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I'm a gigantic 45 fan with boxes of them waiting for the disposable income to someday let me buy a Wurlitzer jukebox and start loading 'em up. Not sure how I'll fit 3,000 of them into a jukebox, but I guess I can rotate my selections on a regular basis. Even though I own a large stash of 45s, I don't really sell them on the BadCat Records site since the singles market is smaller and more specialized. I also have to admit that the profit margins for LPs are normally bigger. That said, I still get a major kick digging through boxes of 45s looking for oddball stuff. Mind you, none of these are 'holy grail' finds, but I figured I'd show off some of my more interesting recent finds here.
Continental 4, The (Philadelphia, Pennsylvania)
Released: 1971 Label/catalog number: Jay Walking JW-011-A / B A side: Day By Day (Every Minutes of the Hour) rating: **** stars A Side Writer: Robert Martin-Eugene Leman A Side Producer: Bobby Martin A Side Time: 2:57 A Side chart position: # 84 pop; # 19 R&B
B side: What You Gave Us rating: ***** stars B Side Writer: Norman Harris - Albert Felder B Side Producer: Bobby Martin B Side Time: 2:29 B Side chart position: none
Parent LP: Dream World - Jay Walk JWL-1020
I think The Continental 4 (aka The Continental Four) hailed from Philadelphia. Their lead singer was Fred Kelly and he had a falsetto that you'll either adore, or find cringe worthy. His voice was so high he made Russell Thompkins Jr sound like a baritone. 'Day By Day (Every Minutes of the Hour)' was a fairly typical slice of early-1970s soul harmony work. The catchy title chorus was probably the song's strength. For a group known for their ballads the up-tempo 'What You Gave Us' was quite different. The song wasn't bad, but Kelly's voice simply wasn't suited for tougher material like this one.
JJ & G ((Washington, D.C.)
Released: 1972 Label/catalog number: TEC 3020 A side: That's What I Get (For Loving You) rating: **** stars A Side Writer: John F. King A Side Producer: Harry J. Coombs A Side Time: 3:12 A Side chart position: none
B side: Keep On Marching rating: ***** stars B Side Writer: John F. King B Side Producer: Harry J. Coombes B Side Time: 3:10 B Side chart position: none
Parent LP: non-LP 45
I'd actually like to know about this one. TEC was a Washington, D.C. based label and I believe this was their final release. While credited to 'JJ & G' I'm pretty sure this was the work of John F. King who was listed as having written both tunes. Kicked along by King's nice falsetto (I'm guessing he handled lead vocals), 'That's What I Get (For Loving You)' was a first rate slice of early 1970s soul vocal harmony work. Great melody and would have stacked up well against anything being done by the likes of The Ch-Lites, The Stylistics, etc. The flip side 'Keep On Marching' was an even better up tempo number with some great horn charts, nice multi-part vocals, and lyrics that were inspirational without being in-your-race. In a better world this one would have been a hit for the group.
Atlantic subsequently acquired national distribution rights reissuing the 45 under Atlantic catalog number 45-2885.
Curtis Mayfield (Chicago, Illinois)
Released: 1972 Label/catalog number: Curtom CR 1981 A side: If I Were Only A Child Again rating: **** stars A Side Writer: Curtis Mayfield A Side Producer: Curtis Mayfield A Side Time: 2:53 A Side chart position: # 71 pop
B side: If I Were Only A Child Again (instrumental) rating: ** stars B Side Writer: Curtis Mayfield B Side Producer: Curtis Mayfield B Side Time: 4:52 B Side chart position: none
Parent LP: 1972's "Back To the World" (Curtom catalog number CRS 8015)
I'm a big Curtis Mayfield fan. That said, over his career the man released a gigantic catalog of material and some of it simply wasn't that great. Drawn from his 1973 album "Back To the World", to my ears 'If I Were Only A Child Again'' had it all - one of Mayfield's catchier melodies, some kickin' horns, and his patented thought provoking lyrics. Not include on the parent LP, the instrumental 'B' side wasn't a must hear effort.
