Sixth 2Is show doesn't disappoint

The Tales From The Woods tribute to the famous 2Is coffee bar in Soho has become a regular event in the rock and roll calendar and last night's sixth annual show at the Borderline in London maintained the high standard of the last couple of years. I've never been a fan of British bands of the early years of rock, but the acts were varied and different from previous years (although still featuring mostly covers) and the backing band, with John Spencely on lead guitar, Claire Hamlin on keyboards, Robb Davis on bass and Brian 'Bunter' Clark on drums provided excellent support once again.
Topping the bill this time was Ted 'Kingsize' Taylor, a towering six foot five rocker with a powerful voice and real stage presence. After early success as Kingsize Taylor and the Dominos in his native Liverpool, with Cilla Black often singing with them, he played at the Star Club in Hamburg and it was there that he had his greatest success - indeed he still lives there today. His early, highly collectable, singles were nearly all covers of US hits and one of them - Stupidity (a Solomon Burke cover) - made it to number one in Germany. Kingsize kicked off with a vibrant version of Bobby Parker's Watch Your Step and his set included no fewer than four Larry Williams numbers (Dizzy Miss Lizzie, Bad Boy, Bony Moronie and, as an encore, Slow Down) plus a couple of Solomon Burke covers (Down In The Valley and his Stupidity hit), Chuck Berry's Sweet Little Sixteen and Mama Come Home, a track recorded by Ronnie Hawkins. So, nothing original, but with the Tales From The Woods band providing great support his was a set that really rocked and was a fitting climax to the evening. Saxman Alex Bland provided good support to Kingsize Taylor, plus several of the other acts.

Dave Sampson was something of a Cliff Richard clone in the early sixties when he released a number of singles on Columbia. Today he retains a smooth Elvis-like voice which was shown off to good effect on a couple of these early singles (It's Lonesome and If You Need Me) and Elvis covers including Mystery Train and Love Me. He also fitted in a jazzy version of Route 66, some rockabilly in the form of Boppin' The Blues, Phil Phillips' Sea Of Love and One After 909, a Lennon and McCartney song covered by Ricky Nelson.

Here's Claire Hamlin, keyboardist with the Tales From The Woods House Band, who provided great support throughout.

One of the highlights of last night's show, I thought, was early sixties pop star Garry Mills, who made it big in the US with Look For A Star, the theme from the Hammer film Circus of Horrors. I felt a certain affinity for Garry as he grew up in the same London suburb as me, West Wickham in Kent, and even dated my sister a couple of times apparently. Garry did no fewer than 13 numbers including many of the discs he recorded for Top Rank and, later, Decca, including his first record Hey Baby (not the Bruce Channel number), a cover of Johnny Preston's Running Bear, its B-side, a cover of Teen Angel (Mark Dinning), the rocking Comin' Down With Love, I'll Step Down, Top Teen Baby and, of course, Look For A Star. This was a pop set which didn't really fit the rock and roll criteria of the rest of the show, but Garry came across well and I enjoyed it. Other songs included Down The Line, Diana, Seven Little Girls (with singalong accompaniment), a couple of Billy Fury numbers written by Garry (I Think You're Swell and Once Upon A Dream) and Elvis's The Wonder Of You. Like so many acts of the time, Garry feels that he never got the royalties he deserved - particularly for his big hit Look For A Star, which was ripped off in the US with a cover version by the similarly named Garry Miles. But he showed he's still got what it takes.

The Allisons (John Alford and Bob Day) had a massive smash with the Eurovision song Are You Sure in 1961, but they have played together very little over the last 30 years or so. Unfortunately this lack of practice showed, as they struggled with no backing tape, as they had originally planned, and just John's guitar to fall back on (which promptly broke a string). Despite these handicaps, they harmonised well on their hit, plus the Crickets' Think It Over, Tommy Roe's Sheila, Ricky Nelson's Hello Mary Lou, the Everly Brothers' Dream and, as an encore, La Bamba. A valiant attempt under difficult circumstances.

Jackie Lynton (pictured below with John Spencely) has a strong link with the 2Is, having played there back in the day and having been managed by the club's owner. Jackie still plays regularly and John and I went to see him playing with his band at a pub near Guildford a few months ago. His appearance at last night's show was a direct result of that. He didn't disappoint, with lots of rather blue humour and some lively rock and roll covers, including Reelin' and Rockin', Keep a Knockin, Lawdy Miss Clawdy, Rip It Up and My Babe.

