Wednesday, 27 February 2019

GGG Presents Goodie Grab Bags Volume 16

It's high-time we get a little funky in here! Today's edition of Goodie Grab Bags turn hump day into umph day with some floorfilling, finger licking delights from Arnold Albury & The CasualsThe Blenders LtdDayton Sidewinders and France's incredible Airto Fogo. Dig in!


Arnold Albury & The Casuals - Discography 1970 [5sides]

01. Arnold Albury & The Casuals - 1970 - Funky Yolk (Dade 2027)
02. Arnold Albury & The Casuals - 1970 - Thanks For Waiting (Dade 2027)
03. Arnold Albury & The Casuals - 1970 - My Baby Don't Understand (Dade 2028)
04. Arnold Albury & The Casuals - 1970 - Feel It (Dade 2028)
05. Arnold Albury & The Casuals - 1970 - That's A Bet (Dade 2029)


The Blenders Ltd - Discography 1971-72 [4sides]

01. The Blenders Ltd. - 1971 - Nothin' But A Party Part 1 (Cobra 102)
02. The Blenders Ltd. - 1971 - Nothin' But A Party Part 2 (Cobra 102)
03. The Blenders Ltd. - 1972 - When Ya Git Through Wit It, Put It Back (Grayslak 101)
04. The Blenders Ltd. - 1972 - You Got It All, Ain't No More (Grayslak 101)


Dayton Sidewinders - Discography 1970-74 [10sides]

01. Dayton Sidewinders - 1970 - Heavenly Love (Carlco 101)
02. Dayton Sidewinders - 1970 - Funky Chicken Stew (Carlco 101)
03. Dayton Sidewinders - 1970 - Something (Carlco 102)
04. Dayton Sidewinders - 1970 - You're The One I Need (Carlco 102)
05. Dayton Sidewinders - 1971 - Go Ahead On (Carlco 103)
06. Dayton Sidewinders - 1971 - Phoenix (Carlco 103)
07. Dayton Sidewinders - 1972 - Funky In Here (Carlco 4507)
08. Dayton Sidewinders - 1972 - Oh Me Oh My (Carlco 4507)
09. Dayton Sidewinders - 1974 - Let's Go Down To Funksville [w Mr. G] (Carlco 741030)
10. Dayton Sidewinders - 1974 - Slippin' Into Darkness (Carlco 741030)


Airto Fogo - Discography 1974-76 [11sides]

01. Airto Fogo - 1974 - Jungle Bird (CBS [Fr] 2316)
02. Airto Fogo - 1974 - Black Soul (CBS [Fr] 2316)
03. Airto Fogo - 1976 - Right On Bird (Decca [Fr] 278.117)
04. Airto Fogo - 1976 - High Stakers (Decca [Fr] 278.117)
05. Airto Fogo - 1976 - Tuesday In Jackson (Decca [Fr] 278.117)
06. Airto Fogo - 1976 - Satine Dog (Decca [Fr] 278.117)
07. Airto Fogo - 1976 - On Tip Toe (Decca [Fr] 278.117)
08. Airto Fogo - 1976 - 1973 Carmne Avenue (Decca [Fr] 278.117)
09. Airto Fogo - 1976 - Shadowy (Decca [Fr] 278.117)
10. Airto Fogo - 1976 - So Be It (Decca [Fr] 278.117)
11. Airto Fogo - 1976 - Just Over (Decca [Fr] 278.117)


Monday, 25 February 2019

Do The Thing

Here's another long lost requested retrospective. Once again, this cat ain't quite my cup of tea but Lou Courtney certainly had a keen sense for gritty n groovy rhythm and blues shakers, a wide array of styles overall and above-board abilities as a singer, songwriter and also, producer.


Born Louis Russell Pegues in Buffalo, New York, he graduated from Hutchinson Central Technical High School in 1962. As Lew Courtney, he first recorded for Imperial Records the same year. He also worked in New York City as a songwriter, using his birth name, Louis Pegues, and wrote for Chubby Checker as well as Mary Wells' 1964 hit "Ain't It the Truth". With Dennis Lambert, he co-wrote the pop songs "Find My Way Back Home" for the Nashville Teens, "Do the Freddie" for Freddie and the Dreamers, and "Up and Down" recorded by the McCoys. He also worked as Lorraine Ellison's recording director, and produced Betty Mabry's first single, "The Cellar". In 1966, he signed for Riverside Records, and as Lou Courtney recorded the first in a series of dance-based songs. His first chart hit came with "Skate Now", which reached #13 on the Billboard R&B chart and #71 on the Hot 100 in 1967, and was followed by "Do the Thing" (#17 R&B, #80 pop). He released a series of singles on Riverside including two more R&B chart hits, "You Ain't Ready" and "Hey Joyce"; several tracks later regarded as classics on the British Northern soul scene such as "Me & You Doing the Boogaloo" and "If the Shoe Fits", together with an album, Skate Now - Shing-A-Ling. His recordings covered ballads and mainstream soul tracks, as well as funk. Most of his songs of the period were co-written and produced with Robert Bateman, who had previously been the co-writer and co-producer of the Marvelettes' "Please Mr. Postman" at Motown. Courtney left Riverside in 1968 and released singles on various other labels including Verve ("Do the Horse", 1968), Buddah ("Let Me Turn You On", 1969), and Hurdy-Gurdy ("Hot Butter 'N All", 1971). However, he failed to reach the charts until he joined Epic Records in 1973, when, working with producer Jerry Ragovoy, he had further R&B chart entries with "What Do You Want Me To Do" and "I Don't Need Anybody Else", both self-penned songs. He also released an album, I’m In Need of Love, and appeared on Bonnie Raitt's 1974 album, Streetlights, which Ragovoy produced. He formed a band, Buffalo Smoke, who released several singles, including a funk version of "Stubborn Kind of Fella", and an album on RCA Records in 1976. In 1978, Courtney briefly became a member of The 5th Dimension, replacing Danny Beard, and featured on their Motown album High On Sunshine. In 2016 it was reported that Courtney was living in New York City, following a stroke.

Do The Thing collects pretty damn close to everything of Courtney's ... All 3 LPs and a Singles collection with all but one side from his debut 45. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

Friday, 22 February 2019

Do Right Baby

I recently found a folder with a few collections I amassed at request some time ago. Apologies if anyone has been holding their breath for them. I'll roll them out in the next couple weeks and hopefully they find happy homes. First up is a duo who frankly, don't do it for me but have successfully staked a claim in the world of soul. In the late 60s every record label under the sun was looking for the next Sam & Dave. Mel & Tim strike me as a not-so-shining example of this despite eventually landing at the mighty Stax label. That said, they certainly had a chemistry, a handful of winners and well ... to each their own as they say.


