Monday, 31 December 2018

Strong Feeling

Later in the day than when I usually get around to this ... but I guess it's befitting for the final entry of the year. I've got some drinking to do so I'm gonna keep this one short. Had it not been for his untimely death, Joe Haywood might well have been one of southern soul's more highly regarded heavyweights. An absolutely astonishing singer who never truly got the chance to shine.

In testament to this man's talents, this was the first case tackled by the mighty Red Kelly and his crew of Soul Detectives when the site was launched. Between the bio provided and additional comments a pretty complete picture of this near-lost legend comes together.
Head on over THERE for the inside scoop.

Strong Feeling collects Joe Haywood'd ten 45s released between 1965 and 1971, plus two unissued Kent sides. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy and happy new year!

Friday, 28 December 2018

I Can't Make It Without You

Updated August 9, 2020:  With a touch of class and a gift for gab, Tyrone Davis built one hell of a beautiful bridge between grit and tenderness. Elements of both soul and the blues support this man's extensive body of work, and upon these foundations, a solid and steady stream of success' were formed. A true champion of 70s soul music with consistent charting and he was one of the best screamers in the business, it's no "wonder" his early moniker resembled that of a superhero.

Born Tyrone Fettson in Greenville, Mississippi in 1937 or 1938 but shortly after he moved with his father to Saginaw, Michigan, before moving to Chicago in 1959. Working as a valet/chauffeur for blues singer Freddie King, he started singing in local clubs where he was discovered by record executive/musician Harold Burrage. His early records for small record labels in the city, billed as "Tyrone The Wonder Boy" failed to register. Successful Chicago record producer Carl Davis signed him in 1968 to a new label, Dakar Records that he was starting as part of a distribution deal with Atlantic, and suggested that he change his name and he borrowed Carl's last name Tyrone Davis. His first release, "A Woman Needs To Be Loved" was flipped when the b-side started to get radio attention. The song, "Can I Change My Mind" featured a change of vocal style for Davis with a softer, more pleading approach and tone. The record shot up the listings and spent three weeks on the top of the Billboard R&B chart while climbing to #5 in the Hot 100. It sold over one million and received gold disc recognition. His biggest hit came in early 1970 when "Turn Back The Hands Of Time" also reached #1 in the R&B chart and went up to #3 in the Hot 100 pop chart. Written by Jack Daniels and Bonnie Thompson, this disc also sold over one million copies, and received a gold disc awarded by the Recording Industry Association of America in May 1970. Davis released about 25 singles during his seven years with Dakar, most of them big R&B sellers produced by Willie Henderson. He finally returned to the top spot with "Turning Point" in 1975. Soon afterwards, Davis switched to the major Columbia record label and recorded seven albums over the next five years with producer Leo Graham and arranger James Mack who had collaborated with him for "Turning Point". Major hits with Columbia included "Give It Up" (#2), "This I Swear" (#6), and "In The Mood" (#6,1979). Dubbed the "king of romantic Chicago soul" by MTV, Davis' perceived vulnerability and class endeared him to female soul fans through the 70s. 1982 brought a change of label to the newly established independent, Highrise and another major hit, "Are You Serious" (#3 R&B, #57 pop), again produced by Leo Graham, and written by L.V. Johnson. When Highrise closed the following year, Davis switched to a tiny Los Angeles label, Ocean Front which lacked promotional muscle to get behind arguably one of his best performances, "Let Me Be Your Pacifier". In 1991, Davis switched to Atlanta label, Ichiban Records, recording three albums including the song "Mom's Apple Pie". In 1994, Davis went to Bellmark/Life Records for one album. Davis' days as a major chart act were over, but he continued to be a popular live attraction and finally signed in 1996 with Malaco Records, the southern-based blues label recording him on a number of albums. He also performed on a PBS special on 70s soul music in 2004, singing "If I Could Turn Back The Hands Of Time". A stroke in September 2004 ended his career and, following complications, he died in a Chicago hospital on February 9, 2005 at the age of 66. He left a widow, Ann, to whom he had been married for over 40 years, and several children and grandchildren.

I Can't Make It Without You collects the classic recordings of Tyrone Davis. 14 albums between the Dakar and Columbia labels (1969-81) and a corresponding complete 45s collection, including his handful of early singles cut prior to signing with Dakar Records. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Updated is a serious understatement in this particular case. I initially amassed this collection by request, the few albums I had were vinyl rips and so were all the others I picked up to make up the lot. Since then, I've literally replaced all 14 albums with drastically improved stereo remasters. The initial single collection stopped at 1976 so I've expanded it to include corresponding singles through to 1981. I replaced a few of the Dakar singles that were actually album versions, I cleaned up and/or replaced the early single sides and added the ultra-rare early version of Can I Change My Mind, rejected by ABC and quietly issued on Roulette seven years later. 

Wednesday, 26 December 2018

GGG Presents Deep Dish Delicacies Vol. 07

Had your fill of Christmas chamber pop, Yule tide covers, carols and commercial jingles yet? Great, because I have and you won't find that crap here ... whether you're alone or with loved ones, may I suggest gorging on the leftovers, getting right liquored and/or just lazing about to this lovely little installment of Deep Dish Delicacies. This is my favorite volume so far, hope ya's dig it!

