Friday, 14 December 2018

Starving For Love

From the mid 60s through to the early 70s, Ella Washington etched out a fairly impressive collection of recordings although unfortunately, went largely unnoticed. Though in certain circles along the southern circuits, she was accordingly revered and often described as "an outstanding southern soul vocalist" ... best known for her 1969 hit 'He Called Me Baby'.


Washington was born in Miami, Florida, and first recorded in 1965 for the local Octavia label. Her single 'The Grass Always Seems Greener' was leased to Atlantic Records for release, but did not achieve commercial success. In 1967, she began recording for the Sound Stage 7 label in Nashville, Tennessee. Several of her records were produced by radio disc jockey John Richbourg, and were recorded in Muscle Shoals, Alabama. Her third single for Sound Stage 7, 'He Called Me Baby', was a reworking of a 1962 song by Harlan Howard (originally 'She Called Me Baby'), which had previously been recorded by many country singers including Bobby Bare and Patsy Cline. Washington's version reached # 77 on the Billboard Hot 100, and # 38 on the Billboard R&B chart, but was her only hit record. However, she released a self-titled LP in 1969, and a succession of singles on the Sound Stage 7 label through to 1972, including 'Stop Giving Your Man Away' and 'Trying To Make You Love Me'. In 1973, Washington turned from secular to gospel music. She sang 'Amazing Grace' and 'Because He Lives' at John Richbourg's funeral in 1986. By 2009, as Ella Washington Cobbs, she was pastor at Theos Ministries church in Opa-locka, Miami-Dade County, Florida.

Starving For Love collects the complete secular works of Ella Washington, including the early Octavia singles, her lone LP and all the 45s cut for Sound Stage 7, plus close to ten unissued recordings. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

Wednesday, 12 December 2018

GGG Presents Deep Dish Delicacies Vol. 06

Time for my favorite bi-weekly occurrence, next to pay day of course ... time to unleash another installment in the Deep Dish Delicacies series. I love putting these compilations together just as much as I love listening to them around the house or in the car whilst commuting. Enjoy.


 GGG Presents Deep Dish Delicacies Vol. 06

01. William Bell - 196X - What Did I Do Wrong (Unissued)
02. Jimmy Hughes - 1966 - I Worship The Ground You Walk On (Fame 1006)
03. Don Bryant - 1966 - I'll Do The Rest (Hi 2104)
04. Roscoe Robinson - 1967 - Darling, Please Tell Me (Sound Stage 7 2595)
05. Syl Johnson - 1967 - Things Ain't Right (Special Agent 201)
06. Ella Washington - 1969 - Doing The Best I Can (Sound Stage 7 2650)
07. Clarence Reid - 1967 - Don't Be A Fool (Deep City 2377 - Unissued)
08. The Hesitations - 1969 - Good To Me (As I Am To You) (GWP Unissued)
09. Reuben Bell - 1969 - Too Late (Murco 1052)
10. Darrell Banks - 1968 - I Wanna Go Home (Cotillion 44006)
11. Willie Hobbs - 1971 - You Don't Know What You Got ('til You Lose It) (Seventy Seven 101)
12. Bobby Bland - 1973 - This Time I'm Gone For Good (ABC Dunhill 14369)
13. Clarence Carter - 1973 - I Got Another Woman (Fame FM-LA186-F)
14. Little Milton - 1976 - You're Gonna Make Me Cry (Glades LP 7508)
15. Tyrone Davis - 1975 - Don't Let It Be Too Late (Dakar DK 76918)
16. Wilson Pickett - 1975 - Gone (RCA 6294)
17. Al Green - 1973 - Free At Last (Hi SHL 32082)
18. Trudy Lynn - 1973 - What A Waste (Sinett 007)
19. Howard Tate - 1971 - You Don't Know Anything About Love (Atlantic 2860)
20. JP Robinson - 1972 - The Price (Atco 6909)
21. Percy Sledge - 1969 - Wanted (Atlantic ATC 9210)
22. Danny White - 1967 - Kiss Tomorrow Goodbye (Decca 32106)
23. Kip Anderson - 1967 - You'll Lose A Good Thing [alt] [w Moses Dillard] (Excello Unissued)
24. Webs - 1968 - It's So Hard To Break A Habit (Popside 4595)
25. Johnny Robinson - 1968 - Poor Man (Okeh 7317)