Melvin McArthur Hardin and Hubert Timothy McPherson were cousins from Holly Springs, Mississippi, who traveled to Chicago, where they were discovered by Gene Chandler. Yolanda Hardin (who was Mel Hardin's mother and McPherson's aunt) along with their cousins Walita, Catha, Donny and Darris Maxwell, helped the duo with songwriting and publicity. Yolanda, formerly a singer, signed them to a recording contract with her Bamboo Records, and they recorded their own song, "Backfield in Motion". The record was immediately successful, reaching #3 on Billboard magazine's R&B chart and #10 on its pop chart in 1969. It sold over one million copies and was awarded a gold disc. Their follow-up record was "Good Guys Only Win in the Movies", which was also the title of their first album. Hardin and McPherson subsequently moved to Stax Records, for which they recorded a second Top 5 R&B hit, the ballad "Starting All Over Again", released in the United States in June 1972. The record climbed to #19 on the Billboard pop chart and stayed on the chart for 20 weeks. Five months after its release, it was their second million seller. It was also the title track of their second album, released in 1972, recorded in Muscle Shoals and produced by Phillip Mitchell. Mel and Tim performed at the Wattstax charity concert that year, but later recordings could not repeat their earlier successes. A self titled release came in late 1973 but with virtually no success. Mel & Tim disbanded shortly after.

Do Right Baby collects all three Mel & Tim albums and includes a bonus folder with some alternates and non-album single sides. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Wednesday, 20 February 2019

GGG Presents Deep Dish Delicacies Vol. 11 + 12

Will this series see 100 volumes? I'm not sure, but 10 has barely dented my reservoir and my thirst is hardly quenched. Some might pack it in with a nice round number like that but I'm excited to bring this anthology into the next block. So much so that I'm kicking off the next phase in the same fashion as I introduced it ... yup, a double dipped dose of Deep Dish Delicacies! The first of these volumes features some fine cuts of the 60s, while the second focus' strictly on the 70s.


GGG Presents Deep Dish Delicacies Vol. 11

01. Little Joe Steele & Group - 1963 - I'm So Hurt (KC 114)
02. Roy Lee Johnson - 1962 - Too Many Tears (OKeh 7160)
03. William Bell - 1963 - I'll Show You (Stax S-141)
04. Betty Harris - 1963 - Cry To Me (Jubilee 5456)
05. Otis Redding - 1964 - Don't Leave Me This Way (Volt 45-116)
06. Larry Clinton - 1964 - This Would Be My Prayer (Lawn 247)
07. Ted Taylor - 1964 - So Hard (Okeh 7190)
08. The Invincibles - 1965 - My Heart Cries (Warner Bros 5636)
09. Johnnie Taylor - 1965 - I Had A Dream (Stax 186)
10. Eva Larse - 196? - Every Now and Then (Startown 5151)
11. Spencer Wiggins - 1965 - I'll Be True To You (Goldwax 118)
12. James Barnett - 1966 - It Tears Me Up (Fame Unissued)
13. Bobby Harris - 1966 - Mr. Success (Shout 203)
14. Wilson Pickett - 1967 - I Found A Love (Part 1) (Atlantic 2394)
15. Wilson Pickett - 1967 - I Found A Love (Part 2) (Atlantic 2394)
16. Priscilla Price - 1967 - Do I Stand A Chance With You (GMC 10007)
17. Darrell Banks - 1967 - I'm Gonna Hang My Head & Cry (Atco 33-216)
18. O.V. Wright - 1968 - This Hurt Is Real (Backbeat BLP-67)
19. Eddy G Giles w The Jive Five - 1968 - Happy Man (Murco 1037)
20. Lloyd Hendricks - 1968 - Your Cold Heart (Mala 12,007)
21. Third Guitar - 1968 - Don't Take Your Love From Me (Rojac 123)
22. The Isley Brothers - 1969 - Feels Like The World (T-Neck TNS 3002)
23. Gloria Johnson - 1969 - These Arms Of Mine (Josie 1006)
24. Bobby Angelle - 1969 - No Other Love Could Be (Imperial 66355)
25. Percy Sledge - 1969 - Kind Woman (Atlantic 2646)



GGG Presents Deep Dish Delicacies Vol. 12

01. Chuck & Mac - 1970 - Powerful Love (Twinight 135)
02. Sam Moore - 1970 - If I Should Lose Your Love (Atlantic 2814)
03. Jimmy Hughes - 197? - Don't You Know I'm All Alone (Volt Unissued)
04. Willie James - 1970 - Down On My Knees (Unity 2711)
05. Billy Nitro - 1970 - As Sweet As Your Love For Me (Resist 110)
06. Mitty Collier - 1970 - What Do You Want (Peachtree Unissued)
07. Thomas Bailey - 1971 - Wish I Was Back (Federal 12567)
08. Big John Hamilton - 197? - Lift Me Up (Minaret 200)
09. Jimmy Braswell - 1971 - I Can't Give You My Heart (Gene 222)
10. Syl Johnson - 1971 - Soul Heaven (Twinight Unissued)
11. Ollie Nightengale - 1971 - Standing On A Promise (Memphis 104)
12. Betty Bibbs - 1972 - First Come First Served (GeNeva 500)
13. Jimmy Lomax - 1972 - Remember Me (Cab 3004)
14. Willie & The Mighty Magnificents - 1972 - Forever More (All Platinum AP-3008)
15. George Jackson - 197? - Hit & Run (Fame Unissued)
16. Jimmy Lewis - 197? - Friendship Only Goes So Far (Unissued)
17. Veda Brown - 1973 - I Can See Every Woman's Man But Mine (Stax 163)
18. O.V. Wright - 1973 - Memory Blues (Backbeat BBLX-72)
19. Bobby Bland - 1973 - Help Me Through The Day (ABC DSX-50163)
20. Geater Davis - 1974 - Strange Sensation (Ace 3006)
21. Otis Clay - 1974 - The Woman Don't Live Here No More (Hi 2266)
22. Joe Perkins - 1974 - Try Love (Bluff City 220)
23. Jackie Moppins - 1975 - Your Hurting Day Is Gonna Come (Mil-Smi 104)
24. Sambo - 1975 - I Am Tired Of Going On (Pauls 1001)
25. Count Willie w LRL & The Dukes - 1975 - I've Got To Tell You (Minaret NR6156)


Monday, 18 February 2019

Everybody Needs Somebody

One of the better duo's to pull a few pages from the ol' Sam & Dave playbook were Bell Records artists, James & Bobby Purify. Often billed and portrayed as brothers, however, Robert Lee Dickey and James Lee Purify were in fact cousins. They dropped close to a dozen 45s and a pair of LPs in the late 60s; the first of these is an essential staple of southern soul music in my personal opinion. The original "Bobby Purify" (Robert Lee Dickey) was replaced by a second "Bobby Purify" (Ben Moore) in the mid 70s, resulting in another pair of LPs (1975-77).