First act at last night's show was rocker Cliff Edmonds (pictured below). I only caught his last two numbers - Matchbox and High School Confidential - but he came across strongly and by all accounts he got the evening's show off to a good rockin' start.

Overall, I thought the sixth 2Is reunion was one of the best to date, with lots of variation, some intriguing acts and excellent backing. Well done Keith Woods for another job well done, and to DJ 'Mr Angry' John Howard and MC 'Rockin' Ricky, who also performed a couple of numbers, including That'll Be The Day and Summertime Blues.

Larry Butler

He's not a familiar name (to me anyway) but Larry Butler, who has died aged 69, has an interesting career. A member of Memphis group the Gentrys, who had a hit with Keep On Dancin' and Every Day I Have To Cry (written by Arthur Alexander), he went into record production and had considerable success in the country field. He's probably best known for producing Kenny Rogers' biggest hits Lucille (see photo), The Gambler and Coward Of The County, but he also produced many of Johnny Cash's records. His production company looked after Billie Jo Spears, John Denver, Don McLean and Charlie Rich, among others.

Two more music deaths

Sadly there are a couple more music deaths to report.

Reggae producer Winston Riley has died aged 65, two months after being shot at his home in Kingston. Jamaica. Riley was a member of early ska band the Techniques and later set up his own Techniques label, whose biggest hit was Double Barrel by Dave and Ansel Collins. Other reggae artists he produced included Boris Gariner and Alton Ellis.

Thanks also to Rod Jolliffe for letting me know about the death of Walter Gaines, a member of Motown band The Originals, whose best known releases included Baby I'm For Real (produced by Marvin Gaye), Green Grow The Lilacs, The Bell and We Can Make It Baby.

Etta James - At Last

Just a day after we heard of the death of the man who discovered her - Johnny Otis - the Vinyl Word raises a glass to Etta James, who has died aged 73. It was not unexpected. In fact, rumours of her passing have been around for months. But now it's been confirmed, and the world is a sadder place.

Etta 's career straddles rhythm and blues, soul and rock, but she is remembered most fondly for R and B classics for Modern and, later, Chess like Roll With Me Henry (with Harvey Fuqua, and produced by Johnny Otis) and Good Rockin' Daddy, and soul songs recorded in Muscle Shoals in the 1960s, including Tell Mama, I'd Rather Go Blind and Security. She had a UK hit in the 90s with I Just Want To Make Love To You which was used in a Coke ad. Her early track, At Last, was sung by Beyonce in the movie Cadillac Records and Etta was critical of Beyonce's attempt at the song at President Obama's inauguration. But by then Etta was reaching the end of her career.

I had the pleasure of seeing her perform several times over the years - the last time being at the House of Blues in New Orleans in 2008. I thought then that her material was a little disappointing and that she was below her best, but perhaps this was the start of the dementia and leukaemia that eventually led to her death. Etta had a tough life. She never knew her father and her mother was only 14 when she was born, she suffered from drug addiction and weight issues and often struggled during her career. But she was without doubt one of the greatest artists of the late 20th century. Etta - we will miss you.

Here are a couple of clips http://www.youtube.com/watch?v=ADDigK8LwyE http://www.youtube.com/watch?v=YApNirMC9gM

And a tribute in The Guardian: http://www.guardian.co.uk/music/2012/jan/20/etta-james http://www.guardian.co.uk/music/musicblog/2012/jan/20/etta-james-10-classic-performances

Johnny Otis RIP

Johnny Otis - one of the true giants of rock and roll and often called the Godfather of Rhythm and Blues - has died aged 90. The son of Greek immigrants, he grew up in a black neighbourhood in Berkeley, California. He formed his own band in 1945 and had a hit with Harlem Nocturne and played with Wynonie Harris and Charles Brown, among others. He opened his own R and B club - The Barrelhouse in LA. One of his many discoveries was Little Esther Phillips, then a teenager, who sang with the band and produced a string of hits for the Otis band. He also worked with the Robins, who went on to become the Coasters, and discovered sax man Big Jay McNeely. Next came Etta James, for whom he produced Roll With Me Henry, and Big Mama Thornton, for whom he produced Hound Dog, The list of his discoveries goes on and on - Jackie Wilson, Hank Ballard, Little Willie John, Sugar Pie DeSanto, among others.

