Wednesday, 15 August 2018

GGG Presents Goodie Grab Bags Volume 05

Like a little tot with a sweet tooth on a tantrum, I'm getting my fingers sticky once again, digging deep into the ooey-gooey Goodie Grab Bags for the yummy stuff that'll keep me buzzing way past bedtime!


Jeff Dale - Discography 1964-66 [6sides]

01. Jeff Dale - 1964 - Don't Forget About Me Baby (Atco 45-6332)
02. Jeff Dale - 1964 - Language Of Love (Atco 45-6332)
03. Jeff Dale - 1965 - Come To Me Girl (Atco 45-6352)
04. Jeff Dale - 1965 - Where Did I Go (Atco 45-6352)
05. Jeff Dale - 1966 - A Suffering Pain (Atco 45-6405)
06. Jeff Dale - 1966 - Our Love Will Grow Stronger (Atco 45-6405)

Fuller Brothers - Discography 1966-69 [7sides]

01. Fuller Brothers - 1966 - Stranger At My Door (GDL 2003)
02. Fuller Brothers - 1966 - Stranger At My Door [inst] (GDL 2003)
03. Fuller Brothers - 1967 - (I Want Her) By My Side (Keymen 110)
04. Fuller Brothers - 1967 - Moaning, Groaning And Crying (Keymen 110)
05. Fuller Brothers - 1968 - Let Me Love You (Soul Clock 101)
06. Fuller Brothers - 1968 - Don't Knock Me (Soul Clock 101)
07. Fuller Brothers - 1969 - Time's A Wastin' (Soul Clock 105)

Rudy Mockabee - Discography 1969 [4sides]

01. Rudy Mockabee - 1969 - Cheer Up (Daddy's Coming Home) (Atco 45-6721)
02. Rudy Mockabee - 1969 - Sweet Thing (Atco 45-6721)
03. Rudy Mockabee - 1969 - Piece Of My Heart (Atco 45-6748)
04. Rudy Mockabee - 1969 - Think About It (Atco 45-6748)

Lee Jackson - Discography 1965-71 [6sides]

01. Lee Jackson - 1965 - Ad For Love (Atlantic 45-2284)
02. Lee Jackson - 1965 - Keep Your Mouth Shut (Atlantic 45-2284)
03. Lee Jackson - 1969 - Give It To Me (JAS Records 511)
04. Lee Jackson - 1969 - My Love Is Too Strong (JAS Records 511)
05. Lee Jackson - 1971 - Ordinary People (JAS Records 520)
06. Lee Jackson - 1971 - Life Ain't Easy (JAS Records 520)

GGB05

Monday, 13 August 2018

Won't You Forgive Me

Hands down, the most dynamic duo to ever grace the genres of Soul, Funk and R&B were none other than the immensely talented team of Ike & Tina Turner!! Due to Ike's fairly well documented history of abusive behavior, I certainly had reservations about this post but to overlook the intrinsic part they played in the formation of soul music, their ever-evolving abundant output and the overwhelming influence they had on so many musicians both on stage and in the studio, would be a crime in itself.


Now I'd normally give you a brief history here, I'm gonna pass though as most of you are more than familiar with this power pair. If however, your are not, wiki alone has pages of information. What I will address here is something that was touched on a couple months back on the TZ site. I believe it was Uncle Babkka who over several days pieced together a pretty decent Ike & Tina collection. In his first post he wrote something along the lines of "their discography is a bloody mess!", and I really couldn't agree more. Just scratching the surface ... there has been multiple re-releases for nearly every studio album they've done and in many cases those re-releases have alternate mixes and slight discrepancies in track order to the original releases. On top of that, of the well-over 200 compilations issued over the years, many of them repeatedly bear the same titles as studio released albums. Further muddying the waters is that many of these alt re-releases and various compilations are floating around the web, represented as the original studio releases (even on some creditable sites). A couple years ago I took a stab at putting the Ike & Tina studio LP collection together but never saw it through. After Uncle Babkka's attempt I thought I'd give it another go. I've been able to fill the gaps from UB's posts and think I've amassed the most accurate and best quality collection available anywhere. A handful of these albums were pieced together from various releases but most albums are from the original sources and/or accurate re-masters. This particular collection required finding between 3 and 10 versions of the same albums to obtain an accurate and high quality discography but (Side Note) it's really worth noting that I generally do that for every collection I put together so even if you already have something I post, I might have the upgrade you didn't even know you needed. This is one of those monster posts that require downloading all pieces to extract so just go dump all you Ike & Tina studio releases in the trash and take these instead.

