Primarily focusing on American Soul, R&B and Funk music presented on the glorious 45 format. I'll be posting write ups of some of my favorite records along with longer mixes.

All tracks come from vinyl that's in a box somewhere in my room.

I regularly DJ here in western mass (and nearby) with my homeboy DJ Cashman and a bunch of other great folks. If you're in the area be in touch if you're interested.

If you have any questions or corrections: gwmyers@gmail.com

Feel free to share and repost. Where possible always try to support artists and record stores!

Enjoy!

George / Snack Attack
hello! theme by cissysaurus
11
01
“You Ain’t Too Cool” An hour of Soul and R&B 45s (Click title to download)  Greetings from the dark and freezing valley of Western Mass as we recover from the Halloween snow massacre that took out power, phones, internet and all the other advances of Western Civilization that have been chipping away at our ability to talk to other real-life human beings.  Just in from a digging trip to Chicago I got home with a massive box of 45s and I was eager to listen to a lot of my finds (no listening stations in stores, no portable) and of course the first thing to happen when I get home is the power goes out for 2.5 days!  As a result, despite this new cache of wax, I didn’t include too much of that stuff, but I got a ton of great sides and made my pilgrimage to the Dusty Groove brick and mortar spot which was great. Today’s serving of bumpin and thumpin draws heavily on Northern tracks, with some funk(y) tracks sprinkled in the middle and closing up with some R&B.  The JJ Barnes and Radiants track that open the mix are both standard bearers of their respective cities, JJ’s clap/tambourine beat couldn’t scream Detroit more loudly if it had a wall of Man O War amps and The Radiants track has all the hallmarks of Chicago with the falsetto vocals, trading off leads and delicate handling of the arrangements.  The Ikettes and Barbara George sauce things up a little with the horns turning from soft to vamping and introduce us to a little of the New Orleans flavor.  The Sister and Brothers also hail from Louisiana and drop some seriously killer funk/soul with their ‘Yeah, You Right.’  Adding to the gumbo there’s a nice Lee Dorsey Track and Marie ‘Queenie’ Lyons, who though raised in NYC, was born and recorded in Louisiana.  Bettye Swann another transplant was from Louisiana but relocated to Los Angeles where she recorded some (of my favorite) sides.  Irma Thomas also fits this transplant mold that is coming to shape here, being a NO staple but recording this side of decidedly Stax inspired beauty for the Chess label. Linda Jones and Willie Mitchell are the two tracks who are geographically dislocated here but it doesn’t mean they aren’t welcome additions to the mix, Willie bringing his rager of a track “That Driving Beat” that feels more at home in the Jr. Walker vein than the restrained Hi-Records sounds we’re used to hearing from him.  The Linda Jones track would be comfortable coming out of any number of studios over a pretty wide swath of time so it’s fine with me we share the love with the coastal Mid-Atlantic. The flip to this record is just as legit and def worth your time if you come across it. Sprinkled in for good measure are a few other instrumental movers and shakers; the classic Phil Upchurch anthem “You Can’t Sit Down”, a nice groover from Cash McCall (picked that up in Chicago this past week), a record I hadn’t seen before by the memorably named “Robert, Ron & Eddie” (sounds more like dudes around a cooler than a band), Otis Spann’s freakout “Walking” featuring the smooth dudes Fleetwood Mac showing their teeth and The Interpretations rave up “Snap-Out”. The last batch of records gets us rolling and rocking with Johnny Rivers’ cover of the Willie Dixon song (made famous by Willie Mabon!) Seventh Son, similarly unusual, we have Ruth Brown reprising her hit “Mama…” which was an early hit for her on Atlantic almost 10 years later on the Phillips label, Andre Williams drops some greasy moralizing in Cadillac Jack in a way that makes it seem like he could just breath songs like this without even trying.  I really like how chill the Willie Mabon track is, like it’s missing the deep gut in some of the other R&B tracks but not in a way that’s lacking punch, it’s more conversational and relaxed.  The mix wraps up with an absolute scorcher by Donoman and the Lakettes doing “Here Comes The Fool” a track I never ever tire of listening to, no matter what my mood. Alright everyone, I’m going to go back to thawing my toes.  Hope you enjoy. -George / Snack Attack Tracklist: J.J. Barnes “Please Let Me In” (Ric Tic, 1965) The Radiants “Voice Your Choice” (Chess, 1964) The Ikettes “Don’t Feel Sorry For Me” (Modern, 1965) Barbara George “If You Think” (Sue, 1962) The Accents “New Girl” (M-Pac!, 1964) Robert, Ron & Eddie “Love Potion #9” (UniSFERE, 1968) Sister & Brothers “Yeah, You Right” (Uni, 1969) Marie “Queenie” Lyons “See And Don’t See” (De Luxe, 1970) Bettye Swann “Don’t Take My Mind” (Money, 1967) Irma Thomas “Cheater Man” (Chess, 1967) Linda Jones “I Can’t Stop Loving My Baby” (Loma, 1967) Lee Dorsey “Behind The 8 Ball” (Fury, 1962) Cash Mc Call “You Ain’t Too Cool” (Thomas, 1966) Willie Mitchell “That Driving Beat” (Hi, 1966) Otis Spann “Walking” (Blue Horizon, 1969) The Interpretations “Snap-Out” (Bell, 1969) Phil Upchurch Combo “You Can’t Sit Down” (Boyd, 1961) Johnny Rivers “Seventh Son” (Imperial, 1965) Ruth Brown “Mama (He Treats Your Daughter Mean)” (Phillips, 1962) Willie Mabon “Too Hot To Handle” (USA, 1963) Andre Williams “Cadillac Jack” (Chess, 1968) Donoman and the Lakettes “Here Comes The Fool” (Thunderbird, 1960)