GGG Presents Deep Dish Delicacies Vol. 07

01. Sam & Dave - 1967 - I've Seen What Loneliness Can Do (Stax S 725)
02. Freddie Hughes - 1968 - Send My Baby Back (Wand WDS 664)
03. Donnie Elbert - 1966 - Can't Get Over Losing You (Up State GQP 829)
04. Reuben Bell & The Casanovas - 1967 - It's Not That Easy (Murco 1035)
05. Betty Harris & Lee Dorsey - 1967 - Take Care Of Our Love (Sansu 474)
06. Jimmy Lewis - 1969 - I'll Be Here (Tangerine TRC 1005)
07. Ted Taylor - 1969 - Strangest Feeling (Ronn 29)
08. Big John Hamilton - 1969 - Love Comes And It Goes (Minaret 143)
09. Lattimore Brown - 1970 - I Wish I Felt This Way At Home (Renegade 101)
10. Earl Gaines - 1972 - That's How Strong My Love Is (Seventy-Seven 110)
11. Bobby Powell - 1973 - Try Me (Excello EX-8028)
12. Sarah Simpson - 1971 - All Of A Sudden (Soul-Po-Tion 107)
13. Lee Sain - 1972 - Ain't Nobody Like My Baby (We Produce 1806)
14. Willie & Anthony - 1975 - It's Never Too Late (Blue Candle 1509)
15. O.V. Wright - 1973 - Please Forgive Me (Backbeat BBLX-72)
16. Inez Foxx - 1973 - Crossing Over The Bridge (Volt 4096)
17. Bobby Bland - 1974 - Ain't No Love In The Heart Of The City (ABC ABCL-5053)
18. Willie Hobbs - 1975 - I Love You More Than You'll Ever Know (Bandit 05)
19. Percy Sledge - 197X - Little Girl (Atlantic K 20085)
20. Lee Moses - 1973 - The Dark End Of The Street (Gates 1502)
21. Joe Haywood - 1971 - In Your Heart You Know I Love You (Front Page 1003)
22. Ann Peebles - 1970 - I Still Love You (Hi 2178)
23. Maurice & Mac - 1969 - What Am I Going To Do (Checker 1218)
24. Clarence Reid - 1968 - The Price I Have To Pay (Tay-Ster 6014)
25. Kip Anderson - 1968 - Letter From My Darling (Excello 2298)


Monday, 24 December 2018

I Got A Feeling

First off, I'd like to extend a heartfelt thank you to all of you who have been posting warm holiday wishes in the comment sections. Your niceties are very appreciated. I'm not a Christmas guy and I have good reason for it but that said, I have no wish to rain on anyone's parade and I do believe this time of year does bring out the best in most folks. I debated whether or not to put a Gusto's Groovy Gospel together for today or to drop a particularly special collection. I've opted for the latter.

Arguably, the very first vocal soul group and one I've certainly referenced here on the site upon many occasions already ... Despite being a revolving door group for their entire run, nothing but talent walked in and out of The Falcons! Most notably, the incredible Wilson Pickett though Eddie Floyd, Mack Rice and Joe Stubbs were all quite prolific vocalists in their own right; each having glorious stand-out performances scattered amid The Falcons catalog. However, I do think it's safe to say that their most significant and certainly longest running member wasn't a member at all, but rather their producer and manager Mr. Robert West.

The story of the Falcons begins around 1955 when Eddie Floyd and Bob Manardo worked together in a Detroit jewelry store. When things were slow, they practiced singing and finally decided to form a group. Bob (a lead tenor) recruited his friend, baritone Tom Shetler. Eddie (also a lead tenor) brought in second tenor Arnett Robinson. Thus, the original Falcons were a mixed group as Bob and Tom were white. The Falcons (named by Arnett Robinson) were managed by Robert West, who was Eddie Floyd's uncle. The only thing missing now was a bass. Enter Willie Schofield. He was singing bass with a street-corner group that performed at amateur shows. One day, he came to hear the Falcons and, since they sounded much more professional than his group, he was interested enough to join them. Most of the material practiced by the Falcons was in the supper club and modern harmony vein, with some gospel added. They mostly played supper clubs in Detroit, but traveled as far as New Jersey and New York (where they auditioned at the Baby Grand with Dakota Staton). In 1956, the group went to Chicago to audition for Mercury Records. However, on their arrival, they were told that auditions were only held in New York! Through some wheeling and dealing, they managed to audition anyway and the Falcons' recording career began with the issue of their first record in August 1956: ("Baby, That's It"/"This Day"). Their session was produced by Willie Dixon, who had been in the 5 Breezes and the Big Three Trio. Soon after, Bob Manardo was drafted and Tom Shetler decided to enlist. They tried to persuade the others to enlist too, painting glorious pictures of service assignments, but Eddie, Arnett, and Willie were younger and not interested in relinquishing their freedom. Manager Robert West held auditions and the Falcons soon acquired Joe Stubbs, a lead tenor whom they had met during a gig in Canada (right across the river from Detroit). Joe, brother of the Four Tops' Levi Stubbs, brought guitarist Lance Finnie into the group and the Falcons remained with four voices. Before joining the Falcons, Joe and Lance had been with the Fabulous Four (a quintet that also had first tenor "Smitty Boo," second tenor Timothy Peyton, and baritone Richard Beasley). This group, from Detroit's Northern High, had made a record on a small, local unremembered label: "Woe Is Me/Some Say Love"; Joe had done lead on both sides. About a month after Joe and Lance joined, Arnett Robinson left. This time, the Falcons placed an ad in the paper announcing auditions. One who answered was baritone Mack Rice. Mack had been with the 5 Scalders, another group from Northern High. Called the Scalders because "we were so hot," they consisted of Johnny Mayfield (tenor), Sol Tilman (tenor), Gerald Young (tenor), Mack Rice (baritone), and James Bryant (bass). They won first prize in the school's amateur show singing the Clovers' "Hey Miss Fannie," won the 1954 Detroit Tribune's Theatrical Poll, and recorded a couple of records for the local Sugar Hill and Drummond labels in 1956. With the lineup of Joe Stubbs, Eddie Floyd, Mack Rice, Willie Schofield, and Lance Finnie, the classic Falcons group was in place and they could now settle down to serious recording.