The vocal duo of James Lee Purify and his cousin Robert Lee Dickey formed in 1965. Dickey had previously worked as a guitarist with the Dothan Sextet. The duo were signed by Don Schroeder to Bell Records in 1966, with Dickey taking his cousin's surname as a stage name. They had immediate success with "I'm Your Puppet", written by Spooner Oldham and Dan Penn and produced by Penn at the FAME Studios in Muscle Shoals, Alabama. The record, released in September 1966, spent 14 weeks on the US chart and sold an estimated one million copies. Although "I'm Your Puppet" was their biggest hit, they had several further successes on both the Billboard Hot 100 and R&B chart in the US in the late 1960s, including a revival of "Shake a Tail Feather", originally by The Five Du-Tones, and "Let Love Come Between Us". Oliver's cover of the twosome's 1968 hit "I Can Remember" reached the top 25 of the Billboard Easy Listening Chart in the mid summer of 1970. The duo continued to record and tour together until 1971, when Dickey retired from the music business for health reasons and returned to Tallahassee, where he worked as a city maintenance supervisor as well as singing and playing guitar with his church and as a member of The Bethlehem Male Singers. James Purify then worked as a solo singer until 1974, when Penn introduced him to Ben Moore. Moore had previously worked with Otis Redding, James Brown and as a member of Jimmy Tig and the Rounders, before forming half of the duo Ben & Spence, who recorded for Atlantic Records in the 60s. Moore adopted the stage name "Bobby Purify", and the duo toured together until the 1980s. They re-recorded "I'm Your Puppet", which became a #12 hit in the UK in 1976, and released two albums. Moore began recording as a solo singer for Mercury Records in 1977 and (as Bobby Purify) released an album, Purified, in 1979. He also continued to tour as half of the duo with James Purify. He was nominated for a Grammy Award in 1983, in the category of Best Soul Gospel Performance - Traditional, for the song "He Believes in Me". In 1998, Moore went blind from severe glaucoma and dropped out of the music industry. With the encouragement of Ray Charles, however, he returned to performing and recording. Under the name Bobby Purify, he released an album, Better to Have It, produced by Dan Penn, in 2005. He later joined the gospel band Blind Boys of Alabama.

Everybody Needs Somebody collects both versions of the duo. The self titled LP (1967), Pure Sounds Of The Purify's LP (1968), with a complete 45s collection (1966-69) including half a dozen unissued recordings, and the two later LPs with Ben Moore ... You & Me Together Forever (1975) and Purify Bros. (1977). All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

Friday, 15 February 2019

Please Don't Leave Me

Considered by many as one of California's top tier tenors of the mid to late 50s, though I'd venture to say, one of the finest in the country. At his peak, he was fronting 2-3 outfits at one time and to top it off, singing was just his side-job. Aurthur Lee Maye worked a concurrent career as a professional baseball player. He began both careers in 1954 and saw them through consecutively until the early 70s. Baseball began with the Milwaukee Braves Pioneer League farm team in Boise, Idaho and recording wise, he debuted with Richard Berry (The Fine One b/w Please Baby Please) as The "5" Hearts on the Flair label. Maye had talent for days, or rather ... decades.


