Monday, 31 August 2020

GGG Presents Glucose For Comfort Vol. 01

As we're nearing the third quarter and savoring the tail end of summer, seems like the right time to roll out our third new compilation series, just this year. Glucose For Comfort explores the expansive realms of "sweet soul". While a portion of these tracks could just as easily appear on a Deep Dish volume and a good portion more are certainly akin to the early works found in the Darling Dear series, Glucose For Comfort is a different monster all together. A gradient blend of northern, southern and west coast soul as per usual but these cuts get mighty sappy, and for the most part reflect positive aspects of love and relationships. In terms of musical content, expect to hear more 70s group soul, more falsetto, more uptempo numbers, and a whole lot more string-based arrangements. I'll do my best to ease the transition by opening the first few volumes with cuts you could just as well hear kicking off a Deep Dish installment, hope ya's dig it!




01. Norma Jenkins - 1967 - Need Someone To Love (Carnival 528)
02. The Dells ‎- 1968 - Love Is So Simple (Cadet LPS 804)
03. The Moments - 1970 - I Do (Stang LP ST-1003)
04. Freddie Terrell's Soul Expedition - 1972 - We Gonna Make It (Lefevre Sound MLSP 3181)
05. The Intruders - 1973 - Memories Are Here To Stay (Gamble LP KZ 31991)
06. Leon Haywood - 1971 - You Know What (Atlantic 2799)
07. Susan Phillips - 1971 - He Knows My Key's In The Mailbox (All Platinum LP-3006)
08. The Escorts - 1973 - Ooo Baby Baby [alt] (Unissued Alithia)
09. Wilmer & The Dukes - 1969 - I Do Love You (Aphrodisiac LP APH-6001)
10. The Impressions - 1968 - I Loved And I Lost (ABC ABCS-635)
11. The Delfonics - 1968 - Break Your Promise (Philly Groove LP 1150)
12. Attractions - 1966 - Find Me (Renfro 117) (Bell 659)
13. Barbara Mason - 1965 - Yes, I'm Ready (Arctic 105)
14. The Paramount Four - 1968 - I've Made Up My Mind (Southern City 1114)
15. The Mighty Marvelows - 1967 - In The Morning (ABC 11011)
16. Willie Hutch - 1969 - That's What I Call Lovin' You (RCA LSP-4296)
17. The Natural Four - 1970 - Why Should We Stop Now (ABC LP ABCS-706)
18. Ebony Rhythm Band - 1970 - It's Too Late For Love [inst] (Unissued Lamp)
19. The Turks - 197? - You Turn Me On (DJO J-0111)
20. Paul Kelly - 1973 - My Love For You Won't Die (Warner Bros. LP BS 2689)

GFC01

Friday, 28 August 2020

One And Only Love

Well let's wind down this west coast excursion with something extra special. Each artist this month brings something different to the table; by way of northern styles, southern styles, doo wop to funk to disco. Somehow though, we've overlooked the true native soul sound of California. Rhythm n blues with serious emphasis on blues. While every Tom, Dick and Harry with dreams of grandeur and a song to sing hit the west coast, Bobby Bland, Ted Taylor, Ike Turner (to name a few) all helped define the authentic west coast soul sound. Way under the radar in comparison however, was Jesse James. A transplant like most but he had been in the Bay Area since boyhood and grew up playing west coast rhythm n blues. He had a few minor hits in the late 60s and again in the 80s and he's still recording today. His early work (60s/70s) is rare as hens teeth so I'm pretty excited to present this collection (and significant collaborative effort) today.
 

