[engl] Bo`s unique artistic personality goes beyond his work as a singer, guitar player and performer: this collection showcases his skills as a first-rate composer, talent-scout, session musician and producer of R&B stars such as Little Walter, Billy Boy Arnold, Billy Stewart, The Schoolboys and The Marquees (featuring a youthful Marvin Gaye in their line-up). Nice edition w/ gatefold sleeve, remastered sound, artists pics and extensive liner notes by George R. White, author of Living Legend, Bo Diddley?s biography.

[engl] A vinyl-only 14-track collection of the Cincinnati trio’s best Fraternity recordings. A brief appearance on Billboard magazine’s Bubbling Under chart belies the fact that the Charmaines were Cincinnati’s leading 1960s girl group. Formed by Marian “Gigi” Jackson, Dee Watkins and Irene Vinegar, the group was awarded a contract with Fraternity Records for winning a talent show in 1960. Gigi’s sister Jerri sang on many of the group’s records but was too young to perform in nightclubs. When Dee left to get married, Jerri joined as a full-time member. By the time the Charmaines’ contract with Fraternity had run its course, the group had relocated to Canada. “We’d had a successful career at Fraternity and were quite happy there,” says Gigi. “We had a few little hits with ‘What Kind Of Girl (Do You Think I Am)’, ‘On The Wagon’ and ‘G.I. Joe’ and got lots of work, especially in Canada. We were going back and forth to Toronto so much, doing nightclubs and concerts, that in 1963 the Charmaines actually moved up there. When the British groups first became popular over here, we were living in Canada at that time. I remember the Dave Clark Five and the Rolling Stones coming up to Canada. They were at Maple Leaf Gardens, and at about four of those shows we were the opening act.” The Charmaines called it a day in the early 70s but several of their records remained popular with dancers on the UK’s northern soul scene. That popularity received a boost in the mid-2000s when their great version of Ike & Tina Turner’s ‘I Idolize You’ was made available for the first time, immediately finding favour with DJs and club-goers. During their career the group had singles on six different labels, but they never did have an album released. We rectify that situation here with this stylishly packaged vinyl-only collection of their finest Fraternity recordings. Along with the above-mentioned titles, highlights include ‘Goodbye Baby Goodbye’, the Shirelles-style ‘Where Is The Boy Tonight’, their rip-roaring version of ‘Rockin’ Pneumonia’ and three terrific examples of their work as backing singers for Fraternity label-mates Lonnie Mack and Carl Edmondson. MICK PATRICK

[engl] Dan Melchior is artist as perpetual motion machine. We could say “shark,” but Dan doesn’t sniff for blood in the water. Instead, he is inviting you to his private lake; his solace relies on his relentless creativity. Whether painting, writing, collaging or recording, Dan offers nothing less than words, images and sounds transmitted directly from his subconscious, but filtered through the rigorous process of a true artist. Dan’s latest offering is a superb collection of songs and sonic vignettes that dips down deep into life’s trenches. Here, where light has to fight to be noticed, misery, monotony and melancholy mingle and bleed into one another. Accordingly, Dan doesn’t play the blues, he plays the greys. Plays The Greys is a patchwork album, but don’t let that imply carelessness. Each odd juxtaposition serves a purpose and illuminates its surroundings like a torch in the night. Part one and part two of the title track are perfect examples of Dan’s decidedly non-academic approach to musique concrete’s a-musical gestures. Field recordings bump up against back-porch guitar plucking that morphs into radio declarations by the good Christians among us. Praise be. In more ways than one, “Death Has No Mercy” is the center of the album. Midway through its hazy meanderings, “Death…” jumps into an uptempo backwoods jaunt. It’s good to know that the guitar is always there, providing a means for expression and catharsis. Suffering in recent years through immense personal tragedy, Dan channels all that pain and helplessness into an extended rumination on grief and the challenge of living with permanent ache. So forget what I wrote earlier -- Dan Melchior has indeed made a blues album, one fit for 2016, and beyond. - e/n