Monday, 10 December 2018

Time And Place

Deep soul growlers don't get much greater than this I tells ya! A gargantuan set of pipes with a gruffed up, gritty delivery - like a raging inferno from deep down in the gut, incinerating his throat, scorching his tongue and lashing whips of flame from his lips with each and every verse. Despite his relaxed demeanor, Lee Moses was one of the most impassioned vocalists of the mid to late 60s and laid down some of the finest deep soul offerings of all time. Moses never made it big so I imagine most of his performances were in a supporting role and I can only imagine the pressure any headliner would feel knowing they had to follow it up with something more impressive.


Moses was born in Atlanta, Georgia, and attended Booker T. Washington High School. In the late 50s he formed his first band, the Showstoppers. They became a popular live act in the Atlanta area, and were at one time the house band at the Royal Peacock club. Moses moved to New York City in the mid 60s, where he worked as a session musician as well as recording with Johnny Brantley, who co-wrote and produced his first single, "My Adorable One", in 1965. In 1967 he recorded three commercially unsuccessful singles for the Musicor label, including "Bad Girl" and an instrumental version of The Four Tops' "Reach Out, I'll Be There". He also recorded a version of "Dark End of the Street", issued by Gates Records probably in 1969. Moses' guitar style has been described as 'funky' and likened to that of Jimi Hendrix, a contemporary of his on the club scene of the mid 60s. He has also been praised for his "rough and powerful deep soul singing style". In 1970, he released a single, "Time and Place", on the Maple label, a subsidiary of All Platinum Records. This was followed by a nine-track LP of the same name, again produced by Brantley, which contained his versions of several classic songs of the period including "Hey Joe". The album featured several members of The Ohio Players, as well as Moses' own band, The Disciples. Although the album has since been described as "a revered and highly sought-after lost treasure for deep soul fans and collectors", it was a commercial failure at the time. Moses also worked with fellow Atlanta native The Mighty Hannibal on his 1973 album, Truth. He returned to Atlanta in the early 70s, and continued to perform locally, but did not record again. He died there from lung cancer in 1997.

Time And Place is essentially the 2xLP compilation (of the same name), released in 2007, just chronicled and re-tagged with the original release info included. All files cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

Friday, 7 December 2018

Will You Ever Be Mine

For the life of me, I can't figure out why this guy isn't a house hold name. Sure, he had a solid cult following in certain circles of soul aficionado's and was well received by northern soul audiences in the UK, but for the most part, Donnie Elbert went largely unnoticed in the USA. This collection was recently requested so here's hoping this fantastic and unique vocalist finds a few new fans.