Born James Herbert McClelland, October 3, 1943. Most sources state that he was born in El Dorado, Arkansas, but in one interview he gave his home state as nearby Louisiana. He moved to the Bay Area in California as a young child. In his late teens, while working in a chemical factory, he began singing in nightclubs in Richmond, and was given his stage name by a compere who struggled to announce his real name. Initially credited as Jessie James, he recorded several singles in the early to mid 60s on the Shirley label before moving to the Hit label where some of his recordings featured guitar by Sly Stewart (later known as Sly Stone). His first commercial success came in 1967 when 20th Century Fox re-issued "Believe In Me Baby", originally on Hit and it reached No. 42 on the Billboard R&B chart and No. 92 on the Pop chart. The song was credited to Jesse James & the Dynamic Four, was produced by Jesse Mason Jr., and was co-written by James with Sugar Pie DeSanto, Shena Demell, and Jesse Anderson. James was then signed to 20th Century Fox by Hosea Wilson and released his self titled debut LP in 1968. Further singles for the label failed to chart. The following year James released one single on Uni Records before creating his own label, Zea Records (later Zay Records), distributed by Roulette Records. His first single for his new label, the self-penned "Don't Nobody Want To Get Married", reached No. 18 on the R&B chart in 1970, and its follow-up, "I Need You Baby", reached No. 47 R&B. After Zea's distribution deal ended, he re-launched the label as Zay, and had another R&B hit (No. 25) with his version of "At Last", arranged and produced by Willie Hoskins. In 1974, he returned to the 20th Century label, and the following year had another minor R&B hit (No. 73) with "If You Want A Love Affair". He continued to record for various labels through the mid to late 70s and early 80s though most cuts went unissued. His final chart success came in 1987, when "I Can Do Bad By Myself", on the TTED label, reached No. 61 on the R&B chart. He released one album on TTED, It Takes One To Know One (credited to Mr. Jessie James), followed by several on Gunsmoke, for whom he signed in 1988. His first album on Gunsmoke, I Can Do Bad By Myself (1988), included a collaboration with Harvey Scales, whom he had worked with since the late 70s. He has continued to release albums on Gunsmoke, including Operator Please Put Me Through (1993), It Just Don't Feel The Same (1997), It's Not So Bad After All (2006), Get in Touch With Me (2009), Do Not Disturb (2012), and I Lost My Baby On Facebook (2014). 

One And Only Love gathers the complete Jesse James recordings from 1961 to 1984 and includes the ultra rare Moonlight Hope 45 as well as more than a dozen unissued cuts (mostly from the late 70s). As previously stated, this stuff is really rare and as such, quality is not up to the usual standard here. Amassing this collection was joint effort between Loofer, Sir Shambling, Koral and myself and I've done my best to clean up the tracks but it is what it is. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to said partners in crime, enjoy.

!!!20+ Re-Ups added to the side-bar this morning!!!

Monday, 24 August 2020

GGG Presents New Recipes Volume 05

Put this one together in conjunction with the previous installment. I was on a funk run at the time and leaned into it pretty heavy with Volume 4, reserving these more soul oriented selections for this 5th installment in the New Recipes series. I know it's not everyone's bag but just maybe, just maybe, you'll find a great groove you never even knew you were looking for.


01. Cold Diamond & Mink ‎- 2019 - Help Me (Save Me From Myself) [inst]
02. Jason Joshua & The Beholders - 2020 - Rose Gold
03. The Love Rights - 2019 - Talk Of The Town
04. Lee Fields & The Expressions - 2019 - You're What's Needed In My Life
05. The New Mastersounds - 2019 - Let's Go Back
06. Southern Avenue - 2019 - We Are Not So Different
07. The Soul Motivators - 2020 - Say What You Mean
08. Bastards Of Soul - 2020 - The Waiting Time
09. Kelly Finnigan - 2020 - Freedom [inst]
10. The Summits - 2020 - Let's Do It Over
11. Mike Mattison - 2020 - I Really Miss You
12. The Mighty Mocambos - 2019 - Today
13. Mavis Staples - 2019 - Anytime
14. Quinn DeVeaux - 2020 - Walk And Talk
15. Rebecca Jade & The Cold Fact - 2019 - Nothing Left For Us
16. Hannah Williams & The Affirmations - 2019 - I Feel It [inst]
17. Lee Fields & Soul Providers - 2020 - Take It Or Leave It
18. Don Bryant - 2020 - Is It Over
19. Monophonics - 2020 - It's Only Us
20. Crowd Company - 2020 - Change My Mind
21. Suzy Jones - 2020 - Commit Me
22. Flyjack - 2020 - Sugar Shack [inst]