[engl] Last time we checked in with Dan Melchior, he was Playing The Greys (see Ever/Never # 21). What has he been up to lately? Melchior is as aesthetically restless as he is endlessly creative, so in between recording an album with Austin TX art-punk trio Spray Paint and a myriad of tape and vinyl releases, Dan found the time to gift Ever/Never with another classic slice of Melchiorcore (please, shoot the messenger for that one). Road Not Driving is a 12” EP that covers a fair amount of ground during its runtime. “I Got A Feeling” starts out as a feel-bad ode to, well, feeling bad, and then finds itself truly sinking into the muck as the track distorts beyond all reason, until coming around full circle at the conclusion. Climate change has got us all down, but at least you can commiserate with the guitar slicks and (gulf jet)stream-of-consciousness lyrics of “Another Oil Spill.” In the icily observant “Cold Town,” Dan’s previous locale , Ohio -- and the lake-effect of the Midwest pokes its head through the (grey) clouds. The storm clouds hover over side two’s “Relics,” which finds Dan casting about for some kind of connection. Those bleak months -- half a year really -- can weigh a man down but they leave plenty of time to come up with creative ways of dealing with the isolation. Yet, when connection comes in the form of “Bus Stop Ghouls,” perhaps it’s preferable to be alone after all. Melchior closes out this potent dip into his stewing brain with the title track and all we can say is Godspeed, sir. -e/n

[engl] The first ever vinyl LP compilation of songs by the great Eddie and Ernie! The duo produced tons of great singles throughout the 60’s and early 70’s. This LP features a couple dance numbers, but mostly slow dramatic soul ballads reminiscent of the best moments of more well known acts like Sam and Dave and Otis Redding. Some pretty eerie soaring vocals and existential lyrics of the highest order. Under appreciated in their time, Eddie and Ernie are two of soul musics greatest talents!

[engl] Great retrospective of Lil Bob and the Lolipop’s discography. Classic Louisiana swamp soul / R&B, recorded in the early to mid 1960’s. Includes the popular dance floor fillers “I Got Loaded” and “Stop” as well as some real beautiful obscurities. Ballads and stompers to make life better.

[engl] It only takes a few bars into Ragtime Frank’s fuzz opus “Bo 1969” to figure out how Frank likes his toast -- slathered in sizzling distortion, like hot butter bubbling up from the depths of the earth itself. Pile a duo of hammering drummers on top and you’ve got the makings of a lip smackin’ sandwich that should satisfy all manner of sonic overload junkies. Containing all the hipshake and earthquake action that anyone could crave and then some. Let’s call it Lo-Fi Big Beat. This is basement Gary Glitter, stripped of any negative connotations. Phil Spector is calling from prison demanding to know how these Aussie weirdos managed to upstage him from the flipside of the equator. After a handful of LPs on the much-missed Negative Guest List label, Ragtime Frank, key player in The Lost Domain, comes roaring back with a primal authority. The formula is deceptively simple but devastatingly effective: pair a towering Bo Diddley beat with supremely-fried Link Wray guitars. Just add liquor. And some hollerin’. Stir. And then shake a tail feather. Four songs of greased lightning on a 12” courtesy of NYC’s Ever/Never Records; perfect for your next eviction party. - e/n

[engl] “Please Mr. Playboy” a new pressing of fantastic original rhythm and blues, blues, and rock and roll sides from the deep vaults. As you well know by now with the success and praise from collectors the world over on “Have Mercy Uncle Sam,” these pristine rhythm and vocal accompaniment sides will certainly shake the chill off any cool night. This is the music that “made you” if you know what we mean… Please Mr. Playboy starts off with a mystery that must be a well known singer, (can you recognize her?) She starts us off with a one-off advertisement plea from 1965 for Tabs Pants. Buy a few pairs of Tab trousers, and get this hot platter on the house. Hot Breath Hannah is the name of our illustrious singer, but do we dare giver up her identity?