Elbert was born in New Orleans, Louisiana, but when aged three his family relocated to Buffalo, New York. He learned to play guitar and piano as a child, and in 1955 formed a doo-wop group, the Vibraharps, with friend Danny Cannon. Elbert acted as the group's guitarist, songwriter, arranger, and background vocalist, making his recording debut on their single "Walk Beside Me". He left the group in 1957 for a solo career, and recorded a demonstration record that earned him a recording contract with the King label's DeLuxe subsidiary. His solo debut "What Can I Do?" reached #12 in the U.S. R&B chart, and he followed it up with the less successful "Believe It or Not" and "Have I Sinned?", which became a regional hit in Pittsburgh. He continued to release singles on DeLuxe, but with little commercial success, and also played New York's Apollo Theater and toured the chitlin' circuit of African-American owned nightclubs. After completing an album, The Sensational Donnie Elbert Sings, he left DeLuxe in 1959, joining first Red Top Records, where in 1960 he recorded "Someday (You'll Want Me to Want You)", and then Vee-Jay Records, where he had another regional hit with "Will You Ever Be Mine?," which reportedly sold 250,000 copies in the Philadelphia area but failed to take off nationwide. His career was also interrupted by a spell in the US Army, from which he was discharged in 1961. He then recorded singles for several labels, including Parkway, Cub and Checker, but with little success. However, although the 1965 Gateway label release of "A Little Piece of Leather" failed to chart in the US, the record became a #27 pop hit when released on the London label in the UK several years later in 1972, and remains a Northern soul favorite. Elbert relocated to the UK in 1966, where he married. There, he recorded "In Between The Heartaches" for the Polydor label in 1968, a cover version of the Supremes' hit "Where Did Our Love Go?". and an album of Otis Redding cover versions, Tribute To A King. His 1969 Deram release "Without You" had a rocksteady rhythm, and went to the top of the Jamaican charts. He returned to the US the same year and had his first US chart hit in over a decade with the Rare Bullet release, "Can't Get Over Losing You," which reached #26 on the Billboard R&B chart. The track and its b-side, "Got To Get Myself Together", both written by Elbert, were released several times on different labels in subsequent years. After the success of that record, Elbert moved labels for a re-make of the Supremes' 1964 hit, "Where Did Our Love Go?" on All Platinum. It became his biggest hit, reaching #15 on the Billboard pop chart, #6 on the R&B chart, and (in 1972) #8 in the UK. Its follow-up, "Sweet Baby" reached #30 on the R&B chart in early 1972. Elbert then signed with Avco-Embassy, where he entered the recording studio with the successful production team of Hugo & Luigi. His cover of the Four Tops' "I Can't Help Myself" reached #14 on the Billboard R&B chart, but climbed as high as #2 on the alternative Cashbox R&B chart. Elbert baulked at the label's insistence that he record material associated with Motown and departed with only a few tracks left to record for an album. Even so, the album was released after Avco sold it on to a budget label, Trip. He returned to All Platinum and had a run of minor R&B hits, but left after a disagreement over the claimed authorship of Shirley & Company's R&B chart-topper "Shame Shame Shame", which was credited to label owner Sylvia Robinson. Elbert was also involved in a copyright wrangle over Darrell Banks' major R&B and pop hit in 1966, "Open The Door To Your Heart". He had originally written the song as "Baby Walk Right In" (still its alternative legal title) and given it to Banks, but received no writing credit on the original record. Eventually, the matter was resolved by BMI with a disgruntled Elbert awarded joint authorship with Banks. "Open The Door" has since been given award-winning status by BMI and is one of over 100 songs written or co-written by Elbert. For 1975's "You Keep Me Crying (With Your Lying)," Elbert formed his own label and "I Got to Get Myself Together," appeared on an imprint bearing his surname, but it was among his final recordings. By the mid-1980s, Elbert had retired from performing and became director of A&R for Polygram's Canadian division. He suffered a massive stroke and died in 1989, at the age of 52.

Will You Ever Be Mine gathers the near entirety of Donnie Elbert's 20 year career ... six full length LPs (1968-77), a 45s collection (1957-77), some late mid/late 70s re-recordings and a handful of unissued cuts. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

DE01
DE02

*missing 45*
Donnie Elbert - 1961 - Lucille (I've Done You No Wrong) (Jalynne 110)
Donnie Elbert - 1961 - What You're Doing To Me (Jalynne 110)

Wednesday, 5 December 2018

GGG Presents Goodie Grab Bags Volume 10

Picking up the pace a bit with a Goodie Grab Bag chock full of plenty "get up and go"! We've got gritty groovers from Leroy & The Drivers, pulsating floor fillers from The Electric Express and some polished party favors from Berry Gordy's pet production project, Bottom & Co.


Leroy & The Drivers - Discography 1967-70 [7sides]

01. Leroy & The Drivers - 1967 - Blow Wind (Coral 62515)
02. Leroy & The Drivers - 1967 - L-O-V-E (Coral 62515)
03. Leroy & The Drivers - 1967 - Don't Ever Leave Me (Coral 62544)
04. Leroy & The Drivers - 1967 - You Picked The Wrong Time (Coral 62544)
05. Leroy & The Drivers - 196X - I Wake Up Crying (Unissued)
06. Leroy & The Drivers - 1970 - Rainy Night In Georgia (Duo 7458)
07. Leroy & The Drivers - 1970 - The Sad Chicken (Duo 7458)

The Electric Express - Discography 1971-73 [10sides]