In the UK he is best known for the smash hit Ma (He's Making Eyes At Me) featuring Marie Adams and the Three Tons of Joy, and a string of great rock and roll singles including Bye Bye Baby, Willie and the Hand Jive, Crazy Country Hop, Castin' My Spell, Telephone Baby and Mumbling Mosie. Other compositions include Every Beat of My Heart, a hit for Gladys Knight and the Pips. In 1969 he recorded an album of sexually explicit material under the name Snatch and the Poontangs and performed at the Monterey Jazz Festival with Little Esther and Eddie 'Cleanhead' Vinson. He continued to perform on and off until 2000. He once said: 'As a kid I decided that if our society dictated that one had to be black or white, I would be black.' Here are a couple of his classics: http://www.youtube.com/watch?v=Zow-lD1dnHc http://www.youtube.com/watch?v=TEeeGMpM_Nk
Here are Johnny's obituaries in the Guardian and Independent. http://www.guardian.co.uk/music/2012/jan/19/johnny-otis
http://www.independent.co.uk/news/obituaries/johnny-otis-singer-songwriter-and-bandleader-who-popularised-the-hand-jive-6292146.html

Jimmy Castor

Jimmy Castor - best known as an early doowop singer, sax player and leader of the funk band the Jimmy Castor Bunch - has died aged 64. He began his career as long ago as 1956 when he wrote I Promise To Remember for Frankie Lymon and the Teenagers and became a member of Lewis Lymon and the Teenchords. After recording for various labels in the early sixties he had success on Smash in 1966 with Hey Leroy Your Mama's Calling, which was released on Philips in the UK, followed by Magic Saxophone. He also played sax on Dave 'Baby' Cortez's Rinky Dink.

As the Jimmy Castor Bunch he enjoyed singles success with Troglodyte in 1972 (see this weird clip http://www.youtube.com/watch?v=VlRXQEA0yj0) and the Bertha Butt Boogie in 1975 and a string of album hits on RCA and Atlantic during the 1970s and early 1980s including E-Man Groovin' (Jimmy was known as the Everything Man) and Maximum Stimulation.

Impressions of Memphis, 1989

On my first trip to Memphis, back in 1989, I jotted down my initial impressions of the city. I came across them the other day in an old diary. Here's what I wrote:

'I wonder if Chuck Berry's little Marie still lives in Memphis. If she does, she'll be in her thirties now. Marie was only five years old when Chuck tried to get hold of her in Memphis, Tennessee. She'll have seen her home town robbed of its soul.

Memphis today resembles a ghost city. Most of the poor black neighbourhoods close to the city centre were reduced to rubble 20 years ago and today what remains of the old shopping area is run-down and surrounded by wasteland.Vietnam vets patrol the streets looking for hand-outs but the tourists, paying homage to the King, ignore them. Most stay in motels but for some, the splendour of the famous Peabody Hotel, in downtown Memphis, still retains an echo of an earlier, more gracious age.
Not that Memphis is dull. There's Graceland, a surprisingly modest mansion on an expressway in the suburbs, where Elvis worshippers from all over the world join conducted tours of the 'music room' with grand piano, 'TV room' with three screens in a row, 'den' with hideous huge carved chairs, 'hall of fame' with golden discs, gold lame suits and photographs, squash court with pin table and, finally, the grave itself (see photo). There's a reverential tone to the stilted, oft-repeated commentary, and Elvis's auntie still lives, unseen, in an upstairs room.

Returning by coach across the expressway to the shopping mall, visitors are faced by more tacky souvenirs than in the whole of Blackpool - Presley T-shirts, mugs, badges. You can record your own Presley disc, singing along to Hound Dog or All Shook Up, see a film about the King's life, visit his personal plane parked next door. But you won't hear about his drug-induced death or his unsavoury sexual habits. This is fantasy-land, where no unpalatable facts are allowed to interfere.

Memphis's music is much more than just Elvis of course. There's Sun Studios, where not just Presley but Jerry Lee, Johnny Cash and Roy Orbison all made their mark, and before them great blues singers like Howlin' Wolf, B B King and Junior Parker. Today the music is no more, but there are tours of the studio, and hamburgers and badges for sale in a newly-opened cafe.

Later Memphis was to continue its great musical tradition with Stax soulmen like Otis Redding and Sam and Dave, and Willie Mitchell's creations for Hi records by Al Green and Otis Clay. There's nothing left of Stax now apart from a sign but for today's visitors there's a relic from an earlier musical age which continues to attract - Beale Street.

