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)

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.

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.

WB01
WB02
WB03


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

AF01


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)

DDD04

Monday, 12 November 2018

On The Right Track

Best known for her impassioned performances backing Ray Charles as leader and founding member of The Raelettes, Marjorie 'Margie' Hendrix was a monstrous presence on stage and in the studio. From her earliest efforts to her final cuts, Margie was a force to be reckoned with. She was hard on those around her and hard on herself, it's no wonder she had the hardest hitting vocal delivery in secular music at that time and subsequently ushered in a new era of R&B.


Marjorie was born in Register, Georgia, the daughter of Kattie and Renzy Hendrix. She sang, played piano and directed her local church choir while in her teens. In the early 1950s she moved to New York City, and made her first recording, "Everything", on the Lamp label in 1954. In 1956, she replaced Beulah Robertson in the Cookies, joining existing members Dorothy Jones and Darlene McCrea. The group signed to Atlantic Records, and had a #9 hit on the R&B chart with "In Paradise". They also started working as session singers at Atlantic, where they were introduced to Ray Charles. In 1958, Hendrix and McCrea left the Cookies (who later went on to greater success with a different line-up), and formed the Raelettes as Ray Charles' backing singers. In 1958, Charles recorded "Night Time Is the Right Time", which reached #5 on the R&B chart the following year. The song featured Hendrix's barely controlled pleas to the singer to "tease me, squeeze me, please me, oh don't leave me...". Hendrix also featured on Charles' other recordings of the time, including "Tell the Truth", "What'd I Say", and (in 1961) "Hit the Road Jack". She developed a close personal as well as a professional relationship with Ray Charles; their son Charles Wayne was born in 1959. Hendrix became the effective leader of the Raelettes, but her personal relationship with Ray Charles deteriorated and she (like him) developed problems of drug addiction. In 1964, a final argument with Charles led to her being fired from the Raelettes. After recording a solo single on Charles' Tangerine label in 1964, she signed with Mercury Records, and released five singles on the label, mostly produced by Gene "Bowlegs" Miller. The first two singles on Mercury were released in 1965 ("Now The Hurts On You" and "Baby") and three followed two years later in 1967 ("Restless", "Nothin' But A Tramp" and "One Room Paradise"). Her final recordings were issued on the Sound Stage 7 label in 1969. She died in obscure circumstances in New York City in 1973, aged 38; most sources state that her death was the result of a drug overdose. Her character was portrayed by Regina King in the 2004 movie Ray.

On The Right Track collects the complete solo recordings of Margie Hendrix, including her 1954 debut for Lamp, her 1964 debut for Tangerine, the Mercury and Sound Stage 7 singles that followed, one unissued recording and as an added bonus, half a dozen or so of her best duets and featured cuts with Ray Charles. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

Friday, 9 November 2018

I Just Can't See Myself

Not much I can say about this cat that ain't been said ... perhaps, what he lacks in eyesight he more than makes up for in libido. LOL. All bad tasting jokes aside, sir Clarence Carter is an absolutely amazing artist who doesn't know the meaning of "quit". An ever-evolving, yet deeply rooted songwriter with a keen sense for storytelling, proficient skills on the guitar, and with a firm grasp on structure. A household name 'round here and I doubt a stranger to anyone visiting this site on a regular basis. This is a must-have collection for fans of Southern Soul!