The Falcons' next releases were on labels owned by Robert West. There was "Sent Up"/"Can This Be Christmas" on Silhouette in December 1957; "This Heart Of Mine"/"Romanita" on Kudo in May 1958; another Kudo release ("Searching For My Baby" and "Baby Won't You Change Your Mind") as backup to DJ Joltin' Joe Howard; and "You're So Fine"/"Goddess Of Angels" on Flick in January 1959. They had also recorded some sides for Chess around 1958, but nothing was released at the time. Trying anything, West released a 1959 Falcons record as by the "Newports." Deception or not, "Chicky Chop-Chop"/"Hurry-Arthur Murray" failed to chart. The winner was, of course, "You're So Fine." When it started to take off locally West negotiated a deal with Unart (a subsidiary of United Artists). By the time it had peaked, "You're So Fine" had made it to #2 on the R&B charts (in a 20-week run) and #17 Pop. Just to show you what the power of a big name label can do, when the Unart release of "You're So Fine" was reviewed on March 16, 1959, it was rated "excellent"; the identical song on Flick had been rated "good" only the week before! In mid-1959, there was a second Falcons release on Flick (West's deals included the right to retain and market anything already in the can): "You Must Know I Love You"/"That's What I Aim To Do." Then, Unart issued "You're Mine"/"Country Shack" in August. With "You're So Fine" having been such a monster hit, Chess decided to cash in on the Falcons too. However, instead of merely releasing the 1958 masters (which no one was ever satisfied with), Chess had the Falcons come in and re-record the sides. This strategy paid off. When "Just For Your Love"/"This Heart Of Mine" were issued in October 1959, "Just For Your Love" rose to #26 on the R&B charts. In the following year, this record was re-released on Anna, a Detroit label owned by Billy Davis, along with Gwen and Anna Gordy (Berry Gordy's sisters); it was distributed by George Goldner at Gone/End Records. The Falcons were now under contract to United Artists, which issued "The Teacher"/"Waiting For You" in May of 1960. "The Teacher" was a good-sized R&B hit, reaching #18 on the charts. In August, there was "I+Love+You"/"Wonderful Love," but this failed to chart. In the summer of 1960, Wilson Pickett was added to the group and Joe Stubbs was phased out. Willie Schofield found Pickett somewhere and brought him to audition for Robert West. The other guys didn't really like Pickett's sound (which was too much of a gospel/blues treatment) and really wanted to get Marvin Gaye. However, Gaye was unavailable, so they stuck with Pickett. Joe Stubbs went on to sing with the Four Tops, the Contours, and the Originals, although he was in and out of the Falcons (as was Wilson Pickett) for the next three years. Pickett's first lead was "Pow! You're In Love," a song that Sam Cooke had written for Joe Stubbs (although it was decided that Wilson sounded better doing it); Joe was on the session, though. It was released in January 1961, with "Workin' Man's Song" as the flip. In early 1961, the Falcons' 2-year contract with United Artists was up and wasn't renewed. The guys went back to recording for Robert West, on his new Lu-Pine label. In January 1962, he issued "I Found A Love"/"Swim." The Pickett-led "I Found A Love" was another R&B smash, hitting #6 on the charts. Note that at the same time Lu-Pine was releasing Falcons records, they were also issuing solos by Joe Stubbs, Eddie Floyd, and Mack Rice.

Another 1962 release on Lu-Pine found the Falcons backing up Bennie McCain and the Ohio Untouchables on "She's My Heart's Desire"/"What To Do." Meanwhile, West had gotten the Falcons a contract with Atlantic Records (not hard to do, since Atlantic handled the distribution of Lu-Pine). They had a session in April 1962 at which "Lah-Tee-Lah-Tah" and "Darling" were recorded. However, this was during a time when Willie Schofield had left for a while. He was replaced by Ben Knight, formerly of the Imperials on Great Lakes. The record was released in June, but went nowhere. Willie was back in time for the group's second (and last) Atlantic session in October 1962. However, Eddie Floyd wasn't on that one, having been replaced by Gene "Earl" Martin (a cousin of Bill Withers and another alumnus of the Fabulous Four). The songs recorded included "Take This Love I've Got" and "Let's Kiss And Make Up," which were released in February 1963. After this session, Wilson Pickett and Earl Martin left and the classic group reformed (Joe Stubbs, Eddie Floyd, Mack Rice, Willie Schofield, and Lance Finnie). It didn't last long, however; they broke up for good in the early Spring of 1963, when Willie got his draft notice. As well as singing with the Falcons, Eddie Floyd, Mack Rice, Joe Stubbs, and Wilson Pickett each had solo careers. Eddie hit #1 with his "Knock On Wood" for Stax; Mack recorded for several labels as "Sir Mack Rice," and Wilson had five #1 songs for Atlantic: "In The Midnight Hour," "634-5789," "Land Of 1000 Dances," "Funky Broadway," and "Don't Knock My Love." However, back in 1963, Robert West had no Falcons group to record. Acting quickly, he took another one of his groups, the Fabulous Playboys, and renamed them the Falcons. Around April 1963, the Fabulous Playboys (Carlis Monroe, Chester Flemings, Johnny Alvin and James Gibson) were playing Gleason's Lounge in Cleveland, when West told them that his "other" group, the Falcons, had disbanded. Since he owned the name, he wanted to keep it going by renaming the Fabulous Playboys the Falcons. They were reluctant to give up a name that they'd used for seven years, but they realized that, as the Falcons, they could make a lot more money. The Fabulous Playboys finished out the week at Gleason's and returned to Detroit to learn all the Falcons' arrangements. Mack Rice became their road manager to provide a link between the two groups. The new Falcons finished out the Atlantic contract when "Oh Baby"/"Fine Fine Girl" were both recorded and released in October 1963. In 1964, the new Falcons had a single release on Lu-Pine: "Lonely Nights"/"Has It Happened To You Yet." Nothing much happened with the Falcons for another two years. In 1964, Robert West was shot in a dispute over the management of Mary Wells and, needing a long convalescence, could no longer manage them. Frank Kocian became their new manager and recorded them on his Big Wheel label. There were two Big Wheel releases in 1966 and another two in 1967. The third of these, "Standing On Guard" rose to #29 on the R&B charts. These were the last original recordings for the Fabulous Playboys/Falcons. One final 45 "I Just Can't Wait"/"Buy Now Pay Later" as The Firestones was issued on Moira Records in 1968, featuring this Fabulous Playboys/Falcons line-up.
-by Marv Goldberg

I Got A Feeling is the whole frikkin' package and then some! A complete chronology of The Falcons, including a ridiculous amount of unissued recordings, backing efforts, featured solo singles from various members of the classic line-up, more unissued recordings, and the complete recordings of the second Falcons outfit (1963/64-68). On top of that, I gave this collection a little TLC and with the help of Marv's excellent excerpts, took the time to indicate who is singing lead on each track. There's a text doc with corresponding legend to help you sort it out. Almost entirely sourced from FLAC, all files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks kindly to original uploaders, enjoy.