Once a centre of now vanished black neighbourhoods, Beale Street today stands like a film set in the middle of nowhere. Whatever the atmosphere may have been in the early years of the century when jazz and blues flourished there, it's gone now. Yet despite the artificiality of this row of bars and burger joints today, there remain some links with the past and odd links with its heritage.

There's Schwab's hardware store - a living museum which appears still to cater largely for its original clientele, the poor blacks of Memphis. The store is unchanged from the 1920s or earlier, selling a weird mixture of useless and inconsequential items - plastic sunglasses, hats, shirts, ironmongery, umbrellas, kitchen utensils, vases, wigs...

In the evening there are numerous bars with live music playing along the street. The night I was there I saw a mediocre white blues band playing in a place called Big Mama's. It was, well, embarrassing. The band spent most of their time tracking down a drummer for the evening. but when he turned up the band's sound was not noticeably better.

A few doors away, at the Club Royale, things were different. This was a black club, with black acts and a sharp-looking black clientele. I was made welcome by the club manager, who shook my hand with an enthusiasm which suggested that white faces were all but unknown. The band - SRO - was energetic and soulful with a singer out of the James Brown mould.

Beale Street somehow represented all that's both bad and good about Memphis. Seemingly a sham, it is nevertheless the real heart of the city. When I first walked along on a cold and windy afternoon I came across the statue of W C Handy, the father of the blues. There was a small group of people standing nearby, including a photographer from the Memphis Commercial Appeal, and a black man and lady in Sunday best (see photo). Another man went to the statue and announced that they were there for the crowning of this year's Cotton Maker's Jubilee King and Queen. There to perform the ceremony was the King of 1951 - Rufus Thomas. No longer walkin' the dog or doing the funky penguin, old Rufus is still a Memphis boy at heart.

While music runs through the history of Memphis like a coal seam, there's another side to today's tourist industry - one which focusses on the city's other great attraction, the Mississippi river. Mud Island is a celebration of the river in the form of a scale model, complete with water creeks and tributaries, running its complete length from upstream of Memphis, through Natchez and down to the Gulf at New Orleans. To reach it, visitors take a slow monorail across an outlying stretch of water. On one side there's the scale model and on the other the real thing, with tankers and barges passing by at walking, or swimming, pace.

Mud Island is just a half a mile from the Mississippi Bridge. That's surely where's Chuck's Marie lived. Marie is thirty five years old, information please. Help me get in touch with her in Memphis, Tennessee.'

Vinyl Obscurities - 7

A successful morning at the car boot sale yesterday with quite a few rare or unusual singles turning up - all in excellent condition. Here are some of them.
1. Dion - Be Careful Of Stones That You Throw/ I Can't Believe (That You Don't Love Me Any More). Released 1963 on CBS AAG161. Mint value - £10.
Dion is one of my all time favourite singers. I loved pretty well everything he did both with the Belmonts and solo when he recorded for Laurie. After he moved labels to US Columbia he continued to make some great records, including Ruby Baby, This Little Girl, Donna The Prima Donna and Drip Drop. But this was probably the worst record that Dion ever made. It's a mawkish country number with spoken sections about a girl with a bad reputation who saves the child of a gossiping neighbour from a car crash. Ugh! http://www.youtube.com/watch?v=9lOMmdwVhU8

2. Mary Wells - You Beat Me To The Punch/ Old Love (Let's Try It Again). Released 1962 on Oriole American CBA 1762. Mint value: £70.

The early Tamla Motown 45s were issued on a variety of UK labels - first London, then Fontana and thirdly the independent Oriole label. In all, 19 Motown singles came out on Oriole - all of them highly collectable - and this Mary Wells classic was the first - one of four of Mary's 45s on the label. It was her first UK release, her first US R and B number 1 and a Grammy Award nomination to boot. http://www.youtube.com/watch?v=7hXSaGM0Jp0 3. Keith West - On A Saturday/ The Kid Was a Killer. Released 1968 on Parlophone R 5713. Mint value - £65.