Polly Brown (London, UK)
Released: 1974 Label/catalog number: GTO GT-1002 A side: Up In a Puff of Smoke rating: **** stars A Side Writer: Gerry Shurey - Phillip Swern A Side Producer: Gerry Shurey - Phillip Swern A Side Time: 3:20 A Side chart position: # 16 pop
B side: I'm Saving All My Love rating: **** stars B Side Writer: Gerry Shurey - Phillip Swern B Side Producer: Gerry Shurey - Phillip Swern B Side Time: 3:20 B Side chart position: none
Parent LP: 1972's "Back To the World" (Curtom catalog number CRS 8015)
Polly Brown (aka Polly Browne) first came to my attention as a member of the British band Pickettywitch. I had a small write-up on one of the group's LPs and Ms. Browne sent me an email with corrections and additional information. Not to brag (okay I am), she subsequently linked her website to my write up.
So this 1974 single may be her best known release in the States. Kicked along by some pounding tom-tom styled drums the 'A' side was a great slice of Motown-styled blue-eyed soul. Great catchy track with one of those irritatingly catchy hooks. Though the flip side was a breezy ballad, the track served to underscore the fact Brown had a voice that could handle tougher material. Yeah the lyric was kind of sappy, but the track had an equally catchy melody and could have been an 'A' side.
The O'Jays
Released: 1983 Label/catalog number: Philadelphia International ZS4 03892 A side: Can't Stand the Pain rating: **** stars A Side Writer: Kenny Gamble - Leon Huff A Side Producer: Kenny Gamble - Leon Huff A Side Time: A Side chart position: # 35 R&B
B side: A Letter To My Friends rating: *** stars B Side Writer: Walter Williams - Eddie Levert - T. Stubbs - M. Jackson B Side Producer: Kenny Gamble - Leon Huff B Side Time: B Side chart position: none
Parent LP: "When Will I See You Again" - Philadelphia International catalog number FZ 38158
Penned by Kenny Gamble and Leon Huff, 'I Can't Stand the Pain' was a nice return to form for The O'Jays. Mixing what sounded like a bossa nova beat, Latin percussion, great poppin' bass, and a classic O'Jays delivery this one should have been a much bigger pop hit, however by the mid-1980s popular tastes had moved on. Eddie Levert was on fire here and it's one of those songs I like more each time I hear it - in fact it'll go in my jukebox (when I buy one). To be perfectly honest, the self-penned flip side wasn't nearly as commercial, but was actually a more interesting effort. Kicked along by a reggae bass line (not kidding here), it started out as a delicate ballad that didn't sound anything like The O'Jays. 'Course the minute Eddie Levert's voice kicked in the song took a totally different tact. Different and quite enjoyable.
The Moments and the Whatnauts
Released: 1974 Label/catalog number: Stang ST-5057 A/B A side: Girls (Part 1) rating: *** stars A Side Writer: Harry Ray - Al Goodman - V. Dodson A Side Producer: Harry Ray - Al Goodman - V. Dodson A Side Time: A Side chart position: # 25 R&B
B side: Girls (Part II) (instrumental) rating: *** stars B Side Writer: Harry Ray - Al Goodman - V. Dodson B Side Producer: Harry Ray - Al Goodman - V. Dodson B Side Time: B Side chart position: none
Parent LP: non-LP 45
I've got to admit that The Moments have never been one of my favorite soul groups. They were certainly talented, but to my ears their penchant for ballads gave them kind of a sounds-the-same feel. Coupled with their extensive catalog and they just struck me as being a second tier outfit. It's funny, but those comments also cover Baltimore's The Whatnauts. Like The Moments, they were a trio who shared the same affection for ballads (and the same label). So what happens when two ballad-oriented soul trios get together? The first thing is controversy as lots of folks believe 'Girls' was really a Moments-only effort. Beats me.
Musically 'Girls' was actually a pleasant surprise in that it found the two groups forgoing the usual ballads for an up tempo number. Yeah, the overtly sexist lyrics would never pass muster in today's PC world ("the one's that aren't good lookin' are the one's that do good cookin' ...") but if you took the lyrics with a little bit of good natured humor, the song was actually pretty funny. Add in one of soul's cheesier synthesizers and it was a major goof. The flip side 'Girls (Part II)' offered up the instrumental version of the song and gets docked a star since it isn't as funny as Part I.