Friday, 21 December 2018

Fresh Out Of Tears

It's not all too often when one can say that an artist with 4 one million sellers under their belt, got a pretty bum deal. However, when it comes to Joe Tex, it's the truth. Between his inability to chart for the first decade of his career and the multitude of negative ramifications from his rivalry with James Brown, the road to success was no easy stroll for Tex. Along the journey though, he managed to cultivate his take on Southern Soul into a hootin' hollering hotbed of high-energy rhythm and blues, funk, country and gospel soul. Think what you will but I'd far rather be stranded on a remote tropical island with my JT collection more than my JB collection.

Born Joseph Arrington, Jr. in Rogers, Texas. He and his sister Mary Sue were initially raised by their grandmother, Mary Richardson after their parents divorced. Tex played baritone saxophone in the high-school band and sang in a local Pentecostal church choir. He entered several talent shows, and after an important win in Houston, he won $300 and a trip to New York City. Tex took part in the amateur portion of the Apollo Theater, winning first place four times, which led to his discovery by Henry Glover, who offered him a contract with King Records. His mother's wish was that he graduate from high school first, and Glover agreed to wait a year before signing him at age 19. Tex recorded for King Records between 1955 and 1957 with little success. He later claimed he sold musical rights to the composition "Fever" to King Records staff, to get money to pay his rent. The song's credited songwriters, Otis Blackwell (who used the pseudonym John Davenport) and Joe Cooley, disputed Tex's claims. Labelmate Little Willie John had a hit with "Fever", which inspired Tex to write the first of his answer songs, "Pneumonia". In 1958, he signed with Ace and continued to have relative failures, but he was starting to build a unique stage reputation, opening for artists such as Jackie Wilson, James Brown, and Little Richard. He perfected the microphone tricks and dance moves that defined the rest of his career. Many, including Little Richard, claim that Tex's future nemesis James Brown stole Tex's dance moves and microphone tricks. In 1960, he left Ace and briefly recorded for Detroit's Anna Records label, where he scored a Bubbling Under Billboard hit with his cover version of Etta James' "All I Could Do Was Cry". By then, Tex's use of rapping over his music was starting to become commonplace. In 1961, he recorded his composition "Baby You're Right" for Anna. Later that year, James Brown recorded a cover version, though with different lyrics and a different musical composition, gaining songwriting credit, making it a hit in 1962, and reaching number two on the R&B chart. During this time, Tex first began working with Buddy Killen, who formed the Dial Records label behind Tex. After a number of songs failed to chart, Killen decided to have Atlantic Records distribute his recordings with Dial in 1964. By the time he signed with Atlantic, Tex had recorded 30 songs, all of which had failed to make an impact on the charts. Tex recorded his first hit, "Hold On To What You've Got", in November 1964 at FAME Studios in Muscle Shoals, Alabama. He was unconvinced the song would be a hit and advised Killen not to release it. However, Killen felt otherwise and released the song in early 1965. By the time Tex got wind of its release, the song had already sold 200,000 copies. The song eventually peaked at number five on the Billboard Hot 100 and became Tex's first number-one hit on the R&B charts, staying on the charts for 11 weeks and selling more than a million copies by 1966. Tex placed six top-40 charted singles on the R&B charts in 1965 alone, including two more number-one hits, "I Want To (Do Everything For You)" and "A Sweet Woman Like You". He followed that with two successive albums, Hold On To What You've Got and The New Boss. He placed more R&B hits than any artist, including his rival James Brown. In 1966, five more singles entered the top 40 on the R&B charts, including "The Love You Save" and "S.Y.S.L.J.F.M." or "The Letter Song", which was an answer song to Wilson Pickett's "634-5789 (Soulsville, U.S.A.)". His 1967 hits included "Show Me", which became an often-covered tune for British rock artists and later some country and pop artists, and his second million-selling hit, "Skinny Legs and All". The latter song, released off Tex's pseudo-live album, Live and Lively, stayed on the charts for 15 weeks and was awarded a gold disc by the Recording Industry Association of America (RIAA) in January 1968. After leaving Atlantic for Mercury, Tex had several more R&B hits including "Buying a Book" in 1970 and "Give the Baby Anything the Baby Wants" in 1971. The intro saxophone riffs in his 1969 song, "You're Right, Ray Charles" later influenced Funkadelic's "Standing on the Verge of Gettin' It On". Tex recorded his next big hit, "I Gotcha", in December 1971. The song was released in January 1972 and stayed on the charts for 20 weeks, staying at number two on the Hot 100 for two weeks and sold more than 2 million copies, becoming his biggest-selling hit to date. Tex was offered a gold disc of the song on March 22, 1972. The parent album reached number 17 on the pop albums chart. Following this and another album, Tex announced his retirement from show business in September 1972 to pursue life as a minister for Islam though Tex returned to his music career following the death of Elijah Muhammad in 1975, releasing the top-40 R&B hit, "Under Your Powerful Love". His last hit, "Ain't Gonna Bump No More (With No Big Fat Woman)", was released in 1977 and peaked at number 12 on the Hot 100 and number 2 in the UK. His last public appearances were as part of a revised 1980s version of the Soul Clan in 1981. After that, Tex withdrew from public life, settling at his ranch in Navasota, Texas, and watching football games by his favorite team, the Houston Oilers. On August 13, 1982, he died at his home in Navasota, Texas, following a heart attack, five days after his 49th birthday.