…this is a fun and well produced side from the National Recording Company. Dog House takes you down to New Orleans for a rare Boogie number by Archibald, otherwise known as pianist Leon T. Gross. Leon treats us to his beautiful right hand piano work on this very rare side for Imperial records. We have a side by the sultry voiced Varetta Dillard on Savoy Records out of NYC. Varetta was there as history was made as she was on the bill at very first Rock and Roll show ever, the Moondog Coronation Hour put on by Alan Freed in Cleveland. However, she never got to perform that night as the show was shut down after the first song by Paul “hucklebuck” Williams. On this record she gives us her classic, “Send Me Some Money.” A musical force to be reckoned with and one of my favorite female singers, Big Maybelle is on this platter giving us some of her finest work on, “Pretty Good Love.” Guitar from the fantastic Mickey Baker cracks on this record from the Savoy label recorded in the Spring of 1956. Gut punching horn work from Dave McRae (alto), Buddy Lucas, Warren Lucky (tenor), and Leslie Johnakins (baritone saxophone) all deserve to be credited on this rare side of rock and roll perfection. The gals keep rocking us with a side from Lavern Baker on Atlantic, and we travel back down the Mississippi to New Orleans for Guitar Slim’s, “Done got over it” with Lloyd Lambert on the bass. More beautiful guitar work on a rare side from Guitar Jr., otherwise known as Lonnie Baker Brooks. I was fortunate enough to be there one night while Lonnie regaled us with stories as he held court at the bar of Buddy Guy’s in Chicago. He was thrilled that we got giddy over his telling of the Guitar Jr. sessions on Goldband. Here we offer a rare side from Mercury. Lucky Millinders’ singer Annisteen Allen greets us with the stomper “Rough Lover” recorded on Decca, as well as the hell of piano player and alluring vocalist Camille Howard with, “Excite me Daddy” This is another amazing seat lifting side with guitar work from Jonny Rodgers of Solid Sender’s fame. There are more rare sides on this record found in the dust bins and basements of from Texas to Paris and we get the feeling that the ladies can rock it and roll it with the fellas any day of the week!

[engl] 16 Blues, Rhythm & Early Soul Groovers!' Volume 3 in the 'La Noire' roots music series. Comes in gatefold cover.

[engl] C. S. Lewis once said that he believed in a God as he believed that the Sun had risen. Not only because he had seen the literal light, but because of it, he was able to see everything else. Seeing is believing, and so is hearing, “Glory is Coming!” Brothers and Sisters no matter what your faith or belief is, Dog House and Bone Records in France has issued another rare LP pressing of original 45rpm records from the vast archives of Bayourod. Chicago again plays a prominent role in musical history, as the foundation of organized gospel music is born here under the tutelage of Thomas Andrew Dorsey. Dorsey is widely known as the Father of gospel music, as he composed and performed many of our most celebrated gospel songs including, “(There’ll be) Peace in the Valley (for me).” Arriving in Chicago in 1919, in the midst of the great migration of Southern Blacks, Dorsey coined the phrase “gospel songs” in the early 1920’s. He assembled the first gospel choir at Ebenezer Baptist Church on South Indiana Ave in 1931 which still stands to this day. Bo Diddley and many others learned music here. Again, Black Americans give us a uniquely American style of religious song, with its roots in the tradition of Folk music and early blues and jazz. So many of our great singers started in the Church before turning to secular music, learning to play and sing beautifully in the only venue that mattered to so many; the house of God. For those of you who may not have had experienced the absolute harmony and joy of a full gospel Church, you may walk out with your faith and or belief in a God somewhere- regardless of how you walked in. Believe me, you will be moved to tears by a choir of voices like you may never hear at any professional concert. You will hear multiple instrumentalists on piano, Hammond B3, organ and drums. You will hear joy. You will hear love. You will be told by a stranger that, yes, everything will be alright. By the grace of the other worshipers you will be hugged and feel the joy of being with your fellow man. You will brush away pain, sorrow and doubt in this moment. You will indeed believe that love and music really is the answer. In this instant you will not worry about anything. You will not worry about anyone. You are free with body and soul. You are free to thank Jesus. You are free to believe. Music heals broken hearts. Hearing it can make you want to live. Whatever it is, God’s got it. Two of the sides on this uplifting compilation come from the Reverend Charlie Jackson. Born in McComb, Mississippi Jackson preached his brand of guitar evangelism, a genre born in the late 1920’s. Others spreading the Lords word with the guitar at the time were Arkansas born Sister Rosetta Tharpe and New Orleans own Elder Utah Smith. Smith’s style of preaching, singing, and guitar playing is widely influential and incredibly moving. Reverend Jackson was a protégé