Born blind in Montgomery, Alabama on January 14, 1936, Carter attended the Alabama School for the Blind in Talladega, Alabama, and Alabama State College in Montgomery, graduating in August 1960 with a Bachelor of Science degree in music. His professional music career began with friend Calvin Scott, signing to the Fairlane label to release 'I Wanna Dance But I Don't Know How', as Clarence & Calvin, the following year. After the 1962 release of 'I Don't Know (School Girl)' the pair joined Duke Records, renaming themselves the C & C Boys and releasing four singles for the label, though none were commercially successful. In 1965 the duo recorded 'Step By Step' at Rick Hall's FAME Studios in Muscle Shoals; it was released on the Atlantic Records' subsidiary Atco label, but it also failed to chart. The duo performed regularly in clubs in Birmingham, Alabama in 1966. After Scott was seriously injured in an auto accident, Carter continued as a solo singer, and recorded for the Fame label. In 1967 he recorded 'Tell Daddy', which reached number 35 on the Billboard R&B chart and inspired Etta James' answer record, 'Tell Mama', for which Carter was credited as writer. At the end of 1967, Carter joined Atlantic Records. He then began a string of hits on the R&B and pop charts, starting with 'Slip Away' (number 2 R&B, number 6 pop), which has been described as "a superior cheating ballad spotlighting his anguished, massive baritone alongside the remarkably sinuous backing of Fame's exemplary backing band", and 'Too Weak To Fight' (number 3 R&B, number 13 pop). Both of the preceding Atlantic singles were certified Gold by the RIAA. At the end of 1968, he had a seasonal pop hit with the raunchy and funky 'Back Door Santa' (number 4 Christmas pop), and toured nationally. His backing singers included Candi Staton; they married in 1970 and produced a son, Clarence Carter Jr., before divorcing in 1973. Carter continued to have hits in 1969 and 1970, with 'Snatching It Back', 'The Feeling Is Right', 'Doin' Our Thing' and 'I Can't Leave Your Love Alone' all reaching both the US pop and R&B charts. The B-side of 'Snatching It Back' was a remake of a remake of James Carr's 'The Dark End Of The Street'. Carter's biggest hit came in 1970 with his version of 'Patches', first recorded by Chairmen Of The Board, which was a UK number 2 hit and a US number 4. The record sold over one million copies, and received a gold disc awarded by the RIAA in September 1970, just two months after its release and won the Grammy Award for Best R&B Song in 1971. It was Carter's third million-seller!!! Following "Slip Away" and "Too Weak to Fight", it was Carter's third million-seller. However, Carter's later record releases were less successful, and he left Atlantic at the end of 1971 to rejoin the FAME label. In 1975 he signed to ABC Records, releasing three albums including Loneliness & Temptation. According to writer Brian Ward, Carter "virtually made a career from tales of unbridled love and illicit sex..." With the advent of disco in the mid to late 70s, Carter's career suffered. Bouncing back in 1981 with a series of releases on smaller labels Bullet, Brylen and Big C Records before signing with Ichiban Records in 1985 and found a new audience with songs such as 'Strokin' and 'Dr. CC'. In the 80s and 90s. 'Strokin' was reputedly deemed too ribald for a public release or radio play, so the record company placed the records in jukeboxes, where bar patrons discovered the song. Carter's later songs continue to appeal to a primarily African-American working-class audience that is also interested in contemporary blues artists such as Denise LaSalle, Bobby Rush, Marvin Sease and Sir Charles Jones. He has continued recording, releasing six albums for the Ichiban label and, since 1996, establishing his own Cee Gee Entertainment label. He has also continues to tour regularly in the Southern states and internationally.

I Just Can't See Myself is mighty damn close to the complete package. Four parts packed in pairs, spanning 1961 to 1992. I'll post a detailed album list in the comments, but they're all there. No singles collection with this one as the bulk of them are from the FAME collections (which is in near perfect chronological order as is) and they're included here. Noteworthy additions would be the rare pre-Ichiban 80s albums, the Kent issued EP featuring 4 unreleased FAME recordings (1969-71) and my own stab at an 'Early Recordings' collection featuring most sides recorded with Calvin Scott (1961-65) and unissued FAME demos (1966-67). All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

1961 - 1976
1977 - 1992

*missing early recordings:
Clarence And Calvin - 1965 - Lip Service (Duke 388)
Clarence And Calvin - 1965 - You're Gonna Come Down (Duke 388)

Wednesday, 7 November 2018

GGG Presents Goodie Grab Bags Volume 09

Back again with your bi-weekly fix of the good stuff friends ...
a Goodie Grab Bag bulging with a great selection of funk, soul and R&B by way of some buried collections from the likes of  Baby Lloyd, J.T. Rhythm, Soul Continentals and Lee Sain.