01. The Electric Express - 1971 - It's The Real Thing Part 1 (Linco 1001)
02. The Electric Express - 1971 - It's The Real Thing Part 2 (Linco 1001)
03. The Electric Express - 1971 - Where You Coming From Part 1 (Linco 1002)
04. The Electric Express - 1971 - Where You Coming From Part 2 (Linco 1002)
05. The Electric Express - 1972 - I Can't Believe We Did (The Whole Thing) (Linco 1003)
06. The Electric Express - 1972 - Bee Pee (Linco 1003)
07. The Electric Express - 1973 - Life Ain't Easy Part 1 (Linco 152)
08. The Electric Express - 1973 - Life Ain't Easy Part 2 (Linco 152)
09. The Electric Express - 197X - Hear Say Part 1 (Key Vac 2930)
10. The Electric Express - 197X - Hear Say Part 2 (Key Vac 2930)

Bottom & Co. - Discography 1974-76 [14sides]

01. Bottom & Co. - 1974 - You're My Life (Motown 1291)
02. Bottom & Co. - 1974 - Gonna Find A True Love (Motown 1291)
03. Bottom & Co. - 1974 - Spread The News (Motown 1309)
04. Bottom & Co. - 1974 - Love Pains (Motown 1309)
05. Bottom & Co. - 1975 - Here For The Party (Motown 1363 F)
06. Bottom & Co. - 1976 - Here For The Party (Gordy LP G6-977 S1)
07. Bottom & Co. - 1976 - You Can Belong To Me (Gordy LP G6-977 S1)
08. Bottom & Co. - 1976 - Firefly (Gordy LP G6-977 S1)
09. Bottom & Co. - 1976 - Do A Funky Thing Together (Gordy LP G6-977 S1)
10. Bottom & Co. - 1976 - Do You Wanna Do A Thing (Gordy LP G6-977 S1)
11. Bottom & Co. - 1976 - Let's Get Down (Gordy LP G6-977 S1)
12. Bottom & Co. - 1976 - Love Is You And Me (Gordy LP G6-977 S1)
13. Bottom & Co. - 1976 - Ticket To The Moon (Gordy LP G6-977 S1)
14. Bottom & Co. - 1976 - Don't Get Excited (Gordy LP G6-977 S1)

Monday, 3 December 2018

No Time To Cry

From deliciously rich Doo-Wop, to raucous R&B, through varying landscapes of sweet and deep Soul, pop standards to feverish funk, and even flirtations with the foundations of disco ... in two busy decades, Earl Lee Nelson established himself an absolute legend of soul music. Earl "who?" you might be asking yourself, and despite my previous statement, it's a fair question. With less than a handful of offerings released under his real or full name, I would not be surprised if you're in the cold here. But have you ever heard of The Hollywood Flames, The Satellites, maybe Bob & Earl? Getting warmer perhaps? How about Jay Dee and/or Jackie Lee? Now we're cooking with fire I suspect. The tale of this top-tier tenor trudges through some murky waters, however, with the help of several sources, I'll do my best to navigate us straight and true.