of Smiths. Smiths’ spectacle of playing and preaching was so influential in fact, that young players like Guitar Slim and Ernie K-Doe emulated it. Both those amazing pioneers of the blues and rock and roll saw Smith perform in tent revivals across the South. Smith inspired Reverend Jackson to “sit down on the guitar,” playing it above his head and with his teeth at times. They frequently traveled, preached, and performed together giving sermons in rural churches, many with no electricity having to power the voice of God, their guitars, with a portable generator. Also, in addition to sides by the Sunset Travelers formed on the streets of Memphis in 1950 featuring O.V. Right, and the Gospelaires from Dayton, Ohio who preached the word with rollicking harmonies, we present a side by what may be Chicago’s most famous and “God’s greatest hit makers,” the Staple Singers. This record was recorded for Epic records in 1967, “It’s Been a Change,” features Pops Staples profound guitar playing on this “protest” record. The Staple Singers cut a slew of these kinds of message songs in the late 1960’s. Pops Staples was born in 1915 in Winona, Mississippi and was playing the blues at an early age. By 1937 he was featured in the spiritual group the Golden Trumpets. In 1941 Pops and his wife moved to Chicago, started a family and by 1953 cut their first side, “These are They,” for his own Royal Record Company. Another single led to a recording contract with Vee-Jay records which lasted from 1956 to 1962. “Uncloudy Day,” released on Vee-Jay would be the Staple Singers breakthrough. Mavis Staples is still very much a force as a singer and is still performing live. Gospel music and this collection can be best summed up by Pops Staples himself who said, “This music was born from soulful voices, social activism, religious conviction and carries a message that moves you.”

[engl] Well friends and music lovers, the crisp air is back in town as the leaves turn from butter brown to gold and burning red. The pumpkins are on the front door step and something is most definitely cooking in the kitchen. Let me tell you it ain’t just apple pie! This tasty platter begins with a side from the amazing Chicago blues singer Jessie Fortune. Jessie, a trained barber, is fabulous on this sexy Willie Dixon written side released on the USA label with Buddy Guy on guitar. Jessie died on stage while performing at Gene’s Playmate lounge on Chicago’s West Side in August of 2009. This record has everything you could ask for… Checker records take the stage with two sides; the first, by Joe Hill Louis, was actually recorded at Sun Records in Memphis and sold to the Chess brothers for release in 1952. The next side is by the incomparable Little Walter and his Jukes. This Checker kitchen thumper was recorded in October of 1954 and penned by Willie Dixon. After a stint in the Army and the US Air Force Billy Emerson, known as “The kid” due to an early band he formed dressed as outlaws, recorded this Sun records ditty, “The Woodchuck” with the Ike Turner band. After a few more rare sides from Duke and Flair labels we get a personal favorite on this collection. One of only 18 releases on the ultra hep Cat label out of New York City, Jimmy Lewis rounds out the A side cooking with this killer record, Last Night (I was in Heaven) released in 1954. As we flip this one over and take time to sip some wine and stir the pots together we get down to it with a few sides fro the original writer of “Mystery Train,” Junior Parker on the Duke label, and head South to Louisiana for Black Magic labels John J. Moses and “Fickel Woman,” recorded in 1961. Back to Chicago for Eli Toscano’s West Side record label Cobra. Like most things in Chicago politics rule and Eli got Willie Dixon, who was very dissatisfied with Chess records at the time, to come over to Cobra. Willie produced, wrote, arranged, played bass and recorded for this small TV repair shop/storefront recording studio. Fantastic things get made in small places…remember?… This remarkable West Side record was released in 1957 featuring pianist and vocalist Harold Burrage with Otis Rush on guitar. The kitchen is warm and the foods almost on the table after we work out our Mojo from Larry Bright. Our last side on this collection was lost in the Sun records vaults for years as Sam Phillips felt the raw sound and driving guitar from L.B. Lawson and Scott Jr’s. Blues Rockers were too much…legend has it they came over to 706 Union a bit drunk and cut four dreamy rambling blues sides. This one called “Fly Paper Boogie.” Something from nothing. From Scratch. With friends. One room. Sounds cooking to me.