Won't You Forgive Me boasts all 22 studio LPs released between 1960 and 1980, most of the live LPs in that stetch, all the best rarities collections, Tina's first few late-70s solo releases and the complete Ikettes recordings almost entirely MP3 @ 320kbs. Detailed list in comments. Thanks to original uploaders and Uncle Babkka for re-lighting that fire. Enjoy!

I&T01
I&T02
I&T03
I&T04
I&T05
I&T06
I&T07
I&T08

Saturday, 11 August 2018

Things Ain't Right

In most soulie circles Syl Johnson is pretty much a house-hold name and deservingly so. Very few artists delivered the goods with even half the swagger, stamina and straight up consistency that Syl Johnson exerted on the regular!!!


Born Sylvester Thompson in Holly Springs, Mississippi, he moved with his family to Chicago in 1950, where blues guitarist Magic Sam was his next-door neighbor. Johnson sang and played with blues artists Magic Sam, Billy Boy Arnold, Junior Wells and Howlin' Wolf in the 50s. He recorded with Jimmy Reed for Vee-Jay in 1959. He made his solo debut that same year with Federal, a subsidiary of King Records of Cincinnati, backed by Freddie King on guitar. Johnson began recording for Twinight Records of Chicago in the mid-1960s. Beginning with his first hit, 'Come On Sock It to Me' in 1967, he dominated the label as both a hit-maker and a producer. Like other black songwriters of the period, he wrote songs at this time exploring themes of African-American identity and social problems, such as 'Is It Because I'm Black' which reached #11 on the Billboard R&B chart in 1969. In 1971, producer Willie Mitchell brought Johnson to Hi Records, for which the two recorded three albums, which generated a number of singles. Produced in Memphis with the Hi house band, these albums contained the hits 'We Did It', 'Back For A Taste Of Your Love' and 'Take Me To The River', his biggest success, reaching #7 on the R&B chart in 1975. However, at Hi Records, Johnson was always to some extent in the shadow of Al Green, commercially if not artistically. Mitchell also chose to use mainly in-house compositions rather than Johnson's original songs. After his years with Hi ended, Johnson produced two LPs for his own Shama label, the second of which (Ms. Fine Brown Frame, 1982) was picked up for distribution by Boardwalk Records. The title track of that album was Johnson's last hit record. Around the mid 80s, Johnson started a fast-food fish restaurant and mostly retired from performing, making only occasional appearances at blues clubs.

Yes, several thorough Syl Johnson collections have been comprised already to date, collecting damn near everything (at least as far as the Hi, Twinight and Federal recordings are concerned). Things Ain't Right combines these catalogs in my usual fashion and includes several one-off's and the Shama 45s (less 1) for a massive singles collection spanning 1959-1981 and includes all those tasty unissued Twinight recordings obviously. I've also collected the complete classic albums, plus his 3 often over-looked early 80s LPs. Almost entirely sourced from FLAC, all files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

SJ01
SJ02
SJ03

*Missing Single
98. Can't Nobody Stop Me Now - 1977 (Shama 1236)
99. Let Me Love You - 1977 (Shama 1236)

Friday, 10 August 2018

GGG Presents Sizzlin' Slabs of...

The second edition in this series ... Sizzlin' Slabs are essentially my own renditions of a 'Greatest Hits' collection, mostly by more recognized artists. However, chart success and popular consensus do not factor into these; sure, you may find some of those agreed upon great cuts but you'll also find long forgotten LP tracks, obscure 45 sides and unissued recordings or whatever gets me in the groove. Culled from complete discographies (for the most part) purely for personal pleasure, these are my preferred picks.

Without further ado...
GGG Presents Sizzlin' Slabs of Al Green (1967-78)


48 cuts from the sultry sultan of soul music .... Mr. Al Green !!!

All files chronicled, cleanly tagged and MP3 @ (mostly) 320kbs. Enjoy.

