The World of SOUL PRICE: $1 25

Billboard The World of SOUL PRICE: $1 25

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ATCONew York, N.Y. 10023 THE BLUES: A Document in Depth

THIS,the first annual issue of The World of Soul, is the initial step by Billboard to document in depth the blues and its many derivatives. Blues, as a musical form, has had and continues to have a profound effect on the entire music industry, both in the United States and abroad. Blues constitute a rich cultural entity in its pure form; but its influence goes far beyond this-for itis the bedrock of jazz, the basis of much of folk and country music and it is closely akin to gospel. But finally and most importantly, blues and its derivatives- and the concept of soul-are major factors in today's pop music. In fact, it is no exaggeration to state flatly that blues, a truly American idiom, is the most pervasive element in American music COVER PHOTO today. Ray Charles symbolizes the World Therefore we have embarked on this study of blues. Of neces- of Soul. Much of his singing and recordingrepresentsafusionof sity,it must be a continuing study, for so vast a field cannot be blues and gospel influences; and he completed in one publication. But we have sketched -in the chief has gone far beyond these individual fields to bring his soulful interpreta- historical outlines and the current applications of blues; andwe will tions to the fields of pop, country probe further in additional issues. music and jazz. By Paul Ackerman

WORLD OF SOUL

The Blues: A Definition 6 Freed's. Contribution to R&B Growth 48 100 Years of the Blues 10 Wright Beat, Strong Storyline 50 Billy Holiday and the Blues 12 Whitey Makes the R&B Scene 52 The Best Ears in the Business 14 Blues Is High Class Now 54 Atlantic Helped Pave The Way 16 Nashville's R&B Sound 54 Dave Dexter Remembers When 18 Home of the Blues 54 Chess and the Blues: From the Streets to the Studios 20 Old Bluesmen Never Die-They Just Play Away 56 In the Words of Willie Dixon 21 Stormy Monday Man 58 The LC. Brought The Blues to Chicago 22 B/uesway Is Where It's At 60 America's Most Important Song Form 24 C/P Comes On Strong in R&B 60 It Takes More Than Just a Jug of Booze 26 No Credibility Gap 62 Young Pros Explore the Blues Path 28 Scepter in the R&B Groove 64 Jim Stewart: The Voice From Soulsville 30 Decca's R&B Resurgence 66 The Live R&B Scene 32 Gershwin, Arlen and the Blues 68 The Nightclub Scene 34 Soul From Cincy 70 Robey's Faith Pays Off 36 Luhinsky Treads the Gospel Path 70 R&B Popularity Hits New Peak 38 Mother Lode in the Archives 7/ Soul Searching in the South 40 The South, A Different Frame of Mind 72 Les Francais Aiment Le Blues 42 A Book Shelf of the Blues 72 Britons Dig the Blues 46 Ruth Bowen