Arthur Lee Maye was born on December 11, 1934 in Tuscaloosa, Alabama, but his family moved to Los Angeles when he was very young. He attended Jefferson High where he sang in a group called the Carmels - Eugene Taylor (lead), Arthur Lee Maye (tenor), Delmer Wilburn (tenor), Norman Manley (baritone) and Charles Holmes (bass). Always into baseball, when he was a junior at Jefferson, he made the All-City team. Lee's recording career started in early 1954, the same year he was signed by the Milwaukee Braves (upon graduating from Jefferson in June). Working his way up through the minors, he began with the Boise [Idaho] Pilots (a class C minor league team). To sing, he joined up with bass Johnny Coleman and, because he knew the Flairs from Jefferson High (where they would "all go doo-wopping up and down the halls"), Flairs' bass/baritone Richard Berry. This unnamed trio was brought into the studio twice by Flair Records, a subsidiary of Modern. The first time, the label named the group the "5" Hearts and released "The Fine One"/"Please Please Baby" on Flair in February 1954. Since there were only three singers, this may explain why the company put the number 5 in quotes. The next time, they recorded "Sweet Thing" and "Rock Bottom," but these weren't immediately released. Meanwhile, Lee was getting a group together that would come to be known as the Crowns (named after the Crown recording company, part of the Modern/Flair/RPM complex). The group consisted of Arthur Lee Maye (tenor), Charles Colbert (tenor), Johnny Morris (tenor), Joe Moore (baritone), Richard Berry (baritone), and Johnny Coleman (bass). The Crowns' first appearance on record was "Set My Heart Free," backed with "I Wanna Love" (Modern, November 1954). In September 1954, Richard Berry, backed by the Crowns, recorded "The Big Break," "What You Do To Me," "Please Tell Me," and "Get Out Of The Car." "The Big Break"/"What You Do To Me" were released that month, but only Richard Berry's name appears on the label. The Crowns—Arthur Lee Maye (tenor), Charles Colbert (tenor), Joe Moore (baritone), Richard Berry (baritone), and Johnny Coleman (bass)—did several more sides for Modern (all released on its RPM subsidiary). The first of these was "Truly"/"Oochie Pachie," released in February 1955. Lee's brother, Eugene Maye, says that this was the original version and that "Oochi Pachi" by Linda Hayes and the Platters was the cover (they were both reviewed in the same issue of Billboard). In March 1955, Flair released the other two songs that had been recorded by the trio a year before ("Sweet Thing" and "Rock Bottom"). This time, instead of The "5" Hearts, the label called them The Rams. In the 1955 baseball season, Lee played for four minor league teams, all part of the Milwaukee Braves organization: the Boise Pilots (class C), the Eau Claire [Wisconsin] Braves (class C), the Yakima [Washington] Braves (class B), and the Evansville [Indiana] Braves (class B). Lee was clearly moving up. In May, RPM released the Crowns' "Love Me Always"/"Loop De Loop De Loop." The last RPM sides were issued in October: "Please Don't Leave Me," coupled with "Do The Bop." Presumably all of these songs had been recorded around January, before Lee went off to Boise. After the 1955 baseball season, the Crowns left Modern. It was possible to get small advances from Modern, but when it came time to receive royalties, the advances always seemed to have canceled them out. Their next stop was Art Rupe's Specialty label, where, with the same five guys, they cut "Gloria" and "Oh Ruby Lee" (which was misspelled on the label as "Oh-Rooba-Lee") on February 1, 1956. These were released in March. While Lee would continue to record with the Crowns, this is the last time their name would appear. From now on, labels would only say "Arthur Lee Maye" or "Lee Maye." Two other tunes ("Cool Lovin'" and "Don't You Know I Love You So") were cut at the same Specialty session. However, they first appeared on a bootleg RPM 45 (with "Don't You Know I Love You So" retitled to "Please Say You Love Me"). These are not unreleased RPM tracks. When 1956 baseball ended (a full season with the Evansville Braves, where he led the league in RBIs, hits, and runs), Lee teamed up with bandleader Johnny Otis, who was putting a group together to do a tour of northern California and needed someone who had the time to go. The other members of this group were: Mel Williams (baritone lead), Harold Lewis (tenor), and Sonny Moore (bass). Otis called them the "Jayos" (that's "J.O.", as in Johnny Otis). After the tour the Jayos did some recordings of former R&B hits for Otis' Dig label. Since the sides weren't all recorded at the same time, they contain various combinations of six singers - the four touring Jayos, plus Jesse Belvin and Richard Berry. Lee does lead on the following sides: "Honey Love," "Earth Angel," "Gee," Only You," "At My Front Door," and "One Mint Julep." Lee was on "Sh-Boom" and "Sincerely," but not as lead. He was not on any other sides credited to "The Jayos." All these tunes were on a 1957 Dig LP called Johnny Otis Rock n' Roll Hit Parade. In addition, Lee got to record the Crowns on Dig (although only his name appears on the label). By that time, however, Richard Berry had given up on all his groups and the personnel on "This Is The Night For Love," "Honey Honey," "Whispering Wind," and "A Fool's Prayer" were: Lee, Charles Colbert (tenor), Joe Moore (baritone), Johnny Coleman (moving up to baritone), and Charles Holmes (bass). 1957 saw Lee with the Jacksonville [Florida] Braves (class A) and, in December 1957, another Crowns' record, this time on Flip. Once again, only Lee's name is on the label, but the personnel on "Hey Pretty Girl"/"Cause You're Mine Alone" is the same as on the Dig sides. In 1958, Lee started spring training with the Milwaukee Braves, but was sent back to the minors. While Lee was away, the Crowns were brought to Cash by Henry Strogin, an employee of the company. The Crowns were initially used to back up raspy-voiced Cry Baby Curtis on "I Wanna"/"Did You Think I Care." When Lee was again available for recording, he joined the Crowns at Cash. The label of "Will You Be Mine" and "Honey Honey" credits "Lee Maye of the Milwaukee Braves," but the Crowns are there behind him. The other 1958 record on Cash was "All I Want Is Someone To Love"/"Pounding." This one was credited to "Arthur Lee Maye," but the Crowns are, once again, present. In 1959, Lee started the season for the Louisville [Kentucky] Colonels (class AAA). In July, he was finally placed in the Milwaukee Braves lineup as an outfielder; he'd play 51 games with them that season. However, baseball was taking its toll on the Crowns. While Lee was on the road, they did back-up work whenever possible, but had no direction. In 1960, Lee started with Milwaukee, but was sent back to the Louisville Colonels for 72 games (between May and July) before permanently moving back to the Braves; he'd stay with them until 1965 (although he was plagued with injuries and health issues). Over the years, Lee was able to spend less and less time with the Crowns, since he moved to Milwaukee and then to Houston. Henry Strogin ended up using the group for some early 1960s recordings on Dynamic, Amazon, and Ball. Billed as "Henry Strogin and the Crowns," the rest of the group was: Eugene Maye (tenor), Charles Colbert (tenor), Joe Moore (baritone), and Johnny Coleman (bass). While the Crowns finally got their name on a record again, these were their last recordings.

Then in 1963, Lee embarked on a solo career (occasionally using a studio group). In April that year he did "Halfway Out Of Love With You" and "I Can't Please You" for Bob Gans' Lenox label. In late 1963, he did some recordings for Jamie-Guyden in Muscle Shoals, Alabama. The session producer was Huey Meaux (aka The Crazy Cajun). "Have Love Will Travel" was initially released in January 1964, on Guyden, as by the "Off-Beats" (Lee, backed by a Nashville studio group). The flip, "Doodlum," is an instrumental. There were four releases on Jamie in 1964, followed by a duet ("Careless Hands") with Barbara Lynn in February 1965. In early 1965, Lee injured his ankle and ended up being traded to the Houston Astros. He'd finish out the season with them and return in 1966. While he was in Houston, he did some more recording for Huey Meaux (who operated out of nearby Pasadena, Texas). In 1965, there were three records on Meaux' Pic 1 label. Two of them were credited to Lee Maye ("Today Today"/"Touch Me On My Shoulder" and "Total Disaster"/"What's Happening"). The third was by "Arthur Lee Maye": "Stop The World"/"At The Party." "At The Party" was re-issued on Meaux' Tower label in June 1966; this time its flip was "When My Heart Hurts No More." 1967-9 saw Lee with the Cleveland Indians. In January 1967, Meaux released "Have Love Will Travel"/"Loving Fool" (two old Jamie-Guyden cuts) on his Jetstream label. A few months later, there was "Fools Rush In"/"Jes' Lookin'" on Pacemaker (another Meaux label). These cuts also came out on Chess in May. In early 1968, there was a release on ABC-Paramount ("If You Leave Me"/"The Greatest Love I've Ever Known"). Around October 1969, he released the old Jim Reeves song, "He'll Have To Go," backed with "Jes' Lookin'" on Buddah. These were definitely old Meaux sides. Lee's last season in major league baseball was in 1971, when he played for the Chicago White Sox until July. While we've gotten used to obscene baseball player salaries, in his years with the White Sox, Lee was making around $27,000. Since he couldn't find another major league team that was interested in him, for part of 1971 and 1972, Lee played for the Hawaii Islanders, a class AAA affiliate of the San Diego Padres. In 1972, after 93 games with them (and a .285 average), Lee called it a career. He was 37 and had been playing professional ball for 18 years. After this, he went to work for Amtrak for the next 12 years. There was a single on Happy Fox, from around August 1976, credited to "Country Boys & City Girls (featuring Lee Maye)." The sides were "Forgetting Someone (Is Easier Said Than Done)" (which made #99 on the R&B charts) and "She Said Hell No! (You Can't Have Any More)." There were other recordings by this group, but I'm not sure if Lee was on any of them. Lee had one more record. In 1985, he recorded "Moonlight" (not the Orioles' tune) and "I'm Happy And In Love" for Dave Antrell's Antrell label. The back-up harmony was provided by Dave Antrell and Charles Williams. Maye was very proud of "Moonlight." Moonlight made several compilation CDs, played a role in the novel '64 Intruder, and got airplay on doo-wop radio programs. Maye had a European tour planned when he became stricken with liver cancer. Maye died July 17, 2002 at the age of 67 in Riverside, California of pancreatic cancer and is buried at Inglewood Park Cemetery in Inglewood, California. In 2011, a new mysterious Lee Maye CD, called Always, appeared on the Demon S&C/IODA label. 14 cuts plus 11 slightly alternate versions/takes/mixes, but virtually no details about the recordings themselves. - Marv Goldberg [R&B Notebooks]