Wednesday, 8 August 2018

It's Such A Sad Sad World

Here we have a sporadic and bittersweet recording career from an unsung hero of R&B. Sir Lattimore Brown might have been one of the most fantastic deep soulers out there, if not sadly plagued with an epic series of misfortunes.


Here's a short version...
Born 1931, raised by sharecropping grandfather.
Returns from Korea and Vietnam to find wife pregnant with another man's child.
Opens club in Dallas ... with silent partner Jack Ruby. Ruby kills Oswald.
1966: signed to Otis Redding's touring agency RedWal. Redding dies in plane crash.
Remarries in Knoxville, but she dies after heart surgery.
Remarries in Little Rock, but she dies of lung cancer.
1974: riots at his gigs by fans of another artist named 'Latimore'. Southern mafia puts out contract on him because of concert mix-ups.
No royalties from compilation record This Is Lattimore's World.
All Music Guide announces his death in the 1990s.
2005: badly injured by Hurricane Katrina, wife dies of heart attack soon after.
2007: stabbed and robbed in his trailer home.
Dies March 25, 2011. Struck by car in Pensacola as he was crossing the street.

Here's an incredibly detailed and delightful story (c/o Red Kelly, friends and Sir Lattimore himself)
http://www.sirlattimorebrown.com/legend.html

It's Such A Sad Sad World collects the complete recordings of Sir Lattimore Brown between 1960 and 1975. 34 issued sides with Zil, Excello, Dutchess, Sound Stage 7, Renegade and Ace Records and 2 unissued (at the time) tracks that appeared on the 1977 compilation 'This Is Lattimore's World'. Some of these offerings aren't anything too special but when Lattimore is firing on all cylinders, he's absolutely incredible. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

Monday, 6 August 2018

Pass The Word

Tony Borders is a relatively obscure (at least on a national scale) Southern Soul artist who, nevertheless, recorded rather prolifically in the late 60s/early 70s for Muscle Shoals producer Quin Ivy, without ever achieving a national hit, either on the Billboard Pop Hot 100 or the R&B charts.


The mysterious Tony Borders was the most prolific of the artists that Muscle Shoals producer Quin Ivy recorded; apart of course from the great Percy Sledge. And it is on those sessions that Borders’ reputation as a first class southern soulman is based. A further tribute to his abilities is the fact the Ivy was able to lease out so much of his product. When he started out, his early material was definitely country-tinged, as you can hear on cuts like Get Yourself Another Man, Counting On You, Stay By My Side, Can't Stand To See You Cry, and Soft Wind, Soft Voice, released by labels such as Delta and Hall, you will hear that he might have made a name for himself in Country Music had he chosen to go that route. But Soul was his first love, and when handed the right material, he was very good. Unfortunately, the labels he worked for were limited in their ability to promote him on a national scale. His early work is, frankly, not his finest efforts but in direct contrast, every single he cut at Muscle Shoals is essential to any self-respecting southern soul fan. Sadly, for whatever reason, after Quin Ivy threw in the towel Borders didn't record again.

Pass The Word collects the complete issued recordings and includes 10 unissued sides between his Hall (early 60s) and Quinvy (early 70s) sessions. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

Friday, 3 August 2018

Gusto's Groovy Gumbo Volume 35

As stated last week, I wanted to do something special for my final Gusto's Groovy Gumbo offering and I really feel I've achieved that here, on several fronts. First, the possible bad news ... if you've collected all of my artist retrospective's then you have these songs already as I've amassed this final collection with at least one offering from each of them to date. The good news however, comes in form of the arrangement itself. Each one of these 65 selections are tried, tested and true songs that have deeply moved me in one way or another. Like the artist retrospectives and GGG volumes 31-34, this one is in chronological order and spans 1960 to 1975. Due to this, some of you will prefer the earlier half and some the later half but I implore you to give this entire compilation a fair shake all the way through. I've spent a lot of time with this particular set of songs (reducing surface noise, adjusting gain and levels for congruity sake) and even tried several prototypes in a more mixed-bag format but I really feel this one works best with songs delivered in it's intended order. Also, some of you may be wondering about the image used for this one ... Gusto was my beloved mutt of fifteen years. I started this blog and the compilation series, in-part, as an homage to him after his passing last summer. This photo is the view from the tree he's buried beneath. It's beautiful place for a beautiful soul and somewhere we spent many o' wonderful times. Maybe mildly morbid but an appropriate image for this final installment. Lastly, I can't thank you all enough for the kind words, positive feedback, gap filling, file sharing and consistent interest and encouragement. It means more to me than I can articulate, that you've chosen to join me in this journey. Thank you dearly and now without further ramblings ...