[engl] This edition of the LaNoire record series is once again lovingly presented to you by our esteemed collector and Doghouse and Bone Records in France. Rare original 45 rpm records pressed to vinyl for your sonic long playing pleasure. This compilation is filled with soul goodness. Songs you can dance to, cry to, and love to as some of the titles suggest. Or perhaps lament to as Rudy Lambert sings on "Love." Lambert's fantastic back-up singers remain a mystery, but one voice could be Alice Jean who was cutting sides for Club records at about the same time. This volume is a soul clap heavy record, so get out the talcum powder and spread it over the basement floor, don't worry Mom and Dad won't mind...We have many familiar friends here, starting it off with Bobby Marchan's dance instruction record on Dial based in Nashville. Otis Rush brings the fuzzy sax with him on, "Homework." Cool Hawaiian guitar on a Chuck Willis side directed by Jesse Stone and his orchestra. We have records here from Bob Kayli on Detroit's Tamla, and the formidable Wilson Pickett. Lou Rawls first single on Capitol records is here. Rawls is famous in the States for his 1970's era hits, but he was a contemporary of Sam Cooke and replaced Sam in an early gospel quartet. On tour with The Pilgrim Travelers he was in a near fatal automobile accident while touring in a gospel music road show. Many people may not know but Rawls also sang backup vocals for Cooke on "Bring it on home to me," and other Cooke sides. There must be few greater voices in early American soul music. His first record for Capitol is here, "When love goes wrong." I have spoken often about Bobby Bland and his Duke sides. The emotion I feel when this man sings is like few others in the great pantheon of American blues. "Shoes" is considered a Northern Soul rarity record, and it does get the people on the dance floor. Alas, this record is really about loss, and the feeling of longing which you can feel him sing on this early side. First hand accounts of Mr. Bland's early performances tell of the audience members standing stock still in front of the stage, raptured by Blands delivery. He was later criticized for not being as dynamic performer as some of his contemporaries. But as these early sides on Duke, with accompaniment by Ike Turner and band attest, they are as moving as any singers of the era. Joe Tex gets serious on his Checker side, "Don't Play" originally recorded for Anna records in Detroit. This side has stellar horns from Eddie and Mac Williams. Wilson Pickett had a smash hit with "Land of 1,000 dances," which in the United States has become a cliche' at thousands of high-school dances across our county. This is a record that holds up no matter how many times you get on the dance floor to try all sixteen dances it mentions. The title was cut out of the original number when put to wax for radio airplay, as 1,000 dances is never mentioned in the song, and Chris Kenner along with Fats Domino are credited with the original arrangement. First charted by Cannibal and the Headhunters in the early 60's it is said that Hannibal forgot the lyrics mid-recording hence the famous na, na-na-na-na section. Tape was expensive.... This record hit number 1 on the R and B charts in 1966, and established Pickett's career for years to come. Junior Parker rounds things out with a plea to Heaven on his Duke records cut, "I'm in Love." Credit is due to the fantastic Bill Harvey Band with trumpet by Joe Scott, trombone by Pluma Davis, piano by Connie Mac Booker, bass by Hamp Simmons and Sonny Freeman on drums...a knockout crew.