And in case anyone wants to check them out, here's a link to a BBC Top of the Pops performance, though be forewarned the clip only features The Moments:
http://www.youtube.com/watch?v=VLFqCJXczpM
Wind
Released: 1969 Label/catalog number: Life L-200 A side: Wind rating: * star A Side Writer: Bo Gentry - Joey Levine A Side Producer: A Side Time: A Side chart position: # 25 R&B
B side: Groovin with Mr. Bloe rating: **** stars B Side Writer: Bo Gentry - P. Naumann - R. Laguna B Side Producer: B Side Time: B Side chart position: none
Parent LP: non-LP 45
Opening up with a wordless falsetto segment 'Wind' started out sounding like something The Four Seasons might have recorded. It then morphed into something that recalled Tommy James and the Shondells-meeting The Four Seasons. Commercial, but not something I'd really want to hear on a regular basis. The 'B' side was obviously a throwaway instrumental. Ironically it was actually quite good. Propelled by a nice harmonica and a churning rhythm section, it sounded kind of like something Tommy James and the Shondells might have recorded. Interestingly, in England and the rest of Euopre the 'B' side became a major hit and was used as the title for a Wind album (DJM catalog number DJLPS 409)
Ted Taylor
Released: 1969 Label/catalog number: Ronn 34 A side: It's Too Late rating: *** stars A Side Writer: Chuck Willis A Side Producer: A Side Time: A Side chart position: # 30 R&B; # 118 pop
B side: The Road of Love rating: * star B Side Writer: Clarence Carter B Side Producer: B Side Time: B Side chart position: none
Parent LP: "You Can Dig It " (Ronn catalog number 7529)
Maybe it's just me, but every time I hear Ted Taylor's falsetto I smile. Mind you, falsettos aren't rare in rock, but you don't hear them as often in R&B. Penned by Chuck Willis, 'It's Too Late' had a couple of things going for it, including a nice 'rock' guitar (shades of the Derek and the Dominos cover of the song), some killer Hammond B3 support, excellent horns, and a nice performance from Taylor. The flip side showcased some of Taylor's worst tendencies, including a poor choice of material - in this case a lame 1950's-styled MOR tune that all but smothered him under waves of strings and shrill female backing vocals. The only saving grace was a nice guitar solo, though it was also buried under the hackneyed strings.
The Parade
Released: 1968 Label/catalog number: A&M 904 A side: The Radio Song rating: **** stars A Side Writer: Murray MacLeod - Stuart Margolin - Jerry Riopella A Side Producer: A Side Time: A Side chart position: # 127 pop
B side: I Can See Love rating: ***** stars B Side Writer: Murray MacLeod - Smokey Roberds - H. Capps B Side Producer: B Side Time: B Side chart position: none
Parent LP: non-LP single
The Parade was apparently a studio entity featuring the talents of would-be actors Murray MacLeod, Stuart Margolin (of Rockford Files fame), Jerry Riopella, and Smokey Roberds. Signed by A&M they managed to record a string of six singles over the 1967 - 68 timeframe. There's also supposedly an album of material that was shelved. This 45's about halfway through their discography and is notable for a couple of reasons, including the fact it was their second and final hit. Musically 'The Radio Song' deserved to be a bigger hit. It had all the ingredients to qualify as a massive summer-of-love success; great melody, hippy-dippy optimistic lyrics, fantastic harmony vocals ... shame it came out a year after the summer of live went down in flames. I'm a sucker for harpsichords, so 'I Can See Love' had me from the opening chord. This was the kind of sunshine pop that every mid-1960s L.A. band dreamt of recording. A simply fantastic song with a melody that drilled into your head and wouldn't left go. It would have done The Left Banke proud.
Dee Jay and the Runaways
Released: 1966 Label/catalog number: Smash S-2034 A side: Peter Rabbit rating: **** stars A Side Writer: M. Wokendorf - Garrett A Side Producer: A Side Time: 2:14 A Side chart position: # 45 pop
B side: Are You Ready rating: **** stars B Side Writer: Dennis Kintzi B Side Producer: B Side Time: 2:41 B Side chart position: none
Parent LP: non-LP single
Ah, one of Iowa's contributions to mid-1960s rock and roll !!!