Please Don't Leave Me puts the majority of Arthur Lee Maye's together in one place. I'm missing roughly half a dozen sides (that I know of), however, all the early stuff is here. Issued and unissued recordings by The "5" Hearts/The Rams, The Crowns, The Jayos, one-off duets, solo's and guest spots. Most of Maye's second stint (1963-69) is included but wane's towards the post-issued Huey Meaux recordings, released between 1967-69. Also included is the mysterious 'Always' CD. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

*missing single sides:
63. Lee Maye - 1965 - Stop The World (Pic 1 126)
67. Lee Maye - 1968 - If You Leave Me (ABC 11028)
68. Lee Maye - 1968 - The Greatest Love I've Ever Known (ABC 11028)
69. Lee Maye - 1969 - He'll Have To Go (Buddah 141)
70. Lee Maye - 1969 - Jes' Lookin' (Buddah 141)

Wednesday, 13 February 2019

GGG Presents Goodie Grab Bags Vol. 15 + O-O-O-O-Oh Yeah!!! Vol. 03

It's a milestone sort of day in more ways than one ... today marks my 200th posting here on the site, it's also my birthday and we finally got the snowstorm that I wanted for christmas! So it stands to reason that I might have something special in store, however, I do not. All but my birthday (which I don't celebrate) sneaked up on me. And besides, it could be argued that each and every posting here is special enough for any one or all of these occasions. That said, no harm in doubling down for the day so here's your regularly scheduled hump day 'Goodie Grab Bag' delight aaaaannnndddd the latest installment in the 'O-O-O-O-Oh Yeah!!!' companion series. Enjoy my friends, now I'm off with my snow shovel to do a different sort of digging.


Jimmy Dobbins - Discography 1966-74 [10sides]

01. Jimmy Dobbins - 1966 - Little Miss Perfect (Crash 426)
02. Jimmy Dobbins - 1966 - What Is Love (I Found Love) (Crash 426)
03. Jimmy Dobbins - 1973 - Sweet Love (Chimneyville 1776)
04. Jimmy Dobbins - 1973 - Try It Again (Chimneyville 1776)
05. Jimmy Dobbins - 1974 - Understanding (Chimneyville 1781)
06. Jimmy Dobbins - 1974 - A Quitter Never Wins (Chimneyville 1781)
07. Jimmy Dobbins - 1974 - Sugar Bear (Chimneyville 10203)
08. Jimmy Dobbins - 1974 - Wrong Road (Chimneyville 10203)
09. Jimmy Dobbins - 197? - Teasin' You (Chimneyville Unissued)
10. Jimmy Dobbins - 197? - Finally (Chimneyville Unissued)


Rudolph Taylor - Discography 1967-76 [9sides]

01. Rudolph Taylor - 1967 - Doorsteps To Sorrow (Roman 311) (Mainstream 669)
02. Rudolph Taylor - 1967 - Tell Him Tonight (Roman 311) (Mainstream 669)
03. Rudolph Taylor - 19?? - You're Using Me (Unissued)
04. Rudolph Taylor - 19?? - One's Man's Poison (Unissued)
05. Rudolph Taylor - 19?? - Search Your Heart (Unissued)
06. Rudolph Taylor - 19?? - What's That You Got (Unissued)
07. Rudolph Taylor - 19?? - Big City Lights (Unissued)
08. Rudolph Taylor - 1976 - Trespassing On Another Man's Property (Hot Ray's HR-122883)
09. Rudolph Taylor - 1976 - Don't Let Your Love Life Get You Down (Hot Ray's HR-122883)


Ted Ford - Discography 1967-69 [8sides]

01. Ted Ford - 1967 - You Don't Love Me (Gaye 3034)
02. Ted Ford - 1967 - Hold On To The Key (Gaye 3034)
03. Ted Ford - 1967 - Pretty Girls Everywhere (Sound Stage 7 2594)
04. Ted Ford - 1967 - She's Gonna Come Back (Sound Stage 7 2594)
05. Ted Ford - 1968 - Please Give Me Another Chance (Sound Stage 7 2604)
06. Ted Ford - 1968 - You're Gonna Need Me (Sound Stage 7 2604)
07. Ted Ford - 1969 - I Can't Give You Up (Budd 101)
08. Ted Ford - 1969 - Real Soul (Budd 101)

(Bonus) Sir Ted Ford - Discography 1977-79 [4sides]

09. Sir Ted Ford - 1977 - I Wanna Be Near You (Barak BAR-3)
10. Sir Ted Ford - 1977 - Ridin Too High (Barak BAR-3)
11. Sir Ted Ford - 1979 - Disco Music (Ardent 9001)
12. Sir Ted Ford - 1979 - I've Got A Goal (Ardent 9001)