Keith West was best known as the singer on Excerpt From 'A Teenage Opera' (Grocer Jack), which was a number two hit, but this later psychedelic follow up failed to make it, despite being produced by Mark Wirtz and including backing from guitarist Steve Howe, bassist Ronnie Wood and drummer Aynsley Dunbar. http://www.youtube.com/watch?v=T9xoL3j3K60

4. Circus - Do You Dream/ House Of Wood. Released 1968 on Parlophone R5672. Mint value - £45.

The short-lived psychedelic band Circus evolved out of Phillip Goodhand-Tait's Guildford-based Stormsville Shakers, who made their name in the mid sixties in the clubs of London, including the Flamingo and Marquee, and as backing band for Larry Williams (on two LPs) and Memphis Slim. Phillip went on to have great success as a songwriter for Love Affair and a solo artist with the DJM and Chrysalis labels. This Mike-D'Abo produced single was the second and last to come out under the Circus name. http://www.youtube.com/watch?v=ck_bSj1nroI

5. Svensk - Dream Magazine/ Getting Old. Released 1967 on Page One POF036. Mint value - £25.

Not a Swedish band as the name suggests, Svensk actually comprised two good looking lads from Bournemouth - Roger Hopkins (a fashion photographer) and Jason Paul (a model). The story goes that they played this organ heavy record to Roger's friend Roy Orbison, who put them in touch with Page One founder Larry Page, who's been described as the Simon Cowell of his day. Despite a big marketing campaign the record failed to become a hit and after one further single the duo split up. http://www.youtube.com/watch?v=u0saBEH0Jbk

L J Hamilton RIP

Thanks to Dave Carroll for letting me know that one of New Orleans' lesser known singers, L J (Larry) Hamilton has died. We saw him perform at Irma Thomas's Lions Den Club a couple of times during Jazzfest 1992 (see photo) and I remember him as having a very good soul voice. The first time we went, the place was virtually empty as Irma wasn't playing that night, but the second occasion, with the Soul Queen of New Orleans in attendance, was a real night to remember. Earlier that evening we had seen Charles Brown perform and I wrote at the time: 'A superb, unforgettable evening - two of the greats, Charles and Irma.'
Dave recalls: 'I had bought a 12" record (back in the UK in the late '80s) with the title Trust Equals Love under the name of LJ Hamilton and we chatted with him. Steve Davis had been one of the people behind the record (not sure of the details), and in his next set Larry dedicated a song to Steve Davis 'World Billiards Champion and his friends from England' (if memory serves me correct).'
According to the SoulExpress website http://www.soulexpress.net/larryhamilton.htm, Larry was born in Galveston, Texas, in 1951 and joined the New Orleans band Harold Batiste and the Gladiators in 1965. (Coincidentally Harold put on a funky performance at the Ponderosa Stomp last year.) Later he joined another local band The Invaders and wrote songs for Johnny Adams and King Floyd, as well as recording with Wardell Quezerque and, in the 90s, Allen Toussaint. The Trust Equals Love 12 inch, including I Trust Your Love, referred to above, was recorded in the late 80s with the help of snooker star and soul fan Steve Davis. http://www.youtube.com/watch?v=UB5MyoNvOgg

Lonnie, early 45s and some more deaths

One of the most successful British artists of the late 50s and early 60s was skiffle king Lonnie Donegan, who was the subject of Radio 4's 'Great Lives' programme yesterday presented by Matthew Parris. Lonnie had a huge number of hits from 1956 onwards when his first single Rock Island Line made the charts, but they dried up after 1962 when the UK beat scene exploded. By that time skiffle sounded dated but Lonnie played a big part in establishing the UK rock and roll scene - a fact acknowledged by the Beatles and The Who, among others. Skiffle was derivative and on the whole pretty second rate, but Lonnie was its most accomplished exponent and even had success in the US, with Does Your Chewing Gum Lose Its Flavour reaching number 5 in 1959.
Lonnie's early singles were issued only on 78, as his record label Pye was among the last to introduce 45 rpm singles in the UK. The earliest UK 45s were issued by EMI and I picked up a number of very early examples at a charity shop yesterday, including Bonnie Lou's Tennessee Wig Walk on Parlophone from 1953 (with Just Out Of Reach on the B side - a song that later became Solomon Burke's first UK single); Guy Mitchell's She Wears Red Feathers on Columbia, also from 1953 - a strange tale of a London banker who marries an exotic lady who eats only 'cokeynuts and fish from the sea'; and Tennessee Ernie Ford's Ballad of Davy Crockett on Capitol from 1956, one of several versions of the theme from the Disney movie. All of these are much more common on 78 - a format which swiftly died out and was extinct in the UK by the end of 1960.
Sadly there are a couple of deaths to report. Robert Dickey, who was the original Bobby of James and Bobby Purify (right of picture) and who recorded on their greatest sides in the late 60s, has died aged 72. His replacement as 'Bobby' - Ben Moore - who took over in 1971, appeared at Porretta in 2006. Also dead is Fred Milano, who was a member of the Belmonts,also aged 72.