The Moon (Los Angeles, California)
Released: 1968 Label/catalog number: Liberty A side: Mothers and Fathers rating: **** stars A Side Writer: Matthew Moore A Side Producer: A Side Time: 2:05 A Side chart position: none
B side: Someday Girl rating: **** stars B Side Writer: Matthew Moore B Side Producer: B Side Time: 2:42 B Side chart position: none
Parent LP: Without Earth - Liberty catalog number LP 12381)
If you want to read more bibliographical stuff about The Moon you can click on the LP image. Here I'm simply going to focus my comments on the single. 'Mothers and Fathers' was an incideously catchy slice of sunshine pop. Complete with heavy phasing on the vocals, tape manipulations, and a host of other studio effects, imagine The Monkees when they were writing their own material and given the latitude to start playing around in the studio. That'll get you in the right aural neighbor for this one. The flip side was an equally impressive piece of sunshine pop, though David Marks drawn out vocals combined with the heavy orchestration to give the song a distinctive acid-tinged haze. Not that I'm advocating any lifestyle or recreational choices, but the overall results were very nice.
The Giant Sunflower (Los Angeles, California)
Released: 1967 Label/catalog number: Ode ZS7-104 A side: What's So Good About Good-Bye rating: ** stars A Side Writer: Smokey R0binson A Side Producer: A Side Time: 2:40 A Side chart position: # 116 pop
B side: Mark Twain rating: ** stars B Side Writer: T. Clements B Side Producer: B Side Time: 2:34 B Side chart position: none
Parent LP: non-LP 45
If you didn't know better you'd swear this was a Mamas and the Papas efforts. Same kind of summer-of-love sunshine pop harmonies (which I find exceptionally attractive), to say nothing of the fact it was released in the same timeframe, on the same label, and shared the same producer The Mamas and the Papas had. Whoever these folks were (and I've seen speculation that it was John Phillips and company using an alter ego), this was their third and final single (second released for Ode). Bogged down in an overly ornate arrangement including harpsichord and strings the 'A' side got off to kind of a slow start, but picked up points for a nice vocal chorus and a surprisingly clumsy and clunky sitar solo. Gosh, wonder what a vintage Coral electric sitar would cost you today. Mind you, the Smokey Robinson and the Miracles original was far better. 'Mark Twain' was actually a more commercial track. True, the Americana imagery won't appeal to everyone, but it's always reminded me of something Spanky and the Gang could've recorded.
The Yellow Payges
Released: 196? Label/catalog number: Uni A side: Moonfire rating: ** stars A Side Writer: D. Barnes - W. Ham A Side Producer: A Side Time: 1:50 A Side chart position: none
B side: Finger Poppin' Party rating: *** stars B Side Writer: not listed B Side Producer: B Side Time: 2:20 B Side chart position: none
Parent LP: non-LP 45
Lacking a catalog number and release date, this one's a mystery to me. My guess is that it was some sort of special promotional release, but who knows. The 'A' side was an okay ballad that would have been even better without the vaudeville sound effects slapped on Dan Hortter's vocals. The flip side was an outright slice of bubblegum pop. Easy to image The Archies, or some other television band performing this one. Quite commercial in a pop-as-product kind of way.
Village Choir, The (Jamaica, New York)
Released: 1970 Label/catalog number: SCM SCM-1000 A/B A side: Talk To Me Sometimes rating *** (3 stars) A Side Writer: Sir Charles Matthews A Side Producer: Sir Charles Matthews A Side Time: 3:40 A Side chart position: none
B side: The Switch rating **** (4 stars) B Side Writer: Sir Charles Matthews B Side Producer: Sir Charles Matthews B Side Time: 3:15 B Side chart position: none
Parent LP: non-LP 45
I've never bother to do much research on this New York-based soul quintet (Delores cooper, Chip Hightower (lead), Jimmy Marshall (bass), Pat McQueen (soprano), and Donotis Parker (tenor), though I have to admit to really liking the two 45s I own.