GGB15





01. Roy Arlington - 1965 - Everybody Makes A Mistake Sometimes (Safice 337a)
02. Roy Arlington - 1965 - That's Good Enough (Safice 337b)
03. James Chapmen - 19?? - In Memory Of Martin Luther King [voc] (Mor Soul 001a)
04. James Chapmen - 19?? - In Memory Of Martin Luther King [inst] (Mor Soul 001b)
05. Little Anthony 1967 - You're My One And Only (Show Art 102a)
06. Little Anthony 1967 - Nobody But Me (Show Art 102b)
07. Ruby & The Wonders - 196? - Don't Cha Do It (Normar 351a)
08. Ruby & The Wonders - 196? - Here Is My Heart (Normar 351b)
09. Eddie Finley - 1971 - Clean Up Man (Rapturea 1521a)
10. Eddie Finley - 1971 - Treat Me Right Or Leave Me Alone (Rapturea 1521b)
11. Qunestine Strong - 1973 - One Hundred Years From Now (Raina 101a)
12. Qunestine Strong - 1973 - Very Tender Moments (Raina 101b)
13. WDJ The Prince Of Soul - 197? - Invitation To Love (Gents 50124a)
14. WDJ The Prince Of Soul - 197? - Funky Loving (Gents 50124b)
15. Buddy Cantrell - 1969 - You Ain't No Good (Tuska 104a)
16. Buddy Cantrell - 1969 - Why Did You Leave Me (Tuska 104b)
17. Jim Jackson - 1967 - Welcome Me Home (Sandbag 102a)
18. Jim Jackson - 1967 - Some Love With Soul (Sandbag 102b)
19. The Music City All Stars - 1965 - Do The Philly (Music City 857a)
20. The Music City All Stars - 1965 - The Philly [inst] (Music City 857b)
21. Vick & John - 1965 - Don't Dish Out More Than You Can Take (Allert 8000a)
22. Vick & John - 1965 - Lonely Man (Allert 8000b)
23. Charles Soul Brown - 1963 - I'll Love You If You Let Me (Nola 702a)
24. Charles Soul Brown - 1963 - Standing On The Outside (Nola 702b)
25. Al Anders - 1961 - Do You Love Me (Acclaim 1005a)
26. Al Anders - 1961 - That's All I Want (Acclaim 1005b)

OY!03



Monday, 11 February 2019

Give Everybody Some

Don't neglect your instrumental health ~ help is available. Here we have one of the most trusted relieving remedies to have ever hit the shelves. Initially a funky instrumental soul combo on Stax/Volt, the Bar-Kays were nearly destroyed when most of the band perished in the same plane crash that claimed Otis Redding. Amazingly, the Bar-Kays not only regrouped but prospered, evolving into a popular funk ensemble over the course of the 70s. They continued to score hits on the R&B charts through much of the 80s as well, making for a career longevity that no one would have predicted for Stax's formerly star-crossed number-two house band.


The Bar-Kays were formed in Memphis, TN, in 1966, growing out of a local group dubbed the Imperials. Modeled on classic Memphis soul instrumental outfits like the Mar-Keys and Booker T. & the MG's, the Bar-Kays originally included guitarist Jimmy King (not the famed bluesman), trumpeter Ben Cauley, organist Ronnie Caldwell, saxophonist Phalon Jones, bassist James Alexander, and drummer Carl Cunningham. Adopting a mutated version of their favorite brand of rum (Bacardi) as their name, the band started playing heavily around Memphis, and eventually caught the attention of Stax/Volt, which signed the sextet in early 1967. With help from house drummer Al Jackson, Jr., the label began grooming the Bar-Kays as a second studio backing group that would spell Booker T. & the MG's on occasion. That spring, the Bar-Kays cut their first single, "Soul Finger," a playful, party-hearty instrumental punctuated by a group of neighborhood children shouting the title. "Soul Finger" reached the pop Top 20 and went all the way to number three on the R&B chart, establishing the Bar-Kays in the public eye (although the follow-up, "Give Everybody Some," barely scraped the R&B Top 40). Producer Allen Jones began to take an interest in the group and became their manager and mentor; even better, Otis Redding chose them as his regular backing band that summer. Unfortunately, disaster struck on December 10, 1967. En route to a gig in Madison, WI, Redding's plane crashed into frozen Lake Monona. He, his road manager, and four members of the Bar-Kays were killed. Trumpeter Ben Cauley survived the crash, and bassist James Alexander had not been on the flight; they soon assumed the heavy task of rebuilding the group. Adding insult to injury, the third and final single released by the original lineup, a cover of the Beatles' "A Hard Day's Night," was virtually ignored. Nonetheless, with Allen Jones' help, Cauley and Alexander assembled a new Bar-Kays lineup featuring guitarist Michael Toles, keyboardist Ronnie Gordon, saxophonist Harvey Henderson, and drummers Roy Cunningham and Willie Hall. At first, their sound was similar to the original lineup, and they were used as the house band on numerous Stax/Volt recording sessions; they also backed Isaac Hayes on his groundbreaking 1969 opus Hot Buttered Soul. Still, they were unable to land a hit of their own, and Cunningham and Gordon both left the group in 1970; the latter was replaced on keyboards by Winston Stewart.