“You Ain’t Too Cool” An hour of Soul and R&B 45s

(Click title to download)

 Greetings from the dark and freezing valley of Western Mass as we recover from the Halloween snow massacre that took out power, phones, internet and all the other advances of Western Civilization that have been chipping away at our ability to talk to other real-life human beings. 

Just in from a digging trip to Chicago I got home with a massive box of 45s and I was eager to listen to a lot of my finds (no listening stations in stores, no portable) and of course the first thing to happen when I get home is the power goes out for 2.5 days!  As a result, despite this new cache of wax, I didn’t include too much of that stuff, but I got a ton of great sides and made my pilgrimage to the Dusty Groove brick and mortar spot which was great.

Today’s serving of bumpin and thumpin draws heavily on Northern tracks, with some funk(y) tracks sprinkled in the middle and closing up with some R&B.  The JJ Barnes and Radiants track that open the mix are both standard bearers of their respective cities, JJ’s clap/tambourine beat couldn’t scream Detroit more loudly if it had a wall of Man O War amps and The Radiants track has all the hallmarks of Chicago with the falsetto vocals, trading off leads and delicate handling of the arrangements. 

The Ikettes and Barbara George sauce things up a little with the horns turning from soft to vamping and introduce us to a little of the New Orleans flavor.  The Sister and Brothers also hail from Louisiana and drop some seriously killer funk/soul with their ‘Yeah, You Right.’  Adding to the gumbo there’s a nice Lee Dorsey Track and Marie ‘Queenie’ Lyons, who though raised in NYC, was born and recorded in Louisiana.  Bettye Swann another transplant was from Louisiana but relocated to Los Angeles where she recorded some (of my favorite) sides.  Irma Thomas also fits this transplant mold that is coming to shape here, being a NO staple but recording this side of decidedly Stax inspired beauty for the Chess label.

Linda Jones and Willie Mitchell are the two tracks who are geographically dislocated here but it doesn’t mean they aren’t welcome additions to the mix, Willie bringing his rager of a track “That Driving Beat” that feels more at home in the Jr. Walker vein than the restrained Hi-Records sounds we’re used to hearing from him.  The Linda Jones track would be comfortable coming out of any number of studios over a pretty wide swath of time so it’s fine with me we share the love with the coastal Mid-Atlantic. The flip to this record is just as legit and def worth your time if you come across it.

Sprinkled in for good measure are a few other instrumental movers and shakers; the classic Phil Upchurch anthem “You Can’t Sit Down”, a nice groover from Cash McCall (picked that up in Chicago this past week), a record I hadn’t seen before by the memorably named “Robert, Ron & Eddie” (sounds more like dudes around a cooler than a band), Otis Spann’s freakout “Walking” featuring the smooth dudes Fleetwood Mac showing their teeth and The Interpretations rave up “Snap-Out”.