Gusto's Groovy Gumbo Volume 35

01. Sam Baker - 1960 - So Long
02. Larry Birdsong - 1960 - I'm So Glad You're Home
03. Ann Cole - 1960 - Brand New House
04. Bobby Bland - 1961 - How Does A Cheating Woman Feel
05. The Famous Flames - 1961 - I Don't Mind
06. The Chantels - 1961 - Anytime Anyplace Anywhere
07. Gene Allison - 1961 - If I Ever Needed Your Love (I Need It Now)
08. Mitty Collier - 1962 - One More Time
09. The Falcons & Ohio Untouchables - 1962 - I Found A Love
10. Sugar Pie DeSanto - 1962 - I Cry Alone
11. Robert Ward & Ohio Untouchables - 1962 - I'm Tired
12. Jo Armstead - 1963 - Sitting Here Thinking
13. The Majestics - 1963 - Baby
14. Bobby Byrd - 1964 - I Love You So
15. Jessie Hill - 1964 - Never Thought
16. Slim & Ann - 1965 - Close To You
17. Little Milton - 1965 - Your People
18. Harold Burrage - 1965 - I'm In Love
19. Eddie & Ernie - 1965 - Turn Here
20. Ted Taylor - 1966 - Help the Bear
21. Otis Clay - 1966 - I Don't Know What I'd Do (256kbs)
22. Vernon Garrett - 1966 - I'm Guilty
23. The Kelly Brothers - 1966 - I'd Rather Have You
24. Clarence Ashe - 1966 - She Said I'll Be A Failure
25. Betty LaVette - 1966 - Cry Me A River
26. Mighty Hannibal - 1966 - The Right To Love You
27. The Sensations - 1966 - Get On Up Mama
28. Roscoe Shelton - 1966 - Soon As Darkness Falls
29. Mighty Clouds Of Joy - 1967 - I'm Glad About It
30. The Jive Five - 1967 - No More Tears
31. Irma Thomas - 1967 - Somewhere Crying
32. Johnnie Mae Matthews - 1967 - You're The One
33. The Masqueraders - 1967 - I Don't Want Nobody To Lead Me On
34. The Vibrations - 1968 - Love In Them There Hills
35. Darnell Banks - 1968 - I Wanna Go Home
36. George Jackson - 1968 - Cold Cold Love
37. Mable John - 1968 - Running Out
38. Howard Tate - 1968 - Give Me Some Courage
39. Wilson Pickett - 1969 - Toe Hold
40. Earl Gaines - 1969 - The Meaning Of A Sad Song (Medley)
41. The Monitors - 1969 - Guilty
42. Johnnie Taylor - 1969 - Steal Away
43. Erma Franklin - 1969 - Baby I Love You
44. Brothers Of Soul - 1969 - Come On Back
45. Chuck Bernard - 1970 - Turn Her Loose
46. Carolyn Franklin - 1970 - Chain Reaction
47. Bobby Powell - 1970 - Don't Do It
48. Gloria Ann Taylor - 1970 - Unyielding
49. The Volumes - 1970 - Am I Losing You
50. Ruby Andrews - 1970 - Tit For Tat
51. The Nite-Liters - 1970 - Horny Man
52. Sisters Love - 1970 - Ha Ha Ha
53. Eddy Giles - 1970 - Ain't Gonna Worry No More [alt]
54. Ollie Nightengale - 1971 - I'll Take Care Of You 
55. TSU Toronados - 1971 - Only Inside
56. Sam Dees - 1971 - Put You Back In Your Place
57. Funk Inc. - 1972 - The Better Half
58. New Birth - 1972 - African Cry
59. Betty LaVette - 1973 - Livin' Life On A Shoestring
60. Ohio Players - 1973 - Food Stamps Y'all
61. Veda Brown - 1973 - I Can See Every Woman's Man But Mine
62. O.V. Wright - 1973 - Drowning On Dry Land
63. Allison & South Funk Blvd. Band - 1974 - Never Let Your Love Grow Cold
64. Rev. Julius Cheeks - 1975 - Fly Away
65. Pazant Brothers & Beaufort Express - 1975 - You've Got To Do Your Best