Born September 8, 1928 in Lake Charles, LA, Nelson cut his teeth singing in his church's gospel choir. His family relocated to Los Angeles in 1937, and at age 17 he enlisted in the U.S. Army, working on the construction of the Panama Canal. Upon returning to civilian life he began singing with a variety of Los Angeles-area Doo Wop and R&B acts, usually in collaboration with vocalist Bobby Byrd (aka Bobby Day). Bobby Day, of course, is best known for his 1958 #2 hit 'Rockin' Robin'. But long before that, in 1949, Bobby (then known under his real name, Robert Byrd) was a founding member of the Flames, later The Hollywood Flames. This group recorded prolifically for labels like Unique, Recorded in Hollywood, Specialty, Lucky and Aladdin. The L.A. scene was deceptively small at that time with most of the vocal groups consisting of a revolving cast of less than a dozen vocalists all together. The Hollywood Flames in a sense were the hub of this rotation as Bobby Day and the majority of other members made up local backing acts such  as The Tangiers, The Satellites, The Pelicans, The Ebbtides, The Jets, The Fellows, etc. These outfits (effectively The Hollywood Flames) backed up a whole host of artists and solo endeavors by Flames members. Several members also enlisted other artists to form new groups of their own, most notably, The Turks perhaps. The first of these off-shoots to involve Earl Lee Nelson was The Voices (with Bobby Day). In 1955 they released four singles for cash Records before changing their name to The Sounds and releasing a pair of singles for Modern Records. The following year Day enlisted Nelson (along with HF members) to back up his first solo release as Bobby 'Baby Face' Byrd & The Birds. The Birds then became The Satellites who backed up Bobby Day on further records. 1957 was a mighty big year for Nelson ... The Birds/The Satellites/The Hollywood Flames connection, among others, backed him up (as The Pelicans) for his solo debut single 'Oh Gee, Oh Golly / I Bow To You' for Class Records, Nelson and Day debuted as vocal duo Bob & Earl and Nelson was officially rotated into The Hollywood Flames as a featured lead vocalist. His debut single as a Flame was 'Buzz Buzz Buzz' for John Dolphin, who sold the master to Lee Rupe for release on her Ebb label. It peaked at #11 on the pop charts and #5 on the R&B lists in early 1958. This was followed by a long line of further releases on Ebb (1957-59), and then Atco (1959-60) with Nelson now assuming the majority of leads. During this stretch Nelson was also (in varying degrees) involved with recordings by The Satellites, The Tangiers, The Searchers, The Fellows and had a few more singles with Day, as Bob & Earl. Having several identities could be quite lucrative. By changing names and clothes, Bobby and Earl sometimes managed to be on the same bill three times: as The Hollywood Flames, as Bob & Earl and as Bobby Day & The Satellites. They were all the same four guys! In 1959 Nelson had a solo single and a final entry for Ebb Records. Following their Atco sessions Bobby Day left The Hollywood Flames and Bob & Earl for a solo career. Nelson also left The Hollywood Flames but was not ready to let the duo go and enlisted Bobby Relf (from The Laurels) to become the new Bob. Relf had also briefly been a member of Earl Nelson & The Pelicans. This incarnation of Bob & Earl first recorded in 1962, cutting a pair of singles ('Don't Ever Leave Me / Deep Down Inside') for the Tempe label. After a move to the Marc imprint, the duo entered the studio in 1963 alongside accompanist Barry White to record 'Harlem Shuffle', which Nelson and Relf co-wrote in emulation of singer Round Robin's 'Slauson Shuffletime' - the gritty, sinuous track remains an R&B landmark, reaching the U.S. Top 50 and becoming an even bigger hit in the U.K. Despite the success of 'Harlem Shuffle' Bob & Earl's follow-up releases - including 'My Woman', 'Your Lovin' Goes A Long, Long Way', and 'Baby I'm Satisfied' - fared poorly, and in 1965 Nelson re-launched his solo career with the Mira Records single 'Ooh Honey Baby', credited to Earl Cosby. His next effort, 'The Duck', for Mirwood Records, was instead attributed to Jackie Lee [Jackie was Earl's wife's name and Lee was his own middle name]- the single cracked the R&B Top Five and hit the Top 20 on the pop charts as well, guaranteeing Nelson would continue recording under this latest alias. While he did not return to the charts, Mirwood releases including 'Do The Temptation Walk', 'The Shotgun & The Duck', 'Oh! My Darlin' and 'Darkest Days' all later made Earl Lee Nelson an immortal within the ranks of Britain's Northern soul revival culture. However, by 1967 Nelson left Mirwood Records and production finally slowed down a bit; seeing only a handful of sporadic Jackie Lee and/or Bob & Earl singles for Keymen, ABC, Crestview, Uni and Capitol Records through to 1971. Reuniting with Barry White, who produced the 1974 comeback attempt 'Strange Funky Games & Things' (credited to Jay Dee) for Warner Bros. The record was a flop unfortunately and Nelson's recording career ground to a halt. Nelson nevertheless continued playing live across L.A. for decades to follow - after a long battle with Alzheimer's disease, he died July 12, 2008, at the age of 79.

No Time To Cry comes pretty close to the complete package. I know I'm missing five tracks for sure and (given the vast nature of the collection, the passage of time and margin for human error) possibly more. That said, all the fore mentioned efforts are here ... as member of The Voices, The Sounds, The Satellites, The Hollywood Flames, Bob & Earl, etc and the solo efforts as Earl Nelson/Cosby, Jackie Lee, Jay Dee and much more. Source files range from FLAC to stream capture, I've done my best to clean up the rough ones. All files chronicled, cleanly tagged and exported as MP3 @ 320kbs. Thanks to original uploaders, enjoy.