With 1971's Black Rock album, the Bar-Kays debuted their first-ever lead vocalist, Larry Dodson, and incorporated some of the psychedelic-inspired rock/funk fusions of Sly & the Family Stone and Funkadelic. After playing on Isaac Hayes' hit Shaft soundtrack, Cauley and Toles both joined his backing band permanently, and were replaced by trumpeter Charles "Scoop" Allen and guitarist Vernon Burch. This new lineup took a more mainstream funk direction, scoring a minor hit with a takeoff on Jimi Hendrix's "Foxy Lady" dubbed "Copy Cat." The follow-up, another good-humored goof on a recent hit, was "Son of Shaft," which in 1972 became the group's first Top Ten R&B hit since "Soul Finger." That summer, the Bar-Kays played a well-received set at Wattstax (the black answer to Woodstock), but it wasn't enough to keep their commercial momentum going, especially as Stax/Volt headed toward eventual bankruptcy in 1975. Armed with new guitarist Lloyd Smith (who'd joined when Burch left in 1973), new drummer Michael Beard, and trombonist Frank Thompson, the Bar-Kays signed with Mercury in 1976 and began the most commercially productive phase of their career. Writing most of their own material and using more synthesizers, their label debut, Too Hot to Stop, was a hit, powered by the smash R&B single "Shake Your Rump to the Funk." The group consolidated their success by opening for George Clinton's P-Funk machine on an extensive tour, and that loose, wild aesthetic was now a more accurate reflection of the Bar-Kays' brand of funk, although they were more easily able to bridge into disco. Follow-up Flying High on Your Love (1977) was the band's first gold record, and Money Talks -- a Fantasy reissue of some previously unreleased Stax material -- produced another Top Ten hit in "Holy Ghost" the following year. Drummer Sherman Guy and keyboardist Mark Bynum subsequently joined the band, and a string of hit albums followed: 1979's Injoy (which featured the Top Five R&B hit "Move Your Boogie Body"), 1980's As One, 1981's Nightcruising (which spawned two hits in "Hit and Run" and "Freaky Behavior"), and 1982's Propositions (more hits in "Do It (Let Me See You Shake)" and "She Talks to Me With Her Body"). All of those albums, but As One, went gold. In 1983, Sherman Guy and Charles Allen left the group, presaging a more commercial direction in keeping with the urban sound of the early '80s. 1984's Dangerous produced one of the group's biggest hits, "Freakshow on the Dancefloor," and a couple more R&B chart hits in "Dirty Dancer" and "Sex-O-Matic." Their sound was becoming derivative, however, and although the group kept recording for Mercury through 1989, the changing musical landscape meant that the hits dried up. By 1987, only Larry Dodson, Harvey Henderson, and Winston Stewart remained; that same year, Allen Jones died of a heart attack, and the group scored its last R&B Top Ten hit with "Certified True." When their contract with Mercury was up, the Bar-Kays called it quits with 1988's Animal. Dodson and original bassist James Alexander put together a short-lived new version of the Bar-Kays for the 1994 album 48 Hours, released on the small Basix label. - Steve Huey [allmusic]

Give Everybody Some is a far cry from a complete collection of this iconic outfit. Omitting their disco-fied recordings for Mercury and their extensive funk/electro-boogie efforts of the 80s, we're left with the group's true gold ... a round-about way of saying, the complete Stax/Volt recordings! All five LPs (1967-74), the Money Talks compilation LP and a collection of non-album sides and unissued cuts from that stretch. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.


Friday, 8 February 2019

My Best Just Ain't Good Enough

Songwriter, singer and guitarist Roy Lee Johnson is probably best known for his composition "Mr. Moonlight", which has been covered by many artists, including The Beatles. And while that likely afforded him further opportunities that may not have otherwise arisen, it's hardly the pinnacle of this man's music. Johnson had an eclectic range of output and it's all high quality.


Johnson was born in Centralhatchee, Georgia and began playing guitar as a child. Around 1955, he joined his first band, The Brassettes, who included Robert Ward and who played local dances in and around Hogansville. After the band won a talent contest in Atlanta, they recorded Johnson's song, "Nobody Does Something For Nothing", for the small Stat label. In the late 50s, Johnson moved to Ohio, joining Ward in the Ohio Untouchables. However, by 1961 he had returned to Atlanta, and began playing in Piano Red's band, the Interns. His song "Mister Moonlight", which he had written in high school, was first recorded by Piano Red, credited as "Dr. Feelgood & The Interns", and released in 1962 as the b-side of "Doctor Feel-Good" on OKeh Records. Johnson left the Interns in about 1963, and released his first solo record, "Too Many Tears", on OKeh that year. Neither it nor its follow-up, a reworked "Nobody Does Something For Nothing", were successful. However, in 1964 the Beatles covered "Mr. Moonlight" on the album Beatles for Sale, the success of which allowed Johnson to form his own band. He recorded three singles for Columbia Records in 1966-67, including "My Best Just Ain’t Good Enough", and another single for the Josie label. Otis Redding, for whom he had previously been a support act, then introduced him to Phil Walden, who recorded three singles with him in 1968 at the FAME Studios in Muscle Shoals, featuring the studio rhythm section. The singles included "Cheer Up, Daddy’s Coming Home" and "Take Me Back And Try Me", but again were not hits. He then formed a new band, Roy Lee Johnson & The Villagers, who recorded a self-titled album for Stax Records in 1973, influenced by the funk style of James Brown. However, the band broke up after the sudden death of 21-year-old bass player Michael James. Johnson continued to release occasional singles in the late 70s and 80s, setting up his own studio and continuing to perform with various bands.

My Best Just Ain't Good Enough gathers the bulk (if not entirety) of Johnson's classic output as a vocalist and includes 4 folders. First of these is the Dr. Feelgood & The Interns LP (1962) in which Johnson sings lead on about half the tracks. The second folder is Johnson's solo releases (1962 - 1968), the third folder is Johnson's Stax LP (1973) with his band The Villagers. The fourth and final folder comes care of Sir Shambling and Loofer and gathers Johnson's recordings from 1978 to 1987 (a few singles and an LP). Other than tagging, the files in last folder are untouched by me. All other files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.

Wednesday, 6 February 2019

GGG Presents Deep Dish Delicacies Vol. 10

Time for a bi-weekly dip in the deep end of the pool. I've been burning the candle at both ends as of late so I'll be a bit brief today, and probably for the next few weeks until I see these projects through. Never too busy though to carve out an hour of two to take in another installment of this series. I've made many o' compilations in my life that I never really listen to once done but this series is quite different. I find myself repeatedly returning to each volume to bask in these beautiful arrangements again and again and again ... each time, getting something more.