(All files MP3 @ 320kbs unless otherwise noted)

Wednesday, 1 August 2018

Cry Me A River

The competition for my second favorite female soul vocalist is both vast and fierce but the number one spot is a no-brainer! It belongs to the incredible Bettye LaVette. Sure, there are plenty of ladies with greater octave range, larger catalog's and considerably more chart success but Bettye's voice gets under my skin like no one else's. This is one of the first collections I ever wanted to post but couldn't find an audible version of one song despite searching often for well over a year. I recently rectified that and am so very pleased to finally share this collection.


LaVette was born in Muskegon, Michigan and raised in Detroit. Unlike many of her contemporaries, she did not begin singing in the church, but in her parents' living room, singing R&B and country and western music. She was signed by Johnnie Mae Matthews, a local record producer. In 1962, aged sixteen, she recorded a single, 'My Man, He's A Lovin' Man', with Matthews, which became a Top Ten R&B hit after Atlantic Records bought distribution rights. This led to a tour with rhythm and blues musicians Clyde McPhatter, Ben E. King, Barbara Lynn, and then-newcomer Otis Redding. She next hit the charts with 'Let Me Down Easy' on Calla Records in 1965. This led to a brief stint with The James Brown Revue. After recording several singles for local Detroit labels, LaVette signed to the Silver Fox label in 1969. She cut a handful of tracks, including two Top 40 R&B hits: 'He Made A Woman Out Of Me' and 'Do Your Duty'. The Memphis studio musicians on these recordings have since become known as The Dixie Flyers. In 1972, she signed once again with Atlantic/Atco. She was sent to Muscle Shoals Sound Studio in Alabama to record what was to be her first full-length album. Titled Child Of The Seventies, it was produced by Brad Shapiro and featured the Muscle Shoals Rhythm Section, now known as The Swampers, but Atco chose not to issue the album. The mid 70s saw a brief stint and two 45s with Epic, and in 1978 she released the disco smash on West End Records 'Doin’ The Best That I Can'. In 1982, she was signed by her hometown label, Motown, and sent to Nashville to record. The resulting LP (her first album actually issued), titled Tell Me A Lie, was produced by Steve Buckingham. The first single, 'Right In The Middle (Of Falling In Love)' hit the R&B Top 40. She briefly gave up recording for a six-year run in the Broadway smash Bubbling Brown Sugar, appearing alongside Honi Coles and Cab Calloway. Fast forward roughly fifteen years, after LaVette had played her own personal mono recordings of Child Of The Seventies for Gilles Petard, a French soul music collector, he sought the master recordings at Atlantic, whose personnel had previously thought they had been lost in a fire some years back. In 1999, he finally discovered the masters and then licensed the album from Atlantic and released it in 2000 as Souvenirs on his Art and Soul label. At the same time, Let Me Down Easy — Live In Concert was issued by the Dutch Munich label. Both albums sparked a renewed interest in LaVette and in 2003, A Woman Like Me (produced by Dennis Walker) was released. A slough of awards and further albums followed in the coming decade and a half, with her most recent released just earlier this year. However, the focus of this collection is the less blues-laden earlier portion of LaVette's career.

Cry Me A River assembles a complete and chronicled career retrospective from 1962 to 1984, including both issued and unissued recordings. Most of this material has been re-issued in the past two decades and is easily available, with the exception of the Karen Records singles and a couple one-offs. All but these few offerings were sourced from FLAC. I did my best to clean up the less desirable tracks, all files cleanly tagged and exported as MP3 @ 320kbs. Thanks to original uploaders, enjoy.