The feud between Tex and fellow label mate James Brown took its origins allegedly sometime in the mid-1950s when both artists were signed to associated imprints of King Records when Brown reportedly called out on Tex for a "battle" during a dance at a local juke joint. In 1960, Tex left King and recorded a few songs for Detroit-based Anna Records; one of the songs he recorded was the ballad "Baby, You're Right". A year later, Brown recorded the song and released it in 1961, changing the lyrics and the musical composition, earning Brown co-songwriting credits along with Tex. By then, Brown had recruited singer Bea Ford, who had been married to Tex, but had divorced him in 1959. In 1960, Brown and Ford recorded the song, "You've Got the Power". Shortly afterward, Tex got a personal letter from Brown telling him that he was through with Ford and if Tex wanted her back, he could have her. Tex responded by recording the diss record, "You Keep Her" in 1962. In 1963, their feud escalated when Brown and Tex performed at what was Brown's homecoming concert at Macon, Georgia. Tex, who opened the show, arrived in a tattered cape and began rolling around on the floor as if in agony, and screamed, "Please - somebody help get me out of this cape!" Tex later claimed that Brown stole his dance moves and his microphone stand tricks. In a few interviews he gave in the 1960s, Tex dismissed the notion of Brown being called "Soul Brother No. 1", insisting that Little Willie John was the original "Soul Brother No. 1". Tex even claimed Brown stopped radio disk jockeys from playing his hit, "Skinny Legs and All", which Tex claimed prevented Tex from taking down one of Brown's number-one songs at the time. During a 1968 tour, Tex had the words "The New Soul Brother No. 1" on his bus, leading to people heckling him. Tex immediately took the name off the bus and had it repainted. Tex even offered to challenge Brown to contest who was "the real soul brother". Brown reportedly refused the challenge, telling the Afro-American, "I will not fight a black man. You need too much help." While Tex moved on from his initial feud with Brown, Brown reportedly joked, "Who?" in his Bobby Byrd and Hank Ballard duet, "Funky Side of Town", from his Get on the Good Foot album, when Ballard mentioned Tex's name as one of the stars of soul music.

Fresh Out Of Tears is the total Joe Tex package! All 18 LPs issued between 1964 and 1978, a damn near complete 45s collection (including over a dozen unissued recordings), plus the Charly R&B double vinyl compilation of other rare and unissued recordings between 1967 and 1975. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

45's +

Joe Tex - 1981 - Here Come Number 34 (Do The Earl Campbell) (Handshake WS9 02565)

Wednesday, 19 December 2018

GGG Presents Goodie Grab Bags Volume 11

Well, we've got a pretty great selection of deep down R&B and Soul stuffed into today's Goodie Grab Bag. Some tasty little treats from Delilah, Bobby Angelle, Paulette Parker and Willie James to satisfy your snack-happy urges on this otherwise uneventful hump day. Enjoy!

Delilah - Discography 1962 [4sides]

01. Delilah - 1962 - I'll Rock You Baby (Shirley 116)
02. Delilah - 1962 - A Worried Feeling (Shirley 116)
03. Delilah - 1962 - Packin' Up (Shirley 116)
04. Delilah - 1962 - Pledging My Love (Shirley 116)

Bobby Angelle - Discography 1963-69 [17sides]

01. Bobby Angelle - 1963 - Velma [as Roland Dice] (Jamie 1257)
02. Bobby Angelle - 1963 - Everybody Loves Somebody [as Roland Dice] (Jamie 1257)
03. Bobby Angelle - 1963 - Tell Me Why Oh Why [as Roland Dice] (Oriental 820621) +
04. Bobby Angelle - 1965 - Please Take Me Back (Ten Star 101)
05. Bobby Angelle - 1965 - Girl You're So Fine (Ten Star 101)
06. Bobby Angelle - 1966 - I Love The Way You Love (Money 123)
07. Bobby Angelle - 1966 - I'm Begging (Money 123)
08. Bobby Angelle - 1966 - Living A Lie (Money 125)
09. Bobby Angelle - 1966 - I Wanna Go Back Home (Money 125)
10. Bobby Angelle - 1967 - Too Much For You (Money 128)
11. Bobby Angelle - 1967 - Someone Is Gonna Hurt You (Money 128)
12. Bobby Angelle - 1968 - You Got Me Dizzy (Money 137)
13. Bobby Angelle - 1968 - It's Just Gotta Be That Way (Money 137)
14. Bobby Angelle - 196? - I'll Be A Soldier Boy (Money Unissued)
15. Bobby Angelle - 196? - There Goes My Baby (Money Unissued)
16. Bobby Angelle - 1969 - I Used To Be Happy (Imperial 66355)
17. Bobby Angelle - 1969 - No Other Love Could Be (Imperial 66355)

Paulette Parker - Discography 1969 [4sides]

01. Paulette Parker - 1969 - (Gimme Back) My Love (Duke 451)
02. Paulette Parker - 1969 - Should I Let Him Go (Duke 451)
03. Paulette Parker - 1969 - I Pity The Fool (Duke 455)
04. Paulette Parker - 1969 - Driving Wheel (Duke 455)

Willie James - Discography 1969-70 [4sides]

01. Willie James - 1969 - Why Does A Man Cry (Unity 2708)
02. Willie James - 1969 - The Way You Love Me Sometimes (Unity 2708)
03. Willie James - 1970 - Down On My Knees (Unity 2711)
04. Willie James - 1970 - Stand Up For Your Rights (Unity 2711)


Monday, 17 December 2018

Pick Up The Pieces

And now for something completely different. Back in the mid 90s I spent a bit of time down in New Orleans and though I didn't capitalize on the city's wealth of live musical talent to the degree I should have, I was fortunate enough to catch a couple sets by up and coming jazz/funk/r&b big brass combo, New Orleans Nightcrawlers. An enthralling and riveting fusion; fun as all hell to see live, in their primitive form. I adored what they were doing and was heartbroken to discover they had no recordings for purchase. Imagine both my surprise and jubilation nearly ten years later when I stumbled upon their 'Funknicity' CD in a little used record store in Vancouver!

New Orleans Nightcrawlers were founded in 1994 by pianist Tom McDermott, sousaphonist Matt Perrine and trumpeter Kevin Clark. In addition, original members of the band included trumpeter Barney Floyd, Frank Oxley and Peter Kaplan on percussion, Craig Klein and Rick Trolsen on trombones, and saxophonists Eric Traub, Ken "Snakebite" Jacobs and Jason Mingledorff. More recent members of the band have included saxophonist Brent Rose and drummer Tanio Hingle. Originally modeled on the Dirty Dozen Brass Band, the Crawlers brought something new to the New Orleans brass band scene with their very sophisticated arrangements. They have toured Japan, Brazil, several countries in Europe and much of America, and have released four albums.