NR05


Friday, 21 August 2020

Some Of Your Time

 Here's a somewhat small collection that still manages to span the entire spectrum from doo wop right through to disco. Oddly enough Morris Chestnut only ever released two solo 45s, and only one of which was issued under his real name. However, Chestnut had varying roles in a myriad of vocal groups throughout the 60s and 70s. Neither Chestnut or any of his associated acts broke through to mainstream though a number of his songs with these groups as well as his solo single, ''Too Darn Soulful'', garnered wide acclaim years later in the UK's northern soul scene.

Born in Tulsa, Oklahoma, Chestnut started out singing in school. He then went into the Services, being posted to Hawaii with the Air Force. After his discharge, he ended up in Los Angeles where he met up with members of doo-wop group, the Vows. His cousin Ralph was a member of the group that had a record released on Markay in 1961, this being produced by George Motola. Via the Vows, Morris got to know Motola, who impressed, signed Morris to his L&M label. Motola cut him (using the Vows on backing vocals) on a song that Morris had written himself, “I Need Somebody” and this was released under the name of James Washington Lee. Musical styles were moving on though and the line-up of the Vows was revised, Morris became a member himself and the group hooked up with Jobete Music’s LA office team. They cut some demos of songs the team had written and these were forwarded onto Detroit to be considered by Motown’s hit acts as future recording material. If these songs were rejected, the LA team had a deal with Motown that allowed them to cut them locally and release them on a LA based label. This arrangement resulted in a Vows 45 being issued in 1964 on the Tamara label. Using the revised name of the Vowels, Morris also fronted an outfit that had a couple of singles released on the Le Bam label. Motown hadn’t given up all interest in the Vows though and in 1965 they were signed to a deal, cut some tracks and enjoyed a 45 release on the VIP label, “Tell Me” in May 1965. Promotion of this single was only half-hearted and it sank without a trace. Unfortunately, despite further tracks from the group being submitted, this was to prove to be their only Motown release and so the group moved on. Morris had already teamed up with Roy Haggins, David & Robert Jones to form the Sound Masters. Herman C Allen signed the group to Julet Records and the 45 “Lonely, Lonely” (Julet # 102) was released. Morris’ stay with the group was to be short lived however. Next he teamed up with Jones, Bledsoe & Smith to form the Attractions. The group secured a contract with Bell Records, their first release being “Destination You” (# 659) in January 1967 (also issued on Renfro). Two further 45’s followed later that year, “That Girl Is Mine” (# 674) in June and “Why Shouldn’t A Man Cry” (# 690) in September. Morris must have been extremely busy that year as around April his NS anthem “Too Darn Soulful” was released on Amy (# 981), another of Bell Record’s family of labels. None of these records enjoyed any great measure of commercial success and no more of the group’s releases were to escape on Bell. By 1971, under the revised name of the Hollywood Attractions, they had a last release on the Sugar Shack label. It would be a while before Morris got to enjoy his next record release. This occurred in 1975, after he had teamed up with ex members of the Marvellos (Loma, WB & Modern) to form Street Corner Symphony. This new group were signed to a deal with Bang Records and working with producers Michael Zager & Jerry Love they cut a number of tracks. The label released 2 singles and the album ‘Harmony Grits’ in 1975/76 and these created enough interest in music circles to secure the group a deal with a major label, ABC Records. ABC sent the group back into the studio late in 1976 and early in 1977 this resulted in the release of their album ‘Little Funk Machine’ (ABC # AB-974). In April 1977, the album was followed by the 45 “Funk Machine”. These recordings were to prove to be Morris’ last. However by this time, UK soul fans had discovered his old solo recording, “Too Darn Soulful”. This had become a top sound due to initial plays at Blackpool Mecca and as a result the single had been bootlegged several times over. ~ Roburt [soulsource]

Some Of Your Time comes close to the complete works of Morris Chestnut. Missing two sides but every release he was involved with is represented here and there's a few unissued cuts. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders, enjoy.