Baby Lloyd - Discography 1960-65 [6sides]

01. Baby Lloyd - 1960 - Wait And See (Atco 6175)
02. Baby Lloyd - 1960 - I Need Love (Atco 6175)
03. Baby Lloyd - 1963 - I Refuse To Cry (Wolfe 101)
04. Baby Lloyd - 1963 - Precious One (Wolfe 101)
05. Baby Lloyd - 1965 - There's Something On Your Mind Pt 1 (Loma 2014)
06. Baby Lloyd - 1965 - There's Something On Your Mind Pt 2 (Loma 2014)

J.T. Rhythm - Discography 1967 [4sides]

01. J.T. Rhythm - 1967 - All I Want Is You (Palmer 5021)
02. J.T. Rhythm - 1967 - My Sweet Baby (Palmer 5021)
03. J.T. Rhythm - 1967 - I Love The Way You Do (Unissued)
04. J.T. Rhythm - 1967 - I'm Going Back Home (Unissued)

Soul Continentals - Discography 1968 [4sides]

01. Soul Continentals - 1968 - Ooh I Love You (Jaber 7110)
02. Soul Continentals - 1968 - Moovin An' A Groovin (Jaber 7110)
03. Soul Continentals - 1968 - Goobah (Sound Stage 7 2609)
04. Soul Continentals - 1968 - Bowlegs (Sound Stage 7 2609)

Lee Sain - Discography 1968-7X [13sides]

01. Lee Sain - 1968 - Glorious Feeling [w Deniese Chandler] (Toddlin Town 113)
02. Lee Sain - 1968 - Hey Baby [w Deniese Chandler] (Toddlin Town 113)
03. Lee Sain - 19XX - We'll Meet Again (Glow Star 816)
04. Lee Sain - 19XX - Tell My Baby (Glow Star 816)
05. Lee Sain - 1971 - Them Hot Pants Pt. 1 (We Produce 1804)
06. Lee Sain - 1971 - Them Hot Pants Pt. 2 (We Produce 1804)
07. Lee Sain - 1972 - She's My Old Lady Too (We Produce 1806)
08. Lee Sain - 1972 - Ain't Nobody Like My Baby (We Produce 1806)
09. Lee Sain - 1972 - I Can't Fight It (Broach L6724)
10. Lee Sain - 1972 - Baby Don't Leave Me (Broach L6724)
11. Lee Sain - 197X - How Soul Was Born (McVoutie 321)
12. Lee Sain - 197X - Mother (McVoutie 321)
13. Lee Sain - 197X - Living And Loving (Unknown late 70s)

Monday, 5 November 2018

Here I Am, Try Me

Here's a collection I've come close to posting several times despite missing nearly half a dozen tracks. However, fortunately for us all, I've finally found all but one of them and that's close enough for me. Much like Donald Height, this is an artist near and dear to my heart that also has never been given half the credit he's due. Kip Anderson was an immensely talented singer/songwriter with a solid resume of smokin' 60s southern soul. At various times Anderson worked with Sam Cooke, the Drifters, Jerry Butler and Jackie Wilson. He recorded for Many record labels, worked as a radio DJ, and maintained a career lasting from the late 50s into the 90s, despite serving a decade-long custodial sentence.


Born Kipling Taquana Anderson in Starr, Anderson County, South Carolina. Anderson had his first musical exposure in church, where he sang and played the piano. After featuring in his high school band, Anderson met his future business partner, Charles Derrick, at radio station WOIC, in Columbia. In 1959, Anderson's debut single, "I Wanna Be the Only One", was released by Vee-Jay Records. For his follow-up release, "Oh My Linda", he was accompanied by the guitarist Mickey Baker. Lack of commercial gains from recording led Anderson to find work as a disc jockey. Everlast Records released Anderson's third single, "I Will Cry" (1962), and "Here I Am, Try Me," and "That's When the Crying Begins" (1964) followed; the latter reached number 79 on the Billboard Hot 100. His stock rose further with "I'll Get Along", "Woman How Do You Make Me Love You Like I Do", and "Without a Woman" (1966). In 1967, Anderson released "A Knife and a Fork" for Checker, recorded at FAME Studios in Alabama. "A Knife and a Fork" was a mid-tempo warning to his girlfriend about her consumption of food: "girl, you gonna let a knife and a fork dig your grave". The single entered the Billboard R&B chart. A follow-up release, "You'll Lose a Good Thing", issued by Excello Records, also made the Top 40 on the R&B chart. "I Went Off and Cried" (1968) may be his best-remembered recording, next to "A Knife and a Fork". A dependency on heroin started to affect his work by 1970, and Excello cancelled his recording contract. Anderson continued to record and perform in the early 70s, but a ten-year prison sentence in 1974 for possession of heroin halted his activities. He later stated, "It probably saved my life." While in prison he formed a gospel group with other inmates, who performed under surveillance at local churches and community events. Upon his release from prison, Anderson recorded a gospel album, before issuing more soul-based music for Ichiban Records. He also revived his career as a DJ when he moved back to Anderson County. He also hosted a gospel show on WRIX-FM and served as vice president of Electric City Record's gospel division. In 1996, Anderson duetted with Nappy Brown on the Best of Both Worlds joint album. Kip Anderson died in Anderson, South Carolina, in August 2007, at the age of 69.