Pick Up The Pieces collects New Orleans Nightcrawlers' two mid/late 90s albums "Self Titled" (1996), "Fuknicity" (1997), "Live At Old Point" (2000) and "Slither Slice" (2009). All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

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. And now 3 additional unissued recordings have been included also. 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.


*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.

*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 4 tracks released only in the UK. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

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)


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.

Monday, 26 November 2018

Take Me As I Am

Who's Who? Part 1(a)

Hope you all got yer fill of willie's last week! As I might have mentioned, I got a new theme for my next several posts ... Who's Who Week will take a look at some soulsters who share more than just a love for the music, but who also share a name. It's already tough enough researching obscure and out of print music without artists names, alias' and pseudonyms further muddying the waters. I'm hoping these posts will connect the correct dots and draw some lines of distinction between different artists who's namesakes sometimes make it a bit difficult. First up ... the term unheralded gets tossed around quite a bit when it comes to soul music, and rightfully so in most cases. However, in this instance, it's  precisely the most appropriate way to refer to Freddie Hughes! With his tremendous tenor voice, Hughes should have been far better known.

Born on August 20, 1943 in Berkeley, California. His parents moved to the Bay Area from Dallas/Fort Worth Texas. His father Fred W Hughes Senior worked as a longshoreman and his mother Lola Mae Anderson was a singer and missionary at the Church of God In Christ in Oakland. It was in this church where Freddie's qualities as a singer were noticed for the first time when he was only five years old. It took him a few more years, though, to have his first hit single. In his early years Freddie played in quite a few outfits including the Holidays, Five Disciples, The Markeets, Casanova Two, Music City Soul Brothers and The Four Rivers. Subsequently he played with quite a lot of musicians (including Lonnie Hewitt, Wylie Trass, Johnny Talbot to name a few) and recorded several songs with them. Some of these were released as singles or on albums and some have still never seen the light of day. Freddie started to play on Oakland's club circuit around 1955 and in 1957 he released his first 45 with the Markeets with whom he apparently released five more 45s and three albums on Melatone Records (I've yet to find any evidence of this though other than the 5yr release gap between 1957 and 1962). In 1962 Hughes formed The Four Rivers for Music City Records and they supported label mate Little Lynn; rather absent on the flip-side, however, Hughes's subdued yet distinct shrieks can be heard on the plug-side. Following it up with a smoking gospel tinged 45 late 62/early 63 for Josie Records. In 1964 Hughes accompanied The Music City (house) Band and released a pair of 45s as Music City Soul Brothers and a third, 'Do The Philly', as Music City All Stars. Leaving the Music City family in 1966 to form The Casanova Two, they released a pair of 45s for Early Bird Records in 1967. That same year apparently Hughes assumed lead vocals of The Fabulous Ballads and recorded an album with the group that was never released. One 45 from those sessions was issued by Bay-View Records. Later that year a one-off solo release was issued on Hipstar Records and the following year Hughes' only LP was issued on Wand Records. A few accompanying 45s followed and newly recorded 45 issued via Wee Records surfaced late in 1968. After four years of silence Hughes emerged once again with a pair of 45s with The Chevelles for Janus Records in 1972/73. Another four year hiatus and Hughes returned with disco/soul 45 for Greg-Uh-Rudy Records. Effectively, his final release though 20 years later he re-emerged with a few neo-soul and blues albums released between 1997 and 2008 as well as a return to live performances.

Take Me As I Am gathers everything that I could track down and confirm Hughes' participation in. 45s with The Markeets*, The Four Rivers, The Casanova Two, The Fabulous Ballads, Music City Soul Brothers (including a handful of unissued cuts) and obviously, his solo releases. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

*As mentioned above, there may be several more releases by The Markeets on Melatone Records (I only have one). If anyone can confirm this, or better yet provide them, I would be exceptionally grateful.

Friday, 23 November 2018

Ain't Got No Girl

Well friends, this post wraps up our second edition of 'Willie Week', but before we get into it, I thought I'd let you know that starting Monday I'll be running another anthology called 'Who's Who Week' and (deviating from my normal schedule) will be posting each day, Monday through to Friday. But enough about that and back to the task at hand ... I had actually planed on posting this collection a couple months back but someone posted a good portion of these albums over at TZ, literally the day prior so thought I'd throw it on the back burner for a bit. A principal architect of the Stax/Volt sound, singer/composer William Bell remains best known for his classic "You Don't Miss Your Water," one of the quintessential soul records to emerge from the Memphis scene.

Born William Yarbrough on July 16, 1939, he cut his teeth backing Rufus Thomas, and in 1957 recorded his first sides as a member of the Del Rios. After joining the Stax staff as a writer, Bell made his solo debut in 1961 with the self-penned "You Don't Miss Your Water," an archetypal slice of country-soul and one of the label's first big hits. A two-year Armed Forces stint effectively derailed his career and he did not release his first full-length album, The Soul of a Bell, until 1967. Generating a Top 20 hit with the single "Everybody Loves a Winner" and later that same year, Albert King also scored with another classic Bell composition, the oft-covered "Born Under a Bad Sign." Bell's next solo hit, 1968's "A Tribute to a King," was a poignant farewell to the late Otis Redding; the R&B Top Ten hit "I Forgot to Be Your Lover" soon followed, and a series of duets with Judy Clay, most notably "Private Number," also earned airplay. In 1969, he relocated to Atlanta and set up his own label, Peachtree. The hits virtually dried up as the next decade dawned, but in 1977, Bell capped a major comeback with "Trying to Love Two," which topped the R&B charts. In 1985, he founded another label, Wilbe, and issued Passion, which found its most receptive audiences in the U.K. (although "I Don't Want to Wake Up Feeling Guilty," a duet with Janice Bullock, was a minor U.S. hit). Bell was inducted into the Georgia Music Hall of Fame in 1987, and that same year saw him receiving the Rhythm & Blues Foundation's R&B Pioneer Award. He continued to release LPs, including 1989's On a Roll and 1992's Bedtime Stories. Starting in 1992, Bell took a lengthy hiatus from the recording studio, though he still performed regularly. In 2000, he released an album of all-new material on Wilbe entitled A Portrait Is Forever and followed it six years later with New Lease on Life. In between those releases, he was honored with the 2003 W.C. Handy Heritage Award. In 2016, Bell teamed with the reactivated Stax Records label to release a new album. Produced by John Leventhal, This Is Where I Live featured Bell performing a batch of new songs, along with a fresh recording of "Born Under a Bad Sign."