*missing:
The Vowels - 1964 - Bop De Oo Be Oo Be (LeBam 157)
Hollywood Attractions - 1971 - Determined Man (Sugar Shack 601)

Monday, 17 August 2020

GGG Presents Goodie Grab Bags Volume 52

Here's a pair of of fairly unknown soulmen from California ... Tommy Bush and Bennie Conn. The latter has the distinction of releasing the finest soul album of 1980 (in my personal opinion), while Bush proves to be a multi-faceted musician with a gritty rhythm n funk mash-up.







Bennie Conn - Discography 1967-80 [17sides]

01. Bennie Conn - 1967 - Forgive Me (Magnuim 741)
02. Bennie Conn - 1967 - I'm So Glad To Be Back Home (Magnum 741)
03. Bennie Conn - 1968 - I Don't Have (Soultown 107)
04. Bennie Conn - 1968 - Have You Had A Love (As Good As Mine) (Soultown 107)
05. Bennie Conn - 1969 - Satisfy My Hunger (Wand 11211)
06. Bennie Conn - 1969 - I Just Wanna Come In Outta The Rain (Wand 11211)
07. Bennie Conn - 1980 - I Don't (Groove Time LP GTR-1003)
08. Bennie Conn - 1980 - The Rain (Groove Time LP GTR-1003)
09. Bennie Conn - 1980 - It's Time For Love (Groove Time LP GTR-1003) (Groove Time 03)
10. Bennie Conn - 1980 - I  Wanna Be Your Forever (Groove Time LP GTR-1003)
11. Bennie Conn - 1980 - You Gave Me Love (Groove Time LP GTR-1003)
12. Bennie Conn - 1980 - Help Me Lord (Groove Time LP GTR-1003)
13. Bennie Conn - 1980 - She's My Lady (Groove Time LP GTR-1003)
14. Bennie Conn - 1980 - Steal Away (Groove Time LP GTR-1003) (Groove Time 03)
15. Bennie Conn - 1980 - Tell Me You Love Me (Groove Time LP GTR-1003)
16. Bennie Conn - 1980 - Baby Please (Groove Time LP GTR-1003)
17. Bennie Conn - 1980 - I'm Gonna Leave You (Groove Time LP GTR-1003)


Tommy Bush - Discography 1967-73 [15sides]

01. Tommy Bush - 1967 - I Don't Like It (But I Love You) (Rika 108)
02. Tommy Bush - 1967 - Ain't No Guessing Game (Rika 108)
03. Larry & Tommy - 1967 - Here Comes The Judge (Unissued Modern)
04. Larry & Tommy - 1967 - Yo Yo (Modern 1041)
05. Larry & Tommy - 1967 - You Gotta Bend A Little (Modern 1041)
06. Tommy Bush - 1968 - Right Kind Of Love (Boxer 3001)
07. Tommy Bush - 1968 - Come On Now (Boxer 3001)
08. Tommy Bush - 1970 - (I Just Want) Some Leaving Alone (Black Prince 318)
09. Tommy Bush - 1970 - Letting It All Hang Out (Black Prince 318) -{#}-
10. Tommy Bush - 1971 - Daddy's Home (Specialty 724)
11. Tommy Bush - 1971 - Stop And Think (Specialty 724)
12. Tommy Bush - 1972 - Put Our Get Together's Together (Specialty 730) -{#}-
13. Tommy Bush - 1972 - Just To Be There (Specialty 730)
14. Tommy Bush - 1973 - Skin It Back [Part 1] (Cal State Music 3204)
15. Tommy Bush - 1973 - Skin It Back [Part 2] (Cal State Music 3204)


Friday, 14 August 2020

Consider The Source

In early 60s Los Angeles, you didn't have to look far to find Leon Haywood. He wasn't selling out seats or topping any charts, but he was a proficient and dependable session musician whose talents had him rubbing elbows with some of the best in the business. His debut album is one of my very fav's. However, the majority of his solo work throughout the decade is largely derived from the varied projects in which he was involved during the time. Later in the 70s Leon came into his own with recordings more conducive to current appeal. Both era's have hits and misses in my opinion and while none of it re-invents the wheel, most of it, gets you where need to go.