[engl] Greetings record lovers everywhere! In these troubling times the esteemed producers of the LaNoire series have curated a gospel record to help us all see the light-the light that is sure to be found in music. Here we now turn to the archives and drop the needle on more vintage gospel, right on time. We start our collection with “Shout Shout” from the Reverend Cleophus Robinson. Reverend Robinson was born in Mississippi in 1932, and he learned to sing while in the cotton fields with his Mother, who was to those that heard her, a phenomenal singer. The Reverend may be best known for his coast to coast television show which was broadcast for over twenty-five years in America. In 1948 he moved briefly to Chicago and performed with the Roberta Martin Singers. That group just happened to have a member named Mahalia Jackson. This is a side from the early 1950’s on Peacock Records out of Houston, Texas, with the wonderful Napoleon Brown accompanying on piano. Another Peacock recording on “The Worlds Greatest Spirituals,” at 2809 Erastus Street in Houston, features Sister Josephine James singing “Straight Road.” Sister James recorded with the above Reverend Robinson for the label. If you listen to these records for the first time you will be moved by the blending of voices…and it will come as no surprise that Sister James and Reverend Robinson are brother and sister. Sister James also moved to Chicago and formed a quintet called the Five Queens of Zion. She was a prolific songwriter and has dozens of gospel recordings attributed to her during this era. The duets with her brother will stand the test of time as some of the most beautiful close harmony gospel singing as long as these records are heard. “I need your Power” by the Singing Sons appears here on the Gospel Corner label. Gospel Corner, out of Los Angeles, was started by rhythm and blues rocker Sylvester “Duke” Henderson. “Duke” got out of the rock and roll business to start the label, and had most notably cut the first sides of The Pilgrim Travelers. Gospel Corner was a very distinguished label on the sacred music scene due to the great talent of “Duke” Henderson’s production skills which can be heard on this cut. Broadcast Music Incorporated, BMI, aptly gave this number by the Kelly Brothers the emotive, “This group sings this supplication in strong jubilant terms!” Yes indeed. Specialty Records is known for the list of power hitters on the label out of New Orleans. In Los Angeles Art Rupe also recorded and released, on Specialty, many gospel recordings. Some of those of course featured Sam Cooke and the Soul Stirrers. Here we have the side “I’ve made it at Last.” Next up we hear Sylvia Spurling, a fine pianist and sacred singer on a side from the little known TAT’s records. Here she gives us “Yes He Did.” The Gay Sisters are made up of four family members who grew up in Chicago, and attended All Nations Pentecostal Church. All Nations was famed for gospel music musicians, most notably the fellow congregant Rosetta Nubin, the future Sister Rosetta Tharpe. The Gay Sisters hit with an up-tempo bluesy number on the Savoy label in 1951 and the sisters had tremendous success until Mahalia Jackson, jealous of these upstarts, accused the Gay’s of using musicians that were not union affiliated; a huge problem for the time. This crushed the Gay Sisters hopes of releasing new sides for Decca records. Tragically, Geraldine Gay spent time in prison after her deceitful cheating husband beat her, and she shot and killed him. Geraldine was released after a few months as the trial judge judiciously ruled the case a justifiable homicide. The Gay Sisters are a true Chicago story…This side, “On My Way to Heaven” is on the BandF label. Geraldine died in 2010, but was making rare local live appearances, and recording sides for the Sirens label as recently as 2007. Side A of our record rounds out with gospel harmony from New York City’s Apollo records, and The Larks. Now hear this… The Larks; Gene Mumford, Raymond “Pee-Wee” Barnes, Alden Bunn, Hadie Rowe, Thermon Ruth and David McNeil were known in North Carolina as The Jubilators. After perfecting their skills with music lessons on harmony and choreography, they piled into Bunn’s car and headed to NYC. There they plotted a day to run from studio to studio and record as many songs as possible. They were broke, and knew that they would only be paid up-front for the songs recorded, and never see any royalty money. So, they recorded sides at