CMAR01 *New Link*
CMAR02 *New Link*

*UPDATED*
Good news ... I found a few more tracks and corrected the minor discrepancies with dates.
Bad news ... I'm now missing two sides to truly complete this collection. Happy hunting!
70. Bettye Lavette - 1978 - Doin' The Best That I Can Pt. 2 (West End 1213)
89. Betty LaVett - 1984 - Have You Tried Jesus (Get Down 5484)

Monday, 30 July 2018

You Can't Run Away From Love

Here we have the most ironic collection I've assembled to date. Thanks to the fine folks at Kent/Ace, there's more than 6 full-length CD collections containing the rare and unissued recordings of George Jackson (well over 100 tracks), showcasing a treasure trove of impressive efforts by this prolific singer/songwriter. And while these gems vastly outnumber Jackson's 50-60 issued recordings, they're also much easier to track down than Jackson's official releases.


Jackson was born in Indianola, Mississippi, and moved with his family to Greenville at the age of five. He started writing songs while in his teens, and in 1963 introduced himself to Ike Turner. Turner took him to Cosimo Matassa's studios in New Orleans to record "Nobody Wants to Cha Cha With Me" for his Prann label, but it was not successful. Jackson then traveled to Memphis to promote his songs, but was rejected by Stax before helping to form vocal group The Ovations with Louis Williams at Goldwax Records. Jackson wrote and sang on their 1965 hit 'It's Wonderful To Be In Love', which reached #61 on the Billboard Hot 100 and #22 on the R&B chart. He also wrote for other artists at Goldwax, including Spencer Wiggins and James Carr, and recorded with Dan Greer as the duo George and Greer. After the Ovations split up in 1968, he recorded briefly for Hi Records, and also for Decca using the pseudonym Bart Jackson. As a singer, he had a versatile tenor that was influenced by Sam Cooke, and released many records over the years, for a host of different labels, but his recordings never made him a star. At the suggestion of record producer Billy Sherrill, Jackson moved to Rick Hall's FAME Studios at Muscle Shoals in the late 60s, where he wrote for leading singers including Clarence Carter - whose 'Too Weak To Fight' reached #13 on the pop chart and #3 on the R&B chart in 1968 - Wilson Pickett, and Candi Staton. Some of Jackson's songs for Staton, including her first hit in 1969, 'I'd Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool)'. Jackson also recorded for Fame Records, and had his first chart success as a singer in 1970 with 'That's How Much You Mean To Me', which reached #48 on the R&B chart. In 1972 he briefly rejoined the Hi label, and had his second and last solo recording success with 'Aretha, Sing One For Me', an answer song to Aretha Franklin's 'Don't Play That Song'; Jackson's song reached #38 on the R&B chart. He then released several singles for MGM Records, while continuing to write for other artists. In the early 70s he began working as a songwriter for the Muscle Shoals Sound Studio and, with Thomas Jones III, wrote 'Old Time Rock & Roll' which Bob Seger recorded in 1978; Seger's version reached #28 on the pop chart. While with Muscle Shoals Sound, he also wrote 'Down Home Blues', recorded by Z.Z. Hill, which became a theme tune for Malaco Records in the 80s, 'Unlock Your Mind', recorded by the Staple Singers and a #16 R&B hit in 1978; and 'The Only Way Is Up', originally recorded by Otis Clay in 1980. In 1983, Jackson formed his own publishing company, Happy Hooker Music, before joining Malaco Records as a staff songwriter. There he wrote hits for Johnnie Taylor, Bobby Bland, Latimore, Denise LaSalle, and Z.Z. Hill. Between 2011 and 2013 Kent released 3 Unissued Fame Recordings Collections. Jackson died on April 14, 2013, at his home in Ridgeland, Mississippi, from cancer at the age of 68.

You Can't Run Away From Love collects pretty close to (if not) everything "currently" available. The 3 Rare Fame Recordings CDs, The Fame Sessions LP, Leaving Your Homework Undone, George Jackson In Memphis, George Jackson & Dan Greer At Goldwax (all @ 320kbs) and as indicated above, a Groovy Gumbo special ... the now-rare issued recordings of George Jackson and a handful of unissued recordings that are surprisingly not featured on the fore mentioned Kent collections. Quality of source files in singles collection range from FLAC to YT capture, I've done my best to clean em up but it is what it is. All files chronicled, cleanly tagged and exported as MP3 @ 320kbs. Thanks to original uploaders, enjoy.