The last batch of records gets us rolling and rocking with Johnny Rivers’ cover of the Willie Dixon song (made famous by Willie Mabon!) Seventh Son, similarly unusual, we have Ruth Brown reprising her hit “Mama…” which was an early hit for her on Atlantic almost 10 years later on the Phillips label, Andre Williams drops some greasy moralizing in Cadillac Jack in a way that makes it seem like he could just breath songs like this without even trying.  I really like how chill the Willie Mabon track is, like it’s missing the deep gut in some of the other R&B tracks but not in a way that’s lacking punch, it’s more conversational and relaxed.  The mix wraps up with an absolute scorcher by Donoman and the Lakettes doing “Here Comes The Fool” a track I never ever tire of listening to, no matter what my mood.

Alright everyone, I’m going to go back to thawing my toes.  Hope you enjoy.

-George / Snack Attack

Tracklist:

J.J. Barnes “Please Let Me In” (Ric Tic, 1965)

The Radiants “Voice Your Choice” (Chess, 1964)

The Ikettes “Don’t Feel Sorry For Me” (Modern, 1965)

Barbara George “If You Think” (Sue, 1962)

The Accents “New Girl” (M-Pac!, 1964)

Robert, Ron & Eddie “Love Potion #9” (UniSFERE, 1968)

Sister & Brothers “Yeah, You Right” (Uni, 1969)

Marie “Queenie” Lyons “See And Don’t See” (De Luxe, 1970)

Bettye Swann “Don’t Take My Mind” (Money, 1967)

Irma Thomas “Cheater Man” (Chess, 1967)

Linda Jones “I Can’t Stop Loving My Baby” (Loma, 1967)

Lee Dorsey “Behind The 8 Ball” (Fury, 1962)

Cash Mc Call “You Ain’t Too Cool” (Thomas, 1966)

Willie Mitchell “That Driving Beat” (Hi, 1966)

Otis Spann “Walking” (Blue Horizon, 1969)

The Interpretations “Snap-Out” (Bell, 1969)

Phil Upchurch Combo “You Can’t Sit Down” (Boyd, 1961)

Johnny Rivers “Seventh Son” (Imperial, 1965)

Ruth Brown “Mama (He Treats Your Daughter Mean)” (Phillips, 1962)

Willie Mabon “Too Hot To Handle” (USA, 1963)

Andre Williams “Cadillac Jack” (Chess, 1968)

Donoman and the Lakettes “Here Comes The Fool” (Thunderbird, 1960)