Otha Leon Haywood was born in Huston February 11, 1942. He listened to the blues as a child and started playing piano at the age of three. In his teens, he performed with a local group and worked as an accompanist to blues musician, Guitar Slim. In the early 60s he moved to Los Angeles, California, where he worked with saxophonist Big Jay McNeely. McNeely arranged for him to record his first single, "Without A Love", an instrumental on the small Swingin' record label. After that, he joined Sam Cooke's band as keyboardist until the singer's death. Haywood then recorded a pair of singles and full length album for Fantasy Records, and subsequently moved to Imperial Records, where he recorded the single "She's With Her Other Love", which made the R&B charts in 1965. Haywood was also part of two session bands organized by Los Angeles disc jockey Magnificent Montague. The Packers were founded by  saxophonist Charles "Packy" Axton, featured a who's who of the Mar Kays/MG's family and one Leon Haywood on organ. In 1965 they had a hit with "Hole In The Wall" (R&B #5/Pop #50). The less successful "Precious Memories" (R&B #31) was released in 1967, as by The Romeos. That same year Haywood secured his first solo hit with "It's Got to Be Mellow" (R&B #21 and Pop #63) on Decca Records. He played on further recording sessions with The Packers, Soul Machine and Dyke & The Blazers, then returned to recording under his own name. Haywood continued to record without much success and established his own production company, Evejim, named after his parents. He found only sporadic success as a singer, most notably with "It's Got to Be Mellow" and "Keep It in the Family". In the Carolinas and Virginia, Haywood's song, "It's Got To Be Mellow," has become a timeless beach music classic. And a number of his Fat Fish and Decca sides (1966-68) later received wide acclaim in the emerging Northern Soul scene of the early 70s. During that time Haywood had a pair of singles for Capitol Records, a pair for Atlantic Records and one issued on his own Evejim label. Haywood joined 20th Century Records in 1973 and was immediately successful. He emerged as a star in the mid 70s by modifying his style to incorporate the emerging funk and disco idioms. He had a string of hits with "I Wanta Do Something Freaky To You" (R&B #7/Pop #15, 1975), "Strokin' Pt. II" (R&B #13, 1976) and "Party" (R&B #24, 1978). In 1980, Haywood revived the shuffle beat of 1950s rock and roll with "Don't Push It Don't Force It" (R&B #2/Pop #49). This single also reached #12 in the UK. Haywood is credited with writing the 1981 hit "She's A Bad Mama Jama" by Carl Carlton, which he produced in his own studio. In 1983, he released the album It's Me Again, which featured a couple minor R&B hits. His last R&B chart record was "Tenderoni" (#22) in 1984, but the accompanying album, Now and Then went unreleased. After a few more chart singles, for Casablanca Records and Modern Records, Haywood disappeared from the charts. In the late 1980s he became associated in an executive/production capacity with the Los Angeles based Edge Records. Since the 80s, he's produced blues albums by Jimmy McCracklin, Clay Hammond, Ronnie Lovejoy, Buddy Ace and others on his own Evejim Records label. Haywood died on April 5, 2016, aged 74.


Consider The Source collects the complete Leon Haywood recordings from 1963 to 1976. Seven full length albums, a complete singles collection, plus I've thrown in a damn near complete discography of The Packers (1965-69). The first and third Haywood LPs and the near entirety of his singles are sourced from pristine vinyl rips (courtesy of the mighty Sir Shambling), while the remainder is sourced from high quality CD remasters. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to original uploaders and Sir Shambling, enjoy.