GJ01 *New Link*
GJ02
GJ03

*Extract parts 2 and 3 together

Saturday, 28 July 2018

Two Time Loser

I don't mind any regulars here making requests but I'll be straight, if the artist doesn't interest me, I'm not gonna get to it. That said, here's a requested retrospective that was both a real challenge and absolute pleasure to put together. Allen Rathel Bunn who was sometimes credited as Alden Bunn was an American singer, guitarist and songwriter whose work spanned gospel, blues, doo-wop, R&B, pop, and rockabilly. After singing in various gospel groups he became a member of The Larks before recording with his wife Anna Lee 'Little Ann' Sandford, under the more recognized name of Tarheel Slim.


Bunn was born in Bailey, North Carolina and initially he worked in local tobacco fields, but by the early 1940s he had started singing with various gospel groups, including the Gospel Four and the Selah Jubilee Singers, where he joined the latter group's founder, Thermon Ruth. Bunn was the group's baritone and second lead singer, and provided guitar accompaniment. In 1949, Ruth and Bunn decided to form a secular singing group as a spin-off from the Selah Jubilee Singers. Initially called the Jubilators, the group recorded for four different record labels in New York under four different names on one day in 1950. Eventually settling on the name The Larks, the group's recording of 'Eyesight To The Blind' on the Apollo label, with lead vocals and guitar by Bunn, reached #5 on the Billboard R&B chart in July 1951; and the follow-up, 'Little Side Car' also sung by Bunn, reached #10 on the R&B chart later the same year. The Larks then toured with Percy Mayfield and Mahalia Jackson. Early in 1952, Allen Bunn (so credited) left for a solo career, first recording blues for Apollo, accompanied by Sonny Terry and Brownie McGhee, and then moving to Bobby Robinson's Red Robin label in 1953. Around 1955, he married Anna Lee Sandford and they began singing together, recording as The Lovers for the Lamp label, a subsidiary of Aladdin Records. Their first record together, 'Darling It's Wonderful' written by Bunn and arranged by Ray Ellis, reached #15 on the R&B chart and #48 on the Billboard pop chart, in 1957. Bunn also managed, and recorded with, a group known variously as the Wheels. Bunn returned to solo recording, using the name Tarheel Slim, in New York in 1958, for producer Bobby Robinson's Fury label. His first recordings for Fury, 'Wildcat Tamer/Number 9 Train' have been described as "a pair of rockabilly rave-ups". Both sides of the record featured guitarist Jimmy Spruill as well as Bunn. However, the record was not a success at the time, and Bunn's later recordings for Robinson's Fire and Fury labels, in the late 1950s and early 1960s, were all co-credited to the duo of Tarheel Slim and Little Ann. Their first record for Fire, 'It's Too Late' – described as "a doom laden dirge with Slim's tremolo laden guitar work and Ann breaking down into a sobbing fit at the end" – reached #20 on the R&B chart in 1959, the record was also issued on the Checker label. Later records by Tarheel Slim and Little Ann covered a variety of styles, including rockabilly, but none were commercial successes. The duo recorded briefly for Atco Records in 1963, but then disappeared from view. In the early 70s, Tarheel Slim was "rediscovered" by researcher Peter Lowry, and emerged to play solo, with acoustic guitar in the style of Brownie McGhee, at festivals and for college audiences. He recorded an album, No Time At All, released on Trix Records in 1975, with pianist Big Chief Ellis on some tracks. The following year he also played with John Cephas on Ellis' own album. Tarheel Slim was diagnosed with throat cancer in 1977, and died from pneumonia brought on by chemotherapy, at the age of 53.

Two Time Loser is a damn near complete collection of Bunn/Slim's secular recordings from 1949 to the mid 60s including late 40s unissued cuts with Dan Pickett, his singles with the Larks and solo efforts for Apollo, 5 of the 6 sides cut for Lamp Records and the Checker 45 (as The Lovers), the complete Fury Records recordings (as Tarheel Slim & Little Ann), their later one-off's with Enjoy, Port and Atco (less 1 side) and an unissued track. As an added BONUS I've included a zip with both of the mid 70s Trix Records LPs. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

*Missing
41. The Lovers - 1957 - Love Bug Bit Me (Lamp 2018 *Promo)
61. Tarheel Slim & Little Ann - 1963 - Goodnight Irene (Atco 6259)