ELN01
ELN02

*missing single sides*
Bob & Earl - 1964 - As We Dance (Tip 1013)
Bob & Earl - 1970 - Uh Uh Naw, Naw Naw (Uni 55196)
Bob & Earl - 1970 - Honey, Sugar, My Sweet Thing (Uni 55248)
Jackie Lee - 1971 - Twenty-Five Miles To Louisiana (Capitol 3145)
Smoke - 1972 - Love Let's Be Happy Now (Mo-Soul 45-1971)

Friday, 30 November 2018

I Won't Be Your Fool

Who's Who? Part 2(b)

This particular Joe Hinton was also known as Little Joe Hinton and also known as Jay Lewis and sometimes, just Jay. He was the co-writer of over a 100 songs, the biggest success being "Gotta Hold On To This Feeling" for Jr. Walker in 1970. Popular Soul Craft single for David Will, "Loneliness" was also one of his compositions. He also released one Motown single of his own, "Let's All Save The Children" and wrote with many of the house writers at the label.


Initially recording as Little Joe Hinton for the Arvee label in 1961 and moving to Kent Records the following year, by 1963 he was in need of name change due to the minor success of Peacock/Back Beat's Joe Hinton. Changing his name to Jay Lewis, he cut a pair of 45s for Capitol Records in 1963 and followed it up the next year with a duet 45 for ABC, featuring his wife (record producer, DJ & singer) Zilla Mays. Signing with DRA Records in 1965, he had another pair of 45s under his belt by 1966. A lone single on Venture Records was issued in 1968 and then a few years of silence, surfacing again in 1971 on Motown subsidiary Soul Records. This time however, with the earlier passing of his contemporary, as Joe Hinton. Signing with the Hotlanta label in 1973, Hinton had a few singles with the label before calling it a day in 1975.  His voice on these cuts sounds very much like Willie Hutch. Most, if not all these sessions were recorded at the Sound Pit in Atlanta G.A. and engineered by Milan Bogdan. The Sound Pit studio was owned by Michael Thevis who was later convicted of crimes relating to his porn empire! Most of the Hotlanta recordings had been confiscated by the US government as they were allegedly funded by the porn business. For many years Jimmy Ginn & his son have been fighting a legal battle to gain rights to these songs after initially buying the tapes at an auction. Ace UK have put out four Hotlanta compilation CD's thus far having licenced them from G-M-G (Ginn Music Group).

I Won't Be Your Fool weaves together the tangled web that is (the other) Joe Hinton. All the fore mentioned 45s are included here as well an unissued track and 2 of 4 tracks released only in the UK. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

*missing
31. Joe Hinton - 1975 - We've Got Each Other (Hotlanta 308)

Thursday, 29 November 2018

You Know It Ain't Right

Who's Who? Part 2(a)

Though Clarksdale, Mississippi has been claimed as his birthplace, most sources state that Joe Hinton was born in Evansville, Indiana where he married LaVerne Flowers and started a family.


Joe Hinton began as a gospel singer with the Blair Gospel Singers, the Chosen Gospel Quartet and the Spirit of Memphis Quartet (with whom he recorded several singles). Producer Don Robey asked the singer to try doing secular tunes, and Hinton began recording for Robey's label, Peacock Records in 1958. These releases and all to follow were issued via Peacock subsidiary, Back Beat Records. It was not until 1963, with his fifth single on the label, that Hinton managed to chart with "You Know It Ain't Right"; the next single, "Better to Give Than to Receive", also hit the lower regions of the charts. His biggest hit was 1964's "Funny How Time Slips Away", written by Willie Nelson; the tune (simply credited as "Funny" on the original record label) peaked at #13 on the Billboard Hot 100 that year. Cash Box magazine listed "Funny How Time Slips Away" as #1 for four weeks on their R&B chart. The track sold over one million copies, and was awarded a gold disc. "I Want a Little Girl", the next single, also charted, but it was his last hit. Hinton died of skin cancer in 1968 in Boston, Massachusetts, at the age of 38, while still in the prime of his recording career.