Jubilee records, Regal records in Jersey, Savoy records in Newark and back to Apollo records in Manhattan. To cash in they recorded under the band names; the Jubilators, the Selah Singers, the Southern Harmonaires and The 4 Barons. Seventeen masters for four companies in two days! Here we have a side cut for Apollo in December of 1950, “Shadrack.” Things are getting brighter as we flip to the B side to hear a cut on Nashboro records, a subsidiary of the Excello records Company. Brother Joe May was born in Mississippi and later moved to East St. Louis, Illinois. There he honed his singing and musicianship skills with Willie Mae Ford Smith. Brother Joe cut some records for Specialty and remarkably sold millions of records regionally with out ever charting. He toured as a musician with the Soul Stirrers and Pilgrim Travelers. Little Richard has always cited Brother May as a musical inspiration. This obviously can be heard on, “Wake Me Shake Me.” The Hardmen Singers give us, “Living in a New World” on Peacock, and we then head back to Gospel Corner records for, “Going Home” by Prince Dixon which was one of the last sides released by the famed Gospel label. Bessie Griffin may be best known for her work with The Caravans, a leading and legendary gospel group. After moving to Los Angles and forming The Pearls, the group was among the first to perform in the secular world of nightclubs and television. They appeared frequently on The Ed Sullivan show and Hootenanny. After her side on Specialty, we head back to Chicago for a side from the Caravans, “Wade in the Water” with the wonderful Edward Robinson on piano and Louise Overall Weaver on organ. Songbird is a late spinoff label to Houston’s Peacock. Songbird was launched in 1963 featuring white singers and vocal groups becoming more popular in the Christian heavy South. This cut, “Don’t Have to Worry,” by Jean Austin is a funky grooved number which could find itself easily played next to some of the soul hits of the era. Finally and fittingly we hear, “Sand in the Storm” by the Gospel Clefs. The Clefs have had a lasting legacy in Chicago due to one of our most respected disc jockeys, Herb Kent, “The Cool Gent.” Kent had been on Chicago radio, until his death this year, for more then seventy years. He closed each show with the Gospel Clef’s, “Open up our Eyes.” All Chicagoans who dig radio know this song. We leave you with hope for all of our futures, and the Gospel Clef’s rendition of “Sand in the Storm,” on the Savoy label, out of Newark, New Jersey. We wish you peace and joy, and again give thanks to the producers at Doghouse and Bone and the LaNoire record series for giving these beautiful voices the ability to shout as long as these records are played.

[engl] Well as I sit here on a back porch in Chicago I can hear the “el” train rumble by. Cars honk, and jets rumble above and around me as the world is on the move, constant progress. Back here in the garden, if I block out the noise, things probably don’t look or feel much different from when this house was built in the early 1940’s. World problems then, and music was there to restore us. The States are as confused and divided today as I have ever experienced. On the radio this morning I heard my good friend James Porter spin a dusty classic by Jerry Butler and the Impressions. The song really grabbed me, and moved me so that I had to stand still for a minute and give it a listen. I was moved almost to tears- that is what a good song can do. What I know dear friends of the LaNoire series is that we are linked to our pasts. We are linked to our family members and friends. All of us touched by the reached out hand of that song on the radio. The Blues are not always sad; it’s that music that brings us close to each other on the dance floor. It shows us the way in hard times. The Blues allows us to drink that juice together, fall in love, get happy and forget for a minute our plight or the darkness. So let’s do our thing together on this record full of soul. The producers at Doghouse and Bone and LaNoire once again bring us these very rare 45 records as the original recording masters intended. We start this one off with a soul groover on the Loma label. “Barefoot Beefus,” by Barry Beefus. Barry is none other than Al Jones. Al cut the rocking classic, “Loretta.” One listen and you can hear the voice. The Northern soul aficionados have come to love this soul growler from Joe Johnson. “Rattlesnake, Baby, Rattlesnake,” was cut for Galaxy