09
10
“Musical Episode: Get Yourself Together” (Click title to download) Evening Everyone. Psyched to be putting up my first hour long mix since I accidentally stopped posting them a year or so ago. The frustrating part of writing about these records is I want to give each one a lot of attention and dig into the record a little more than just listing the song title, artist and label but when I’m putting twenty of them together in succession like this mix it’d be a friggin book if i wanted to dedicate even three paragraphs to the histories of and my feelings about the records. The mix opens up with a totally killer record by “the 14 year old sensation” Little Carl Carlton.  Yes, the Bad Mama Jama Carl Carlton!  He has some absolutely essential 45s on the Back Beat label from this era.  Label art on this track is particularly awesome, reads that it plays at 46rpm.  The second track is by The Amazers and their knockout track “Without A Warning.”  Rowdy Chicago soul, worked with Curtis Mayfield (he wrote/produced the flip side).  Released on the Thomas label in 1967.  Up next is the super sweet Darrell Banks track “Open The Door To Your Heart.”  He had the sweetest voice and the record performed accordingly selling a million copies.  He moved on to make a couple records for Stax, none of which made much noise before hit untimely death in 1970.  “I Can’t Stop” by The Notations follows.  Released in 1970 on the Twinight label this is actually the B side to their “I’m Still Here.”  I was lucky enough to see these guys perform on the Numero Soul Revue a couple years back, they were amazing performers and super nice guys.  (They signed this copy!)  Sticking with the Chicago theme, The Accents cut it up with their track “New Girl.”  I love this song for a million reasons but the way this group works together and seamlessly includes doo-wop/vocal styling with an upbeat soul backing always impresses me.  The O’Jays “Whip It On Me” switches things up a little with a latin-tinged hip shaker that I never hear people get psyched on, but I really like all the early (and later!) O’Jays stuff.  Ray Johnson’s instrumental generically titled “Soul City” is next but it’s a real foot shuffler and butt wiggler and definitely a stand out.  Betty Lavette (before the spelling changes) drops a serious piece of soul with her Calla single “I Feel Good (All Over).”  As always she brings heat and serious strength to the microphone.  Heading back to Chicago, The Five Stairsteps bring their (kind of ominous) track “Change of Pace.”  With heavy stomping in the mix it’s an upbeat number but the song carries a heaviness in it that I find kind of striking, the horns are really heavy and even the vibraphone feels kind of scary.  A nice switch up for the sweetness (or, alternately, sadness) that is often associated with Chicago.  Toussaint McCall’s instrumental monster “Shimmy” is next on the decks, (Apologies, this is my scratchy copy, before i traded up.  Just imagine you’re sitting by the fire while listening to this one!)  A super minimal track, Toussaint totally kills it on the Hammond with only a drummer to accompany him.  Awesome record.  Sticking with the organ-driven jams, The Emperors “Karate” takes the stage giving you a chance to work out your unused martial arts dance moves.  Barbara Lynn’s “You’re Gonna Be Sorry” maintains the pace but trades the organ in for a piano and Barbara’s minimalist guitar playing keeping the track in hot shuffle.  Juggy’s “Buttered Popcorn” is only one of two tracks from 1970 and with it’s vamping horns definitely is the closest to “funk” that’s in this mix though it still feels closer to the r&B of the early Bar-Kays to me.  Bob and Earl a favorite type of record of mine, where instead of trying to create a dance, they just talk about a lot of different type of dances you can do, I can imagine this song could fill an entire set, stretching it out to give each dance a couple minutes.  Now that I haven’t mentioned Chicago in three sentences, lets get back to business.  “Michael” by the C.O.D.s was a massive regional hit and you can hear why, it’s bubbling, upbeat and absolutely infectious!  I remember reading about this song and was psyched to learn a little about it and when they interviewed on of the band members they were like “yeah, it was about this guy in our neighborhood, Micheal.  Man, he got ALL the girls.”  So good.  Another dance record.  Another chicago record… “Do the 45” by The Sharpees released on the awesome One-Der-Ful label is a great track that sounds like it’s recorded with one mic and as a result a pretty unusual mix.  It also sounds like someone had been listening to some Jr. Walker just before hitting the record button, not a bad thing in my book.  Chuck Wood’s “Seven Days Is Too Long” gets us back into sentimentality.  My copy is a UK pressing (no doubt a result of this being a Northern Soul anthem) though stateside it was released on the Roulette label.  A perfect combination of danceable and beautiful, this song is a real heavy hitter.  The Flamingos (Yes, the doo-wop Flamingos!) drop a come-back, genre shifting scorcher with “Boogaloo Party” (I wonder if the Boogaloo Party took place in Soul City?)  Sugar Pie DeSanto’s “Soulful Dress” is one of the few songs that makes me mime wearing a dress while I’m dancing to it.  This was her biggest hit with Chess though most of her records on there are all bona-fide winners.  In particular her collab with partner in crime Etta James “In The Basement.”  Up next is Shorty Long with his “Sing What You Wanna.”  Most well known for his funny and funky “Here Comes Da Judge” it’s easy to think he can’t put together a tune, especially not one of this caliber but here you have it, replete with all the motown fixins it’s a worthy slab of clean emotive soul music.  Jumping back to the beginning of the decade to experience an early Aaron Neville single.  Coming from the slightly murky waters of the murder ballad I always feel a little uneasy when I spin this record and people are dancing to a song that threatens to kill their lover if they leave them.  Neville is in top form, delivering an extremely menacing and convincing track while never losing a touch of his angelic falsetto.  Lightening the mood Wendy Rene waxes about the joys of her favorite food BBQ (isn’t it everyone’s favorite, I’m a vegan and I love the stuff).  Mid 60s Stax, literally untouchable.  To be fair I had to get one harmonica in there somewhere (and didn’t want to turn to Stevie) so Slim Harpo drops his rolling rumbling R&B shoulder shaker “Baby, Scratch My Back.”  Closing out the night the inimitable Eddie Holland (from Holland-Dozier-Holland fame) graces us with his scolding of the bad behavior of men “Leaving Here.”  A great number, it would probably serve some fellas to listen close. Hope you enjoy the mix! Tracklist: Little Carl Carlton: 46 Drums and 1 Guitar (Back Beat, 1968) The Amazers : Without A Warning (Thomas, 1967) Darrell Banks : Open The Door To Your Heart (Revilot, 1966) The Notations : I Can’t Stop (Twinight, 1970) The Accents : New Girl (M-Pac, 1963) The O’Jays : Whip It On Me (Imperial, 1965) Ray Johnson : Soul City (Infinity, 1963) Betty Lavette : I Feel Good (All Over) (Calla, 1965) The Five Stairsteps : Change of Pace (Windy C, 1967) Toussaint McCall : Shimmy (Ronn, 1967) (sorry, this is my scratchy copy!) The Emperors : Karate (Mala, 1966) Barbara Lynn : You’re Gonna Be Sorry (Jamie, 1965) Juggy : Hot Popcorn (Sue, 1970) Bob & Earl : Dancing Everywhere (Mirwood, 1966) The C.O.D’s : Michael (Kellmack, 1965) The Sharpees : Do The 45 (One-Der-Ful, 1965) Chuck Wood : Seven Days Is Too Long (Mojo, 1967) The Flamingos : Boogaloo Party (Phillips, 1966) Sugar Pie DeSanto : Soulful Dress (Checker, 1964) Shorty Long : Sing What You Wanna (Soul,1969) Aaron Neville : Over You (Imperial, 1960) Wendy Rene : B-B-Q (Stax, 1964) Slim Harpo : Baby, Scratch My Back (Excello, 1966) Eddie Holland : Leaving Here (Motown, 1963)