Monday, 10 August 2020

GGG Presents Deep Dish Delicacies Vol. 38

I dropped the ball with tailoring a special west coast edition of Deep Dish Delicacies but this one will do just fine and on the bright side, I manged to eke out a couple Redux collections over the weekend. Find them under the **Re-Ups** section on the side-bar and enjoy.

01. Israel Tolbert - 1971 - Lost Love (Warren 107) (Stax - Warren STS-2038)
02. Will Hatcher - 1975 - Who Am I Without You Baby (Wand 11286)
03. Barbara & The Browns - 197? - Plaything (Unissued Sounds Of Memphis)
04. Bobby Powell - 1973 - Nothing Takes The Place Of You (Excello 2331)
05. Richard Marks - 1974 - Ups And Downs (Note 7211)
06. Little Milton - 1974 - Let Your Loss Be Your Lesson (Stax 0229)
07. Art Benton & The Ray Franklin Orchestra - 1972 - Look At Yourself (Chris 110)
08. Little Anthony Burns - 1970 - Do Right Man (Atlanta 4466)
09. Betty & Charles - 1970 - Can't Find Love (Crazy Horse 1321)
10. Thomas Bailey - 1971 - Wish I Was Back (Federal 12567)
11. Genie Brooks - 1969 - Helping Hand (Minaret 142)
12. Lorraine Randolph - 1968 - It's Over Between Us (Gemini Star 30.006)
13. Wilson Pickett - 1967 - I'm Sorry About That (Atlantic 2430)
14. Johnny Hoffett - 1967- Send Her Home To Me (Canterbury 518)
15. Jackey Beavers - 1968 - When Something Is Wrong With My Baby (Jaber 7112)
16. Curtis Blandon - 1969 - So Much To Give (Buddah 094)
17. Dynamic Adam & The Excitements - 1969 - Groove Maker (ANLA 117)
18. Lee Moses - 1968 - If Loving You Is A Crime (I'll Always Be Guilty) (Dynamo 115)
19. James Carr - 1966 - Lovable Girl (Goldwax 317) (Goldwax LP 3001)
20. Arthur Conley - 1967 - Let's Go Steady (Atco 6463)
21. Bobby Bland - 1965 - I'm Too Far Gone (To Turn Around) (Duke 393)
22. Vick & John - 1965 - Lonely Man (Allert 8000)
23. The Fascinations - 1966 - You'll Be Sorry (Mayfield 7714)
24. Clay Hammond - 1967 - Take Your Time (Kent 468)
25. Charles Hodges - 1966 - Bless Your Heart (Alto 2022)

DDD38


Friday, 7 August 2020

Always On My Mind

It's as good a month as any for us to take a trip out west! A lot of incredible, uniquely talented and/or colorful characters graced the Californian rhythm n blues/soul/funk scenes throughout the 60s and 70s. I've already featured a great few here over the years but I have four more in mind this month and would like to start with a personal fave. Johnnie "Two-Voice" Morisette as the name implies was uniquely talented and was certainly a colorful character. As to incredible, well, that's a matter of opinion and mine leans towards Johnnie firmly landing the trifecta here. Dubbed "Two-Voice" quite appropriately as Morisette was able to sing both natural tenor and falsetto simultaneously. The blues, doo wop, jazz, soul and funk were all part of his repertoire as a recording artist. Outside the studio, his criminal record was just as diverse. Morisette was a pimp for years on the streets of L.A. and often at odds with the law for one thing or anther. After the death of friend and mentor, Sam Cooke, Morisette's drinking and drugging escalated to epic proportion. He literally spent decades in a stupor, yet managed to eke out the odd recordings and somehow rear 26 children with 18 different women. Can you even imagine!!??