Any song that starts out with a wah-wah guitar and a violin solo has got to be worth hearing and that was certainly the case for 'Talk To Me Sometimes'. With Chip Hightower handling the lead vocals the result was a nice gutsy soul ballad that was kicked along by an electric guitar that seems to have been tuned to sound like a Coral sitar. Delores Cooper provided killer backing vocals. Only complaint was that they faded the song out just as it was building up major energy.
Wow, it took a couple of spins to figure out what was going on with funky 'B' side. It started out with a heavy bass line and Delores Cooper waling away in near orgasmic joy (forget Donna Summer(. And then the lyrics hit me, "I get tired, but can't sit down, whoop me with the switch ..." Once you got over the initial surprise, it actually became kind of funny to hear, especially at the midpoint where Jimmy Marshall took over the lead vocals and began spouting gibberish. Still, talk about generating sadomasochistic energy ...
Released: 1970 Label/catalog number: Abbot SCM-1000 A/B A side: The Cat Walk rating *** (3 stars) A Side Writer: Sir Charles Matthews A Side Producer: Sir Charles Matthews A Side Time: 3:30 A Side chart position: # 55 pop; # 27 R&B
B side: The Country Walk rating *** (3 stars) B Side Writer: Sir Charles Matthews - Clip Hightower B Side Producer: Sir Charles Matthews B Side Time: 4:19 B Side chart position: none
Parent LP: Soul Sesame Street (Abbott catalog number ABB 1208)
'The Cat Walk' was a bluesy, horn propelled dance vamp that I kept expecting to explode into a major funk workout. It didn't happen; in fact the darn thing sounded like it was stuck in first gear ... The first time I spun it I even checked my turntable to make sure the setting was on 33. On the positive side, the song had a great bass pattern (I think I could even play it) and Hightower got to showcase his Gospel roots.
The flip side actually had a country-blues flavor to it ... hum, wonder why I was surprised. Nice vocal interplay between Hightower and Cooper, with the pair doing their best Otis (Redding) and Carla (Thomas) impressions.
Temprees, The (Memphis, Tennessee)
Released: 1970 Label/catalog number: We Produce XPA-1801 A Side: (Follow Her) Rules and Regulations rating **** (4 stars) A Side Writer: Carl Hampton - Tom Nixon A Side Producer: Carl Hampton - Tom Nixon A Side Time: 2:52 A Side chart position: none
B Side: I'm for You, Your For Me rating *** (3 stars) B Side Writer: Carl Hampton - Jo Bridges - Tom Nixon B Side Producer: Carl Hampton - Tom Nixon B Side Time: 4:47 B Side chart position: none
Parent album: non-LP 45
There were literally thousands of soul groups recording in the late 1960s and early 1970s. A disproportional number of them called Memphis home. Among that category - The Temprees. The original line up consisted of Dale Calvin, Jasper Phillips, and Harold Scott. Signed to the Stax-affiliated We Produce label, this was their first single, but was actually somewhat atypical for the group. Unlike most of their catalog which focused on lush ballads, the 'A' side was an up tempo number that blended a slightly rugged delivery, with a tasty guitar figure and a killer hook. Very, very nice. The flip side was a more accurate reflection of their sound - a slow, forlorn ballad that wouldn't have sounded out of place on a Stylistics album. The chorus served as a nice hook.
Wire Train
Released: 1984 Label/catalog number: Columbia 38-0436 A Side: I'll Do You rating *** (3 stars) A Side Writer: Kevin Hunter - Kurt Herr A Side Producer: David Kahne A Side Time: 3:27 A Side chart position: none
B Side: It's Only Dark rating ** (2 stars) B Side Writer: Kevin Hunter - Kurt Herr B Side Producer: David Kahne B Side Time: 3:02 B Side chart position: none
Parent album: In Chamber - Columbia BFC 38998
I remember falling in love with San Francisco's Wire Train's brand of jangle pop and in particular with this 45. Part of it had to do with the fact I could actually play Anders Rundblad's bass pattern (what a great name for a bass player). The other part was that they somehow managed to capture that mid-1980s Britpop sound of alienation without really trying. If I ever get a jukebox this one will certainly be on it. 'It's Only Dark' was a non-LP track and in spite of a nifty chorus, wasn't nearly as good as the 'A' side.
