Owners: New Orleans, LA. Only 3 records released on this label. 1961.

A Side: Just Friends

B Side: Come to Me

This record is so rare, you won’t be able to find anywhere to listen online! Fortunately, we have sound clips on most of our records. Listen, and order online!

Listen to Sound Clips

After checking out all of these songs, order online! We recommend taking down the number, as you’ll need it in the form! Thanks for shopping with Parker’s Records and Comics! You can explore all of our 45's, here.

This set of 45’s from the mid to late 1960’s is a doozy! Who doesn’t love a good love song? These records discuss crushes, feelings, and love in general.

Gambrells-I’m In Love For The First Time/Love Is In The Air-Cub 9156 (Promo). Released 1968

Label Owner: Arnold Maxin. Loew’s Inc. 1650 Broadway, New York, N.Y. (1958-1968)

A Side: I’m In Love For The First Time

B Side: Love Is In The Air

The Gambrells are in love and they want everyone to know! The first of the two songs captures the feeling of falling in love, and how wonderful that is. The second dives deeper into this feeling, and all of the emotions that swirl when you’re at the start of something special.

Listen to Sound Clips

Girls Three-That’s How It Is/Baby, I Want You-Chess 1958. Released 1966.

Label Owners: Len & Phil Chess. 5429 Cottage Grove Ave, Chicago, IL. 320 East Twenty-First St, Chicago, IL (1950-1976)

A Side: That’s How It Is

B Side: Baby, I Want You

When you fall in love, it’s a unique feeling. The Girls Three (Jess, Dot and Me) describe the ways love can make you feel in the first record. In the second, the girls have a crush! When you have a crush, it’s hard not to think about that person and everything admirable they do. That’s conveyed in this song.

Listen to Sound Clips

Gypsies-Jerk It/Diamonds Rubies Gold and Fame-Old Town 1180. Released 1965.

Label Owners: Hy Weiss & Sam Weiss. 165 East 125^th St. New York, N.Y., 701 Seventh Ave, New York, N.Y., 1697 Broadway, New York, N.Y., 767 Tenth Ave. New York, N.Y. (1953-1978)

A Side: Jerk It

B Side: Diamonds Rubies Gold and Fame

The gypsies, later known as The Flirtations, deliver on two upbeat songs. Jerk It is somewhat of a dance, very upbeat and fun. The other song Insinuates rich boys, that provide some of the finer things may be for the Gypsie’s!

Listen to Sound Clips

Check out each song through the links provided, and then order online through our secure checkout form. Be sure to note your order number as you search through our inventory! Thanks for listening with Parker's!

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/(I Never Know When To Leave) The Party by The Millionaires — Big Bunny 508 (Released 1966)

Label: Los Angeles, CA. 3 Rcords released on the label, 2 by the Millionaires & other by The Dealers (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/Baby Baby Baby by Gwindon Murphy — Crazy Horse 1306 (Released 1968)

Label: 1750 N. Vine, Los Angeles, Ca. (1968-1972)

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/"same" (Instr.) by Music City All Stars — Music City 857 (Released 1965)

Label Owner: Ray Dobart. 1815 Alcatraz Ave, Berkeley. (1954-1975)

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.

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.

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.

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.

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.

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.

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 (1^st 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.