Apparently born July 1st 1935 on Lui Island, Brazil (about 50 miles outside Rio de Janeiro) to parents Mary and Karaapondaa but was immediately sent to live with his Godmother in Mobile, Alabama. By junior high Johnnie was already involved with music, singing and soloing for the school choir. It was not long before Morisette was leading his first gospel quartet. The Bells of Heaven did not record but they were the go-to opening act in Mobile and subsequently supported all the gospel stars that rolled through. Morisette's next outfit was the otherwise all-female group, The Harmonious Harmonettes, lead by Clementine Braggs. Through Larry Keith, Morisette was introduced to Dr. Gizmo who hosted a talent show via WMOZ radio. Impressed, it was Gizmo who christened Morisette "Two-Voice" after his performance. He began playing the local clubs and was soon asked to open for Guitar Slim at Club Harlem. After that he opened a lot of local gigs and began jamming with local rhythm n blues bands. In 1951 Morisette and Sam Cooke met for the first time. Sam had just joined The Soul Stirrers and was on his way to California. Most accounts of this particular meeting differ slightly but it's no secret that Sam and Johnnie really took a shine to each other. Come 1953 Morisette started making way for California himself. He did however, spend a few months in New Orleans beforehand. Once in L.A., Morisette lived on the rooftop of The Oasis which was the hottest R&B club in the city at that time. Before long Moristte was a member of The Johnny Otis Band. Catching the ear of Dootsie Williams in 1955, Morisette was brought into Dootone Records to record with Vernon Green & The Medallions. Released as by Johnny Two-Voice & The Medallions, "My Pretty Baby" bw "I'll Never Love Again" made for a delightful debut record that sadly never took off. Deterred by lack of payment and chemistry with Dootsie, Morisette returned to the streets where he earned a rep as "the singing pimp". As Cooke was leaving Specialty Records for Keen Records, Morisette's second record was released by the label. Backed by The Sliders (featuring Vernon Garrett), "You And Your Loving Ways" bw "Coming Round The Mountain" suffered the same fate as his first release. However, Specialty followed it up with the additional recordings from the session. "Superman" bw "You Done Gone" received positive reviews and showed signs of taking off. But when George Reeves who played Superman on TV committed suicide shortly after the single's release, it was withdrawn. Morisette began jamming with The Robins but not much materialized there, then late in 1959 Sam Cooke and Morisette met for the second time. Cooke had just launched SAR Records with J.W. Alexander and asked Morisette if he was interested. After a couple meetings a hand-shake contract was cemented. Cooke thought Morisette's real name was pretty and had him change it from Johnny "Two-Voice". The first SAR session in early 1960 produced "Never (Come Running Back To You)" by "In My Heart" which enjoyed local play but failed to chart nationally. Morisette recorded a half dozen further sessions at SAR between 1960 and 1964. The only single to really take off though came in 1n 1962 with "Meet Me At The Twistin' Place" (R&B #18, Pop #63). An obvious Cooke composition which he re-recorded a couple years later as "Meet Me At Mary's Place". The success of this song took Morisette all over the country. The nine singles in total issued by SAR showcased a gradient array of styles from Morisette -- doo wop to the blues, deep soul to jazz -- and all drawn from his gospel roots and all delivered with ease. If had not been for that mournful December morning in 1964; the death of Sam Cooke and subsequent downsizing of SAR, things would have likely turned out different for Morisette. Coupled with the toll Cooke's death took on him personally and the guilt harbored over it, Morisette spiraled downward rapidly and was one of several to publicly breakdown at the funeral. Late the following summer, Morisette headed to San Francisco to evade the Watts Riots. There he met Vic La Val and Brad Taylor of proto-funk label, Bay-Tone Records. Two singles emerged from a session at Sierra Sound Studios but neither one made waves and this is where things essentially dry up for Morisette. It would be a good five years before Johnnie Morisette recorded again. Four songs were tracked but only a meager 45 for Checker Records was released in 1970. "I Know It Was Your Love" bw "I Love Women" isn't as good as you would hope a long awaited offering would be. The plugside is pretty good but the flip is an unremarkable yet pleasant funk throw-away at best. A few years later he dropped a funkified re-arranged version of Meet Me At The Twisting Place, called "Meet Me At The Funkhouse (Parts 1 & 2)" and followed it up with the more gospel influenced "Death Powder, Cold Steel" bw "My Change Done Come". Both singles were issued by Icepac Records in 1973 and were likely from a single session recorded that same year. A near decade later, after over 30 years singing, Morisette's debut and only full length album saw the light of day. Hell All The Way, released in 1982 went down like a drop in the ocean sadly. However the accompanying single and lead track "Treat Me Right" was sold to Jerry Hooks and the Dramatics managed to turn it into a minor hit. In the 90s Morisette suffered a pretty serious heart attack, forcing him to give up cigarettes, drugs and booze. He later underwent by-pass surgery but eventually passed in August of 2000.  ~  bio inspired by and taken largely in part from Superman: The Johnnie Morisette Story by Opal Louis Nations