Ain't Got No Girl gathers Bell's impressive run from 1961 to 1977. His 5 LPs with the Stax label, his 2 back-to-back LP's with Mercury, a complete 45s collection plus the 20 song CD compilation issued in 1991, featuring rare and unissued Stax recordings from the 60s. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.


Wednesday, 21 November 2018

Face The Music

Willie Week rolls over the hump with some more obscure offerings here. The tag 'Soul Survivor' may be a tad bit over-used; but it's well-suited when it comes to Willie West; another gifted soul singer and songwriter from the New Orleans area who has never really received the breaks he deserved nor credit he was due, despite a long and active career. Read Willie's story HERE.

Face The Music contains four folders. Three are West's more recent albums (2012-17) and the fourth is a complete collection of his classic 45s (1960-75). Some delightful deep soul on both ends of the calendar with this one friends. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders and HomeOfTheGroove (for the incredible bio), enjoy.

Monday, 19 November 2018

Nobody Has To Tell Me

Back in the summer months, I rolled out an anthology exposé if you will ...
for a straight week, I whipped out some Willie's and waved em around for a while. Well friends, while the winter months might not be an ideal time to repeat such actions, I think I'm gonna go against my better judgement and let it loose again. As such, we're kicking off this Willie Week with the wonderful and relatively unknown deep and southern soul stylings of Willie Hobbs.

Willie Hobbs was born in Doerun Georgia in September of 1944 and started his musical career with the engagingly eccentric Major Bill Smith in Texas. Thanks to the Major's habitual bewildering issue policies it’s almost impossible to work out the complete series of releases that Hobbs had, but the music was pretty good. His version of the Major’s staple "Under The Pines" ranks among the best. But as ever the ballads are the ones to watch for, and Hobbs cut a couple or real beauties at that time. The unissued demo "One Woman Lover" is quite superb, with some lovely church style piano behind a really strong Hobbs vocal. Even better, thanks to a full production and some very tasty guitar fills, is "A Woman Is A Nice Thing" – imagine that on a Goldwax label and everybody would be raving about it. Although Hobbs switched to Silver Fox, his long time collaborator, producer Dave Smith, still carried out the production duties, and the quality remained pretty high. The mid-paced beat ballad "Yes My Goodness Yes" is the most famous of these tracks, and in truth it’s not bad. But I prefer the “Can I Change My Mind” riffs on "Where The Sweetness Lies" as Hobbs sounds so much more relaxed. However, there is no doubt that Hobbs did his best work for John Richbourg over the next few years. Between them Hobbs and Richbourg (with some production help from Jackey Beavers) turned Jerry Butler’s fine uptown ballad "You Don’t Know What You Got" into a southern soul/blues deep gem. The flip is good too. Sessions at Fame produced a fine update to "I Know I’m Gonna Miss You", a smashing version of Bettye Crutcher’s wonderfully melodic "A Penny For Yor Thoughts", but the best 45 was the coupling of the deep "Nobody Has To Tell Me" and the excellent "(Please) Don’t Let Me Down" with Hobbs’ voice taking on sone deliberative and evocative bluesy touches. Many people take "Judge Of Hearts" as Hobbs’ best ever disc, thanks to his searing falsetto shrieks and intense testifying, and the song’s building climax – and I wouldn’t disagree. Dave Smith and Hobbs retained considerable control over Hobbs’s recordings, and reissued some of his earlier material via the North Carolina Bandit label in the early 70s. They cut some new material as well, the best undoubtedly being the excellent, heartfelt ballad "I Love You More Than You'll Ever Know". Hobbs isn’t as well known in southern soul circles as he should be. This may well be a result of the lack of reissues of his work, but in a long and distinguished career he cut some really fine music as you will hear.

Nobody Has To Tell Me collects the near-complete efforts of Hobbs' 1968-1975 output. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

*possibly missing
Starvin' For Love - 1968 (Soft 1018 alt)
Hard To Get - 1969 (Silver Fox ?)

Saturday, 17 November 2018

GGG Presents Af(unk)rica Vol. 1, 2 & 3

I'm certainly no authority when it comes to Afro-Funk and related genres but I've been gradually expanding my horizons over the past couple years and thanks (in most part) to the excellent and informative posts over at Holland Drive, I've amassed some really quality music that certainly falls under that umbrella. In an effort to spice it up, allow me to present a new (and albeit limited) compilation series ...
hints of highlife, a nip of zam rock, a tad of afro jazz, a dab of disco, with a slight splash of caribbean and a tonne or traditional fusions wrapped in a blanket of 70s funk; this is Af(unk)rica!

GGG Presents Af(unk)rica Volume 01

01. Voices Of Darkness - 1974 - We Gonna Make It
02. Mebusas - 1973 - Son Of Mr Bull Dog
03. Aktion - 1975 - Masqurade
04. Heads Funk Band - 1976 - Funky Port Harcourt
05. Mulatu Astatqe - 1974 - Netsanet
06. Mary Afi Usuah - 1978 - What's A Woman To Do
07. Ebo Taylor Jr & Wuta Wazuri - 1978 - Mondo Soul Funky
08. Rob - 1978 - Bargain
09. Rob - 1978 - But You
10. The Visitors - 1977 - Here We Come Brothers
11. Faces - 1975 - Tug Of War
12. Marijata - 1975 - I Walk Alone
13. Sookie - 1976 - Rhythm On Rhythm
14. Akwassa - 1975 - Be Yourself (And Don't Let Nobody Be You)
15. Brigth Engelberts & The BE Movement - 197X - Get Together
16. Mike Nyoni & Born Free - 197X - Mad Man
17. The Black Star Sound - 19XX - Nite Safarie
18. Saxon Lee & The Shadows Intern - 1973 - Mind Your Business
19. Nkwitchoua - 197X - Po Lusi
20. Afro Funk - 1975 - Farewell To Ibusa