Wishbone
Released: 1970 Label/catalog number: Scepter SDJ-12313 A Side: You're Gonna Miss Me rating *** (3 stars) A Side Writer: Paul Gross A Side Producer: Barry Keane A Side Time: 2:40 A Side chart position: none
B Side: You're Gonna Miss Me rating *** (3 stars) B Side Writer: Paul Gross B Side Producer: Barry Keane B Side Time: 2:40 B Side chart position: none
Parent album: unknown
I actually remember hearing this 45 while living in Germany in the early 1970s. For some reason I recall hearing it on AFN, or perhaps the Canadian equivalent. I should do some research, but I remember that they were Canadian and this was their first release - it was a fairly big Canadian hit (top-20 as I recall). Anyhow, the song was quite commercial and would have appealed to anyone who enjoyed The Guess Who. It actually bore more than a passing resemblance to The Guess Who catalog. The original was released by the Canadian Celebration label (catalog number CEL 2005). My copy's a US release, white promo version,. Stock copies featured the song 'Riverboat' on the 'B' side.
Wesley, Fred and the J.B.'s
Released: 1970 Label/catalog number: People PE 627 A Side: If You Don't Get It the First Time, Back Up and Try Again, Party rating ** (2 stars) A Side Writer: James Brown A Side Producer: James Brown A Side Time: 3:30 A Side chart position: # 104 pop; # 24 R&B
B Side: You Can Have Watergate Just Gimme Some Bucks and I'll Be Straight rating ** (2 stars) B Side Writer: James Brown B Side Producer: James Brown B Side Time: 3:36 B Side chart position: none
Parent album: Doing It To Death - People PE5603
I stumbled across this one at a local thrift store. It sat there are alone, literally the only 45 surrounded by piles of hideous MOR LPs (Herb Albert, Andy Williams, The Sandpipers, etc.). Definitely looked out of place and in need of an owner who would appreciate it.
In addition to all of his solo albums. the amount of outside material James Brown churned out during the early-to-mid 1970s is simply staggering. This single's a pretty good example of what Brown was doing during this phase of his career. While credited to Fred Wesley and the J.B.'s, Brown wrote both sides, produced both selections, and handled the lead vocals. At least to my ears the 'A' side was slightly stronger than the flip. Musically there wasn't much to this one, but the group-sung refrain was okay and either Hearlon Martin, or Jimmy Nolen (not sure which one), provided a nice little guitar figure throughout the song.
There wasn't a great deal to the 'B' side vamp; Brown repeating the title track time after time which was actually quite funny when you remember that he was one of the few black celebrities to endorse Richard Nixon for a second term of office. Elsewhere I originally thought the 'Fred is dead' segment was a wicked nod to Curtis Mayfield's 'Freddie's Dead', but if you listen closely there's a section where it sounds like Fred Wesley fumbled a note and the infamously picky Brown may simply have been giving him a hard time. Giving Wesley credit, he turned in some nice trombone moves though the focus was clearly on Brown.
O'Jays, The
Released: 1973 Label/catalog number: Philadelphia International ZS4 03892 A Side: I Can't Stand the Pain rating **** 4 star A Side Writer: Kenny Gamble - Leon Huff A Side Producer: Kenny Gamble A Side Time: 3:30 A Side chart position: # 35 R&B
B Side: A Letter To My Friends rating *** 3 star B Side Writer: Walter Williams - Eddie Levert - T. Stubbs - M. Jackson B Side Producer: Kenny Gamble B Side Time: 3:38 B Side chart position: none
Parent album: When Will I See You Again - Philadelphia International FZ 38158
Penned by Kenny Gable and Leon Huff, 'I Can't Stand the Pain' was a nice return to form for The O'Jays. Mixing what sounded like a bossa nova beat, Latin percussion, great poppin' bass, and a classic O'Jays delivery this one should have been a much bigger pop hit, however by the mid-1980s popular tastes had moved on. Levert was on fire here.
To be perfectly honest, the self-penned flip side wasn't nearly as commercial, but was actually a more interesting effort. Kicked along by a reggae bass line (not kidding here), it started out as a delicate ballad that didn't sound anything like The O'Jays. 'Course the minute Eddie Levert's voice kicked in the song took a totally different tact. Different and quite enjoyable.
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