Always On My Mind gathers the complete released recordings of Johnnie Morisette. This includes the highly sought after Checker and Icepac singles and the Hell All The Way LP. The near entirety of these recordings come care of the mighty Sir Shambling and been given the GG once-over. I've also included the full PDF version of Opal Louis Nations' article. All files chronicled, cleanly tagged and mp3 @ 320kbs. Thanks to the fore mentioned, enjoy.

Monday, 3 August 2020

GGG Presents Darling Dear Vol. 07

I hope you all enjoyed our second month of funk; I think one more before year's end should balance the scales fairly well. But before all that, there's some other avenues I'd like to explore. Fun in the sun comes Friday, followed by a whole month of rare and righteous retrospectives. Really excited about the roster for August. Oh, and I will likely roll out a new compilation series in the coming weeks. Making it the third new anthology this year. And speaking of new anthologies, here's the latest installment of Darling Dear.


01. The Castaleers - 1959 - I'll Be Around (Felsted 8585)
02. The Solitaires - 1956 - How Long (Unissued Old Town)
03. The Jayos - 1957 - You Think I'm Just Your Fool (Unissued Dig)
04. The Hurricanes - 1957 - Fallen Angel (King 5018)
05. The Pastels [NY] - 1958 - Don't Knock (Argo 5314)
06. Sherri Taylor & Singin' Sammy Ward - 1960 - That's Why I Love You So Much (Motown 1004)
07. Johnny Morisette - 1960 - In My Heart (SAR 104)
08. The Five Keys - 1959 - Dream On (King 5273)
09. The Five Stars [Detroit] - 1958 - Baby Baby (End 1028)
10. Vikki Nelson w. The Sounds - 1957 - Like A Baby (Vik 0273)
11. Billy Dawn - 1956 - Don't Make Me Lose My Love For You (Hull 715)
12. The Joytones - 1956 - Is This Really The End (Rama 202)
13. Donald Woods & The Vel-Aires - 1955 - Death Of An Angel (Flip 306)
14. The Cadillacs - 1955 - Sympathy (Josie 773)
15. Carl Hogan & The Miracles - 1957 - I Love You So (Fury 1002)
16. Willie Wilson & The Tunemasters w. The Chantels - 1958 - I've Lied (End 1011)
17. The Chargers - 1958 - Here In My Heart (RCA Victor 47-7417)
18. The Montclairs - 1956 - Give Me A Chance (Premium 404)
19. Monorays - 1959 - Five Minutes To Love You (Tammy 1005)
20. The L'Cap-Tans - 1959 - Say Yes (DC 0416)
21. The Madison Brothers - 1960 - Trusting In You (Cedargrove 314) (Apt 25050)
22. Royal Jesters  & The Memphis III - 1962 - Love Me (Cobra 2222)
23. Rocka-Fellas - 1962 - Dear Someone (Southern Sound 112)
24. The Veltones - 1961 - I Need You So (Lost-Nite 103)
25. Hollywood Flames - 1958 - Give Me Back My Heart (Ebb 131)