“Musical Episode: Get Yourself Together”

(Click title to download)

Evening Everyone.

Psyched to be putting up my first hour long mix since I accidentally stopped posting them a year or so ago.

The frustrating part of writing about these records is I want to give each one a lot of attention and dig into the record a little more than just listing the song title, artist and label but when I’m putting twenty of them together in succession like this mix it’d be a friggin book if i wanted to dedicate even three paragraphs to the histories of and my feelings about the records.

The mix opens up with a totally killer record by “the 14 year old sensation” Little Carl Carlton.  Yes, the Bad Mama Jama Carl Carlton!  He has some absolutely essential 45s on the Back Beat label from this era.  Label art on this track is particularly awesome, reads that it plays at 46rpm.  The second track is by The Amazers and their knockout track “Without A Warning.”  Rowdy Chicago soul, worked with Curtis Mayfield (he wrote/produced the flip side).  Released on the Thomas label in 1967.  Up next is the super sweet Darrell Banks track “Open The Door To Your Heart.”  He had the sweetest voice and the record performed accordingly selling a million copies.  He moved on to make a couple records for Stax, none of which made much noise before hit untimely death in 1970.  “I Can’t Stop” by The Notations follows.  Released in 1970 on the Twinight label this is actually the B side to their “I’m Still Here.”  I was lucky enough to see these guys perform on the Numero Soul Revue a couple years back, they were amazing performers and super nice guys.  (They signed this copy!)  Sticking with the Chicago theme, The Accents cut it up with their track “New Girl.”  I love this song for a million reasons but the way this group works together and seamlessly includes doo-wop/vocal styling with an upbeat soul backing always impresses me.  The O’Jays “Whip It On Me” switches things up a little with a latin-tinged hip shaker that I never hear people get psyched on, but I really like all the early (and later!) O’Jays stuff. 

Ray Johnson’s instrumental generically titled “Soul City” is next but it’s a real foot shuffler and butt wiggler and definitely a stand out.  Betty Lavette (before the spelling changes) drops a serious piece of soul with her Calla single “I Feel Good (All Over).”  As always she brings heat and serious strength to the microphone.  Heading back to Chicago, The Five Stairsteps bring their (kind of ominous) track “Change of Pace.”  With heavy stomping in the mix it’s an upbeat number but the song carries a heaviness in it that I find kind of striking, the horns are really heavy and even the vibraphone feels kind of scary.  A nice switch up for the sweetness (or, alternately, sadness) that is often associated with Chicago.  Toussaint McCall’s instrumental monster “Shimmy” is next on the decks, (Apologies, this is my scratchy copy, before i traded up.  Just imagine you’re sitting by the fire while listening to this one!)  A super minimal track, Toussaint totally kills it on the Hammond with only a drummer to accompany him.  Awesome record.  Sticking with the organ-driven jams, The Emperors “Karate” takes the stage giving you a chance to work out your unused martial arts dance moves.  Barbara Lynn’s “You’re Gonna Be Sorry” maintains the pace but trades the organ in for a piano and Barbara’s minimalist guitar playing keeping the track in hot shuffle. 

Juggy’s “Buttered Popcorn” is only one of two tracks from 1970 and with it’s vamping horns definitely is the closest to “funk” that’s in this mix though it still feels closer to the r&B of the early Bar-Kays to me.  Bob and Earl a favorite type of record of mine, where instead of trying to create a dance, they just talk about a lot of different type of dances you can do, I can imagine this song could fill an entire set, stretching it out to give each dance a couple minutes. 