GGG Presents Af(unk)rica Volume 02

01. Mary Afi Usuah - 1975 - From Me To You
02. Tunde Williams & Africa 70 - 197X - The Beginning
03. Oscar Sulley & The Uhuru Dance Band - 197X - Olufeme
04. Ebo Taylor - 1978 - Atwer Abroba
05. Segun Bucknor & His Revolution - 1972 - La La La
06. Marijata - 1976 - Mother Africa
07. Heads Funk Band - 1976 - Cold Fire
08. Rob - 1977 - Boogie On
09. Vecchio - 1971 - Megaton
10. Les Vikings - 1977 - Let's Stay Up Vikings
11. Mebusas - 1973 - I Wanna Do It
12. Marcel Louis Joseph - 197X - Priere Au Soleil
13. Ify Jerry Crusade - 1972 - Everybody Likes Something
14. Aktion - 1977 - Let's Be Free
15. The Uhuru Dance Band - 1975 - Agbadza
16. Manu Dibango - 1974 - African Battle
17. The Telstars - 1974 - Making A Living
18. Dick Khoza - 1976 - African Jive (Moto)
19. The Visitors - 1977 - Don't Believe In Love
20. Afro Cult Foundation - 1978 - The Quest

GGG Presents Af(unk)rica Volume 03

01. Blo - 1973 - Chant To Mother Earth
02. The Funkees - 197X - Point Of No Return
03. Mike Nyoni & Born Free - 1977 - SM
04. Ebo Taylor - 1977 - Heaven
05. Afro Funk - 1975 - Afro Funk
06. Rob - 1978 - Make It Fast Make It Slow
07. Rob - 1978 - Not The End
08. Pat Thomas & Marijata - 1977 - Mankind
09. Mary Afi Usuah - 1975 - Call Me Your Lover
10. Ikenga Super Stars Of Africa - 1977 - Nwannemu Oho
11. Tunde Mabadu - 1979 - Viva Disco
12. Dudu Pukwana & Spear - 1974 - Baldyi
13. C.K. Mann - 197X - Ukuan Tsentsen Awar
14. Heads Funk Band - 1975 - Can You Do It
15. Geraldo Pino & The Heartbeats - 1974 - Shake Hands
16. Mombasa - 1976 - African Hustle
17. Sumo - 197X - Munia
18. Roland Louis Orchestra - 1975 - Play Up Play Up
19. The Uhuru Dance Band - 1975 - Yehyia Mu
20. Marijata - 1975 - No Condition Is Permanent

Friday, 16 November 2018

Lonesome Guy

Not a whole lot of information out there about Roscoe Robinson despite being a top tier southern soul singer/songwriter. I might have missed the boat completely if not for the madman, who if memory serves me correctly, supplied this complete collection a few years ago at TZ.

Born in Arkansas, Robinson's family moved to Gary when he was ten. He began recording in 1951 for trumpet and sang in many gospel groups, including the Five Trumpets, the Highway Q.C.'s, and the Fairfield Four, before moving into secular music in the 60s. He had a sensational hit in 1966, "That's Enough," for Wand Records. He continued recording for Wand and Sound Stage 7 into the late 60s and several other labels (Atlantic, Fame, Gerri and Paula) through the late 60s to mid 70s but never again had any national impact, although he has made many fine regional songs in vintage Southern soul style. Robinson returned to his gospel roots in the 80s, recording High on Jesus for Savoy, followed by a second stint with the Gerri label, where he released So Called Friends in 2003 and another gospel album, Gospel Stroll, two years later.

Lonesome Guy takes an in-depth look at Robinson's secular recordings between 1965 to some point in the late 70s. Including his debut 45 on Tuff Records, those cut for the fore mentioned labels and a handful of unissued recordings. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to Northern Madman for the original upload, enjoy.

Wednesday, 14 November 2018

GGG Presents Deep Dish Delicacies Vol. 04

Back again with with another stacked platter of impassioned soul balladry to get you through the week. I hope you're all digging this series so far because I've barely scratched the surface of my source folder and this one could easily go 40-50 volumes deep. Pun definitely intended, dig in!

01. Ted Taylor - 1961 - You've Been Crying (Laurie 3076)
02. Larry Birdsong - 1961 - Sooner Or Later (Home Of The Blues 121)
03. Donald Height - 1962 - Take Your Loving On The Outside (Soozee 110)
04. Bobby Bland - 1964 - Steal Away (Duke DLP 78)
05. Sam & Dave - 1963 - If She'll Still Have Me (Roulette 4508)
06. Irma Thomas - 1967 - Let's Do It Over (Unissued)
07. Little Milton - 1965 - Without My Sweet Baby (Checker 1118)
08. Otis Redding - 1968 - I've Got Dreams To Remember (Atco 6612)
09. Tony Owens - 1968 - I Need, I Need Your Love (Soulin' 147)
10. Little Ann - 196X - Deep Shadows (Unissued)
11. The Isley Brothers - 1970 - Save Me (T-Neck 914)
12. The Montclairs - 1972 - Do I Stand A Chance (Paula LPS 2216)
13. Reuben Bell - 1977 - Meet Me Half Way (Alarm 2121)
14. George Jackson - 1975 - Things Are Getting Better (Chess 2167)
15. O.V. Wright - 1973 - He's My Son (Just The Same) (Backbeat BBLX-72)
16. Percy Sledge - 197X - I Found A Love (Atlantic K 20085)
17. Ann Peebles - 1971 - Trouble, Heartaches & Sadness (Hi 2205)
18. Syl Johnson - 1972 - Everybody Needs Love (Twinight 155)
19. Howard Tate - 1972 - When I Was a Young Man (Atlantic 8303)
20. Johnny Robinson - 1970 - Don't Take It So Hard (Epic BN 26528)
21. Tyrone Davis - 1970 - I Keep Coming Back (Dakar SD 9027)
22. Eddy G Giles - 1970 - That's How Strong My Love Is [ext] (Silver Fox Unissued)
23. Darrell Banks - 1969 - My Love Is Reserved (Volt VOS 6002)
24. Spencer Wiggins - 1968 - Once In A While (Is Better Than Never At All) (Goldwax 337)
25. Bobby Womack - 1966 - I Wonder (Keymen 102)