GGG Presents Deep Dish Delicacies Vol. 10

01. Rudy Mockabee - 1969 - Cheer Up (Daddy's Coming Home) (Atco 45-6721)
02. Fugi & Back Merda - 1968 - I'd Rather Be A Blind Man (Unissued LP)
03. Carl Hall - 1967 - You Don't Know Nothing About Love (Loma 2086)
04. Willie Small [aka Curtis Smith] - 1965 - Say You Will (Jessica 401)
05. Otis Redding - 1965 - Chained And Bound (Volt SD 411)
06. Bobby Harris - 1965 - We Can't Believe You're Gone (Atlantic 2270)
07. Barons - 1966 - On This Earth (Esprit 2210)
08. Mitty Collier - 1966 - Sharing You (Chess 1953)
09. Little Buster - 1966 - I Think I'm Falling (Jubilee 5537)
10. Bobby Bland - 1964 - When You Put Me Down (Duke DLP 78)
11. Jay Lewis - 1964 - Tell Us What Went Wrong (Capitol 5095)
12. Tarheel Slim & Little Ann - 1963 - Two Time Loser (Atco 6259)
13. Bob & Earl - 1963 - I'll Keep Running Back (Marc 104)
14. Kip Anderson - 1962 - I Will Cry (Everlast 5021)
15. Clarence Reid - 1964 - Like White On Rice (Dade 1855)
16. Earl Gaines & The King Pins - 1964 - How Long Will It Last (Federal 12484)
17. Nita Hill - 1964 - All This (Circle 951)
18. The Ovations - 1965 - It's Wonderful To Be In Love (Goldwax 113)
19. The Valentinos - 1966 - What About Me (Chess 1952)
20. Wilson Pickett - 1966 - She Ain't Gonna Do Right (Atlantic 8138)
21. Al Green - 1967 - What's It All About (Hotline HLS-1500)
22. Them Two - 1967 - Am I A Good Man (Deep City 2379)
23. Johnny Tipp - 1967 - Till I Met You (Sanfris 20)
24. Eldridge Holmes - 1968 - Now That I've Lost You (Deesu 320) (Decca 32416)
25. James Fry - 1968 - Tumbling Down (Hi 2142)


Monday, 4 February 2019

What'd I Do Wrong

The break in the road came a bit too soon for Betty Harris in my humble opinion, her aptly titled final single was released in 1969 via SSS International and similar to the vast majority of Harris' previous recordings, leaves us longing for more. I personally would have loved to hear her southern soul leanings throughout the early/mid 70s. Alas, Harris still left us with an eloquent collection superb soul, garnering equal appeal of deep soul and northern soul fans alike.


Debuting in 1962 on Douglas Records before signing with Jubilee Records in 1963, Harris' first 45 with the label was a hit. A slowed down version of Solomon Burke's hit of the year before, "Cry to Me", produced by the original record's producer, Bert Berns. Taken at a slower pace, Harris' rendition turned the song into a Billboard Hot 100 #23 hit, with a corresponding #10 listing on the R&B chart, and it became a deep soul classic. A total of three further singles including a reissue of "Cry to Me" were released on Jubilee, also produced by Bert Berns, "His Kiss", which was released on January 4, 1964, another deep soul ballad, reaching the lower part of the Billboard Pop and R&B charts. In 1964, Betty Harris switched record labels to Sansu, a New Orleans label, where she was produced by Allen Toussaint. Her recording with Sansu produced ten singles. Of those, only "Nearer to You", an atmospheric, dramatic soul ballad, now considered one of the milestones of deep soul, achieved U.S. national chart success (Billboard #85). However, practically all of her recordings for Sansu, uptempo tunes and ballads alike, featuring Toussaint's raw yet sophisticated Southern soul arrangements behind Harris' rich, distinctive vocal, are considered prime specimens of the classic soul era; some notable recordings were "I'm Evil Tonight", a beat ballad favored in Northern soul circles; "I Don't Want to Hear It", "Show it" and "Twelve Red Roses", stirring up-tempo tracks; "Can't Last Much Longer" and "What'd I Do Wrong", emotive deep soul ballads. Harris retired from performing in 1970 to raise a family. However, 35 years later, Harris returned to the music industry in 2005. She has made several public appearances in the US and Europe, including the 2007 Porretta Soul Festival in Italy, and has recorded a recent album, Intuition.

What'd I Do Wrong collects the complete classic Betty Harris recordings between 1962 and 1969. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

Friday, 1 February 2019

Never Let Me Go

British journalist Tony Cummings once wrote, "Eddie Holman's voice, an astonishing precision instrument which can leap octaves with the speed of mercury and bend notes into shapes unimagined by lesser singers, has assured its possessor a place in soul history." Who am I to disagree! Probably best known for his 1970 hit song 'Hey There Lonely Girl'.


Holman was born in Norfolk, Virginia and raised in New York City. His mother, noticing that he loved to sing even as early as the age of two, introduced him to the piano and the guitar, where he quickly revealed a natural aptitude. His abilities, however, were confined mostly to church and family gatherings. At age ten, Eddie Holman stepped onto the stage on Amateur Night at the Apollo Theater and showed his smooth tenor voice. His victory at the Apollo began to open many other doors, and soon he was performing at theaters on Broadway and even at Carnegie Hall. He was a regular performer on NBC's The Children's Hour. Not wanting her son to miss any opportunity, his mother was able to get him enrolled at the Victoria School of Music in Harlem. At Victoria, he learned the technical craft of music and began to blossom. As a teenager, Holman moved to Philadelphia with his family. After graduating from high school, he attended Cheyney State University where he graduated with a degree in music. In 1962, Holman made his first record, "What You Don’t Know Won’t Hurt You" on Leopard Records. It was in the Philadelphia soul scene that he began to develop his trademark style. While still in college, he recorded his first hit record, "This Can't Be True" (1966-Jan 15), which reached #17 on the Billboard charts. Other hits began to follow: "Am I A Loser From The Start" (1966), "I Love You" (1969), "Don't Stop Now" (1970), and "Cathy Called" (1970). Holman finally struck personal gold in 1970 with his ballad, "Hey There Lonely Girl" (originally "Hey There Lonely Boy",a Top 30 hit recorded in 1963 by Ruby and the Romantics), which peaked at number 2 on the Billboard Hot 100 chart. It sold over one million copies, and was awarded a gold disc from the R.I.A.A. in March 1970. In 1977, Eddie had a brief resurgence in popularity with his last two hit singles, "This Will Be A Night To Remember" and "You Make My Life Complete". Holman owns his own record label, Agape Records, and music publishing company, Schoochiebug Music Publishing. He also continues to tour with the Eddie Holman Band. During the summer of 2007, Holman performed weekly for the passengers aboard the Sun Princess cruise ship while it was en route to the inside passage of Alaska. He still resides in Philadelphia and spends time as a local community volunteer helping reach out to those less fortunate. He also works within the Philadelphia School System encouraging young people to become involved in the performing arts.

Never Let Me Go gathers nearly everything from Eddie Holman's secular efforts. Both LPs ... I Love You (1970) and A Night To Remember (1977), coupled with an almost complete 45s collection that includes close to a dozen unissued recordings. All files chronicled, cleanly tagged and MP3 @ 320kbs. Thanks to original uploaders, enjoy.

*missing*
Eddie Holman - 1974 - You're My Lady (Right Or Wrong) - Part II (Silver Blue 807)
Eddie Holman - 1974 - Darling Take Me Back (I'm Sorry) (Silver Blue 815)