Now that I haven’t mentioned Chicago in three sentences, lets get back to business.  “Michael” by the C.O.D.s was a massive regional hit and you can hear why, it’s bubbling, upbeat and absolutely infectious!  I remember reading about this song and was psyched to learn a little about it and when they interviewed on of the band members they were like “yeah, it was about this guy in our neighborhood, Micheal.  Man, he got ALL the girls.”  So good.  Another dance record.  Another chicago record… “Do the 45” by The Sharpees released on the awesome One-Der-Ful label is a great track that sounds like it’s recorded with one mic and as a result a pretty unusual mix.  It also sounds like someone had been listening to some Jr. Walker just before hitting the record button, not a bad thing in my book.  Chuck Wood’s “Seven Days Is Too Long” gets us back into sentimentality.  My copy is a UK pressing (no doubt a result of this being a Northern Soul anthem) though stateside it was released on the Roulette label.  A perfect combination of danceable and beautiful, this song is a real heavy hitter.  The Flamingos (Yes, the doo-wop Flamingos!) drop a come-back, genre shifting scorcher with “Boogaloo Party” (I wonder if the Boogaloo Party took place in Soul City?)  Sugar Pie DeSanto’s “Soulful Dress” is one of the few songs that makes me mime wearing a dress while I’m dancing to it.  This was her biggest hit with Chess though most of her records on there are all bona-fide winners.  In particular her collab with partner in crime Etta James “In The Basement.” 

Up next is Shorty Long with his “Sing What You Wanna.”  Most well known for his funny and funky “Here Comes Da Judge” it’s easy to think he can’t put together a tune, especially not one of this caliber but here you have it, replete with all the motown fixins it’s a worthy slab of clean emotive soul music.  Jumping back to the beginning of the decade to experience an early Aaron Neville single.  Coming from the slightly murky waters of the murder ballad I always feel a little uneasy when I spin this record and people are dancing to a song that threatens to kill their lover if they leave them.  Neville is in top form, delivering an extremely menacing and convincing track while never losing a touch of his angelic falsetto.  Lightening the mood Wendy Rene waxes about the joys of her favorite food BBQ (isn’t it everyone’s favorite, I’m a vegan and I love the stuff).  Mid 60s Stax, literally untouchable.  To be fair I had to get one harmonica in there somewhere (and didn’t want to turn to Stevie) so Slim Harpo drops his rolling rumbling R&B shoulder shaker “Baby, Scratch My Back.”  Closing out the night the inimitable Eddie Holland (from Holland-Dozier-Holland fame) graces us with his scolding of the bad behavior of men “Leaving Here.”  A great number, it would probably serve some fellas to listen close.

Hope you enjoy the mix!

Tracklist:

Little Carl Carlton: 46 Drums and 1 Guitar (Back Beat, 1968)

The Amazers : Without A Warning (Thomas, 1967)

Darrell Banks : Open The Door To Your Heart (Revilot, 1966)

The Notations : I Can’t Stop (Twinight, 1970)

The Accents : New Girl (M-Pac, 1963)

The O’Jays : Whip It On Me (Imperial, 1965)

Ray Johnson : Soul City (Infinity, 1963)

Betty Lavette : I Feel Good (All Over) (Calla, 1965)

The Five Stairsteps : Change of Pace (Windy C, 1967)

Toussaint McCall : Shimmy (Ronn, 1967) (sorry, this is my scratchy copy!)

The Emperors : Karate (Mala, 1966)

Barbara Lynn : You’re Gonna Be Sorry (Jamie, 1965)

Juggy : Hot Popcorn (Sue, 1970)

Bob & Earl : Dancing Everywhere (Mirwood, 1966)

The C.O.D’s : Michael (Kellmack, 1965)

The Sharpees : Do The 45 (One-Der-Ful, 1965)

Chuck Wood : Seven Days Is Too Long (Mojo, 1967)

The Flamingos : Boogaloo Party (Phillips, 1966)

Sugar Pie DeSanto : Soulful Dress (Checker, 1964)

Shorty Long : Sing What You Wanna (Soul,1969)

Aaron Neville : Over You (Imperial, 1960)

Wendy Rene : B-B-Q (Stax, 1964)

Slim Harpo : Baby, Scratch My Back (Excello, 1966)

Eddie Holland : Leaving Here (Motown, 1963)