You Know It Ain't Right collects the complete recordings of Joe Hinton. 55 tracks all total, including his early Peacock sides leading The Spirit Of Memphis and a couple unissued cuts. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

Wednesday, 28 November 2018

GGG Presents Deep Dish Delicacies Vol. 05

For a few straight months, Wednesday has been my compilation day; alternating between Grab Bag collections and the more recent Deep Dish Delicacies. Foregoing this last Wednesday on account of 'Willie Week' and now with part 1 of 'Who's Who? Week' complete, I'm pleased to get back into the routine and provide a little half-time entertainment before concluding with part 2.


GGG Presents Deep Dish Delicacies Vol. 05

01. Little Milton - 1968 - At The Dark End Of The Street (Checker 1203)
02. Spencer Wiggins - 1966 - Old Friend (You Asked Me If I Miss Her) (Goldwax 312)
03. Larry Birdsong - 1967 - I'm So Glad You're Home (Sur-Speed 226)
04. Bobby Harris - 1967 - Baby, Come Back To Me (Shout 210)
05. Tyrone Davis - 1969 - A Woman Needs To Be Loved (Dakar SD 9005)
06. Gashead - 196X - Why Do You Treat Me Like A Tramp (Unissued)
07. Shirley Wahls - 1969 - Half A Man (Smash 2223)
08. Gene Allison - 1964 - Fading Love (Paradise 1010)
09. Sam Baker - 1964 - The Best Of Luck To You (Athens 213)
10. Johnny Adams - 1963 - Part Of Me (Watch 6333)
11. Otis Redding - 1965 - A Change Is Gonna Come (Volt SD 412)
12. Ted Ford - 1968 - Please Give Me Another Chance (Sound Stage 7 2604)
13. George Jackson - 196X - I Can't Love Without You (Fame Unissued)
14. The Fame Gang - 1969 - Your Good Thing (Its About To End) (Fame SKAO-4200)
15. Billy Jones & The Stars - 1970 - My Baby's Gone (Catfish 5C 006-24119 M)
16. Wilson Pickett - 1968 - Jealous Love (Atlantic 2484)
17. Barbara & Gwen - 1970 - I Love My Man (New Chicago Sound 6921)
18. O.V. Wright - 1970 - Eight Men, Four Women (Backbeat BBLP-70)
19. Hannibal - as Mighty Hannibal - 19XX - We're Gonna Make It (Unissued)
20. Willie & West - 1971 - The Will (Stang ST-1008)
21. Ann Peebles - 1971 - Heartaches Heartaches (Hi 2186)
22. Percy Sledge - 1972 - Rainbow Road (Atlantic 2848)
23. Jimmy Lewis - 1974 - I Cant Leave You Alone [alt] (Hotlanta Unissued)
24. Ted Taylor - 1972 - Houston Town (Ronn 63)
25. Sam Dees - 197X - What Goes Around Comes Around (Unissued)

DDD05

Tuesday, 27 November 2018

Don’t Let Me Down

Who's Who? Part 1(b)

So, obviously not to be confused with Freddie ... Fred Hughes had a very different style from Freddie all together and found an adoring audience in the northern soul scene; releasing some successful numbers throughout the 60s on a handful of different record labels.


Fred Hughes was born in Arkansas, but moved to Compton, California soon after. He first recorded while a student at Compton High School as a member of the Cymbals in 1962 and worked as a member of a band called The Creators. Hughes was signed up for Vee-Jay Records by the label's A&R chief on the West Coast in the 1960s shortly before its demise, scoring hits in 1965 with the singles, "Oo Wee Baby, I Love You" (#3 R&B and #23 Pop) and "You Can't Take It Away" (another Top 20 R&B hit, #96 pop), written and produced by Parker. Released in Britain on the Fontana label, "OO Wee Baby" became a soul classic. The singer's career struggled after his label's collapse, although he had a couple of Richard Parker-produced singles released on Exodus, run by Vee-Jay personnel briefly in 1966, and another two later on Chess Records. In 1969, Hughes signed with another Chicago label, Brunswick Records and although failing to reach the pop charts, two releases for the label became R&B successes, "Baby Boy" at #25 and "I Understand" at #45. An album was later released by Brunswick featuring the two hits. In 2014, Fred Hughes' "Baby Boy", a favorite on the UK's Northern soul scene, was featured in the film, "Northern Soul". Hughes still lives in Compton but has not been active in music since the early 70s.

Don’t Let Me Down collects the complete and compact works of Fred Hughes. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.