records which was a division of Fantasy records owned by the Weiss brothers. This one is almost a novelty song, but you can’t resist its ability to pull you on to the dance floor. Sinner Strong, aka, Joyce Harris cut “Don’t knock it” for the Serock label. This harmonic infused call and response shouter was produced by Ed Townsend. Townsend also produced records for Fats Domino and Maxine Brown and the Impressions among others. Serock records was a label owned by Big Al Sears, who is famous for replacing Ben Webster in Duke Ellington’s band. Just as interesting is that Al was a member of Alan Freed’s band during all the Moondog shows. Can we please have a drink with Big Al Sears…. Billy Harner was a blue-eyed white soul singer from Philadelphia, PA. Here he gives us the side, “Don’t want my loving.” Harner cut some sides for Cameo records and then moved to its imprint Kama Sutra in the late 1960’s. He had some success charting in Los Angeles and New York, but fizzled in the rest of the states, so Harner quit music and opened up a barbershop near the area he first started recording. Our title track is written by Vernon Harrell who shared many writing credits with J.R. Bailey. Bailey was a member of the great Cadillac’s, and together they wrote some sides for the Platters among others. Harrell was known as a great singer as well, as he replaced the Coasters legend Billy Guy who tried his hand at a solo career. Vernon never recorded with the Coasters, he only was part of the live-act...all in all not a bad day's work...His fantastic side “Slick Chick,” on the Lescay label is from 1962. Slick Chick is followed up by “Take a trip” by Jimmy Vick and the Victors. Cherry records was almost a one-shot and poof label…but what could have been…This record was recorded at Chime recording studios and features William Lee “Billy” Nichols on guitar. Nichols would later come to be none other than Marvin Gaye’s musical director. The soul clappers continue as we traverse the sixties era with “Noah” by Grainger Hunt from 64’. Recorded in Fort Worth, Texas this record today is worth a pretty penny and brings much more for one 45 than Mr. Hunt got paid for the session… We follow that up by the Ike Turner written cut, “I’m Hurting,” by Billy Gales from 1961. A Louisiana Red shaker is featured on this record on Laurie records out of NYC. Red’s father was horrifically murdered by the disgusting Ku Klux Klan in 1937, and in spite of childhood setbacks, Red went on to cut some tough blues numbers for the Chess and Checker labels after cutting some fine soul. 1970’s slow jam king Barry White makes an appearance here from early on in his career with a Barry White and the Atlantics recording, “Tracy (all I have is you),” from 1962 on the Faro label. It is hard to connect the dots to his later styling, but this early vocal is on time. Nathaniel Mayer is not a household name. He should be. Here we have him on the cut, “From now on.” This Devora Brown written song was recorded with the Fortune Braves featuring Arthur Wright on guitar, for Fortune records in Detroit, Michigan. Nathaniel Mayer was a rhythm and blues shouting king, and I would put his vocal manner up to James Brown any day of the week. Mr. Mayer sang his last show in Las Vegas in 2008, but after cutting his sides for Fortune in 1966 he disappeared for more than twenty years living in Detroit’s inner city. Almost thirty years later he made an improbable comeback due to some record industry insiders discovering him for the first time. He still tore down the house and got down and dirty until a stroke claimed his life after a series of concert dates. The Fortune record label was run by Jack and Dorothy Devora Brown and featured a spontaneous and downright greasy sound. If you have not heard of Nathaniel Mayer, you will know that voice from now on! “Get it,” by Jay Dee Bryant was recorded on Enjoy records. Enjoy was run out of Bobby Robinson's record shop on 125th Street in Harlem. Robinson was a king in the doo-wop era recording the likes of the Mello-moods, the Rainbows, and the Du Droppers. This is a soul ditty from 1967. The fitting final track on this record is “Help Yourself,” by Little Johnny Taylor. Taylor was influenced by Little Willie John, both of whom started their singing careers in gospel. Little Johnny Taylor was a member of The Clouds of Joy. Blues, soul, and gospel is indeed a recipe to help all of us-we thank you and our producers for once again giving these voices the ability to shout!