Soul B sides - Part Two

Vinyl Word reader and fellow Woodie John 'Soulboy' Jolliffe has followed up on the recent item on Soul B sides (November 17, 2011) with a new much expanded list. There are some real crackers here. Here's what he said:
'Just when you thought this game had disappeared, it's back. As I have thousands of singles, this has taken me a while to compile. These b sides over the years have regularly graced my many turntables. I think you will find it hard not to agree that these are one hundred amazing chunks of SOUL, plus a couple of intruders.'
Arthur Alexander - A shot of rhythm and blues (B side of You better move on) London
Kip Anderson - Take it like a man (B side of A knife and fork) Checker
Bessie Banks - Try to leave me if you can (B side of Baby you sure know how to get to me) Contempo
Reuben Bell - Asking for the truth ( B side of I still have to say goodbye) Contempo
Blue Magic - When ya coming home (B side of Love has found its way to me) Atlantic
Homer Banks - Lady of stone (B side of Hooked by love) U Artists
Bobby Bland - St Jame's infirmary (B side of Don't cry no more) Vocalion
Bill Brandon - Tag Tag (B side of The streets got my lady) Piedont
Solomon Burke - Stupidity (B side of Can't nobody love you) Atlantic
Jerry Butler - Giving up on love (B side of I've been trying) Stateside
James Brown - Maybe the last time (B side of Out of sight) Philips
Don Covey - Watching the late late show (B side of Sookie sookie) Atlantic
Tony Clarke - The entertainer (B side of Landslide) Chess
Otis Clay - Trying to live my life without you (B side of Let me be the one) Hi
Sam Cooke - A change is gonna come (B side of Shake) RCA
Gene Chandler - Everybody lets dance (B side of You cant hurt me no more) Stateside
Rose Davis - Kiss tomorrow goodbye (B side of That's enough) Excello
Geater Davis - You made your bed hard (B side of Your heart is so cold) Seventy Seven
Tyrone Davis - A woman needs to be loved (B side of Can I change my mind) Dakar
Lamont Dozier - We don't want nobody to come between us (B Side of Trying to hold onto my woman) Probe
Sam Dees - My World (B side of Say yeah) Polydor
Dells - Long lonely nights (B side of A little understanding) Cadet
John Edwards - Claim jumpin (B side of Messing up a good thing) Aware
Yvonne Fair - Walk out the door if you want to (B side of Its bad for me to see you) Tamla Motown
Five Stairsteps - Little young lover (B side of We must be in love) Curtom
Facts Of Life - Love is the final truth (B side of Sometimes) Kayvette
Carol Fran - One look at your daddy (B side of Emmitt Lee) Excello
Owen Grey - Incense (B side of Help Me) Island
Barbara Hall - You brought it on yourself (B side of Drop my heart off at your door) Innovation
Eddie Holland - Take a chance on me (B side of Jamie) Motown
Honey Cone - Stick up (B side of One monkey don't stop no show) Hot wax
Floyd Henley - Unchained melody (B side of Believe in me) Kas-mo
Jimmy Hughes - Its a good thing (B side of Neighbor Neighbour) Atlantic
Willie 'Little Beaver' Hale - Party time (B side of Groove on) TK
Holland and Dozier - Don't leave me (B side of Why cant we be lovers) Invictus
Big John Hamilton - The train (B side of Big bad john) Minaret
Z Z Hill - Have mercy someone (B side of Someone to love me) R&B
Z Z Hill - Don't make me pay for his mistakes (B side of Think People) Hill
Willie Hobbs - Judge of hearts (B side of Tomorrow (Ill begin to make my plans) Sound Plus
Impressions - Ive been trying (B side to People get ready) HMV
Impressions - Ive found that i lost (B side to Meeting over yonder) HMV
J J Jackson - But its alright (B side of Do the boogaloo) Polydor
Chuck Jackson - I keep forgettin' (B side of Chains of love) Pye
Etta James - Id rather go blind (B side of Tell Mama) Chess
Walter Jackson - They don't give medals (to yesterdays heroes) (B side of Speak her name) Columbia
Knight Brothers - Temptation bout to get me (B side of Sinking low) Chess
Little Luther - Twirl (B side of Eenie meenie minie mo) Pye