Here I Am, Try Me is a near-complete collection of Kip's classic 45s released between 1959 and 1969. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.


Thursday, 1 November 2018

A Love That Never Grows Cold

Reputable singer/songwriter in his hay day, revered gospel singer, pastor and activist later in life but very few give Jackey Beavers his due credit for being one of the more diverse vocalists of R&B. He didn't just tackle a wide range of styles throughout his recording career, he aced them.


Robert Lewis "Jackey" Beavers was born and grew up in Cartersville, Georgia, and, after leaving high school, joined the US Air Force. While stationed at Fort Custer he won a talent competition, and became friends with one of the other competitors, Johnny Bristol. They began performing together as Johnny and Jackey, and won a residency at the El Grotto Lounge at Battle Creek, Michigan, where the house band was led by Junior Walker. They soon signed for Anna Records, where they were managed by Berry Gordy's sister Gwen. The duo released two singles on the Anna label in 1960, before moving to the Tri-Phi label which Gwen Gordy set up with her husband Harvey Fuqua. The duo's second single for Tri-Phi, "Someday We'll Be Together" in 1962, was co-written by Beavers with Johnny Bristol and Harvey Fuqua, but was not a hit at the time. Finding little commercial success, Johnny and Jackey split up, and Beavers began recording with Roquel Davis at the Checker label. The first release, "Jack-A-Rue" in 1965, was a modest local hit, but its follow-up was unsuccessful. Beavers then recorded for several other labels in the late 1960s, including Nation, Dade, Revilot, Grandland and Jaber. Although the records were not hits at the time, several, such as "Love That Never Grows Old" on Revilot in 1967, are regarded highly by Northern soul fans. Beavers also recorded as a member of The Soul Continentals, and performed with The Continental Showstoppers. He wrote songs for Joe Simon, Ella Washington, and others. In the early 1970s he worked as a producer as well as a recording artist at Sound Stage 7 Records, operated by John Richbourg in Nashville, before he returned to Cartersville. After a period managing a nightclub, Beavers returned to college, earned a degree, and was ordained as a Minister, first at the New Hope Baptist Church and later at the Glory Harvester Church. He recorded several gospel albums on the Glory record label, including The Inspired (1977), Refreshing (1986), and We Are God's Children (1988). He also worked for Joe Frank Harris, the Governor of Georgia, between 1983 and 1990, as Executive Assistant for minority affairs and small business. In particular, he liaised between the Governor and the African-American community, through work with commissions, organizations and task forces related to civil rights, and small businesses. He was Executive Assistant to the Commissioner of the Georgia Department of Corrections for three years; and an aide to Tom Murphy, Speaker of the Georgia House of Representatives, for seven years. He also wrote a column for the Cartersville Daily Tribune News, and led his church's activities in promoting prison reform. Jackey Beavers died at the age of 71 in 2008, not in 1988 as reported on some sites. In 2011 he was posthumously inducted into the Bartow County Gospel Music Hall of Fame.

A Love That Never Grows Cold focus' on Beavers' secular career (1959-1975) and collects damn close to the entirety*. The complete Johnny & Jackey 45s, the solo releases, the one-offs with The Soul Continentals, Flame & The Lovelights, The Fame Gang and the one as "The Jackey Beavers Show". All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

*missing:
17. Jackey Beavers - 1965 - Understatement Of The Year (Nation 21765)
26. Jackey Beavers - 1968 - I Hate To See A Man Cry (Jaber JB 7111)