Jackie Lee - Let Your conscience be your guide (B side of The duck) Fontana
Shorty Long - When you are available (B side of A whiter shade of pale) Soul
Curtis Lee - Under the moon of love (B side of Beverly Jean) London
Jackie Moore - The bridge that lies between us (B side of Its harder to leave) Kayvette
Milt Matthews - Stop that train (B side of This is my song) H&L
Garnett Mimms - It wont hurt (half as much) (B side of My baby) U Artists
Johnny Moore - Lonely heart in the city (B side of That's what you said) Blue Rock
Clyde McPhatter - I'm not going to work today (B side of A shot of rhythm and blues) Stateside
Freddie North - Did I come back to soon (B side of You and me together forever) Mankind
Notations - I'm losing (B side of Think before you stop) Gemigo
Notations - Since you've been gone (B side of Its alright (this feeling)) Gemigo
Olympics - Secret agents (B side of We go together) Fontana
One way - Together forever (B side of Shine on me) MCA
Wilson Pickett - Thee times loser (B side of Mustang Sally) Atlantic
Bobby Patterson - I got a suspicion (B side of Right place, wrong time) All Platinum
Jean Plum - You ask me (B side of Pour on the loving) Hi
Quiet Elegance - You've got my mind messed up (B side of I need love) Hi
Martha/Vandellas - Quicksand (B side of Dancing in the street) Tamla Motown
Alvin Robinson - Down home girl (B side of Fever) Red Bird ??
Otis Redding - That's how strong my love is (B side of Mr pitiful) Atlantic
Little Royal - Soul train (B side of I surrender) Tritus
Soul Clan - That's how I feel (B side of Soul meeting) Atlantic
Bettye Swann - Strong enough to hold on (B side of Heading in the right direction) Atlantic
Bunny Sigler - Picture us (B side of Tossin & Turnin) Epic
Nolan Struck - Welfare problems (B side of Shes the one that hits the spot) Inner City
Hodges James and Smith - Off (B side of Situation) London
Shirelles - I didn't mean to hurt you (B side of Don't say goodnight and mean goodbye) Stateside
Showmen - Country fool (B side of It will stand) Imperial
Jimmy Soul - My girl - she sure can cook (B side of A woman is smarter in every kinda way) Spqr
Joe Simon - San Francisco is a lonely town (B side of Its hard to get along) Sound Stag 7
Willie Tee - Walking up a one way street (B side of Thank you John) Atlantic
Jamo Thomas - Snake hip mama (B side of I spy ( for the fbi) Polydor
Little Johnny Truitt - Don't let me be a crying man (B side of There goes the girl) Abet
Kim Tolliver - Let them talk (B side of Ill try to do better) Rojac
Ted Taylor - Singing man (B side of Cant take no more) Ronn
Irma Thomas - Time is on my side (B side of Anyone who knows what love is) Liberty
Oscar Toney Jnr - Make it easy on yourself (B side of Is it because I'm black) Contempo
Oscar Toney Jrn - A love that never grows cold (B side of Without love (there is nothing) Bell
Tams - You lied to your daddy (B side of It's all right (your just in love)) HMV
Little Johnny Taylor - Somewhere down the line (B side of Part time love) Vocalion
Sammy Turner - Raincoat in the river (B side of Falling) Big Top
Ujima - Still hooked on you (B side of Keep on rolling (disco train)) Chelsea
Billy Vera Judy Clay - Reaching for the moon (B side of Tell it like it is) Atlantic
Curtis Womack - Last date (B side of Boogie woogie Jones) Playboy
Amazing Charlie Whitehead - I was dancing when I fell in love (B side of I finally found myself something to sing about) Atomic
Ron Walton - Always be the one (B side of Soul disco) Gull
Spencer Wiggins - Soul city USA (B side of I never loved a woman (the way I love you) Stateside
Betty Wright - Tonight is the night (B side of Shorah shorah) Alston
Bobby Womack - I'm through trying to prove my love to you (B side of Nobody wants you when your down and out) United Artist
Anita Ward - Spoiled by your love (B side of Don't drop my love)
O V Wright - I'm gonna forget about you (B side of Drowning on dry land) Back Beat
O V Wright - I was born all over (B side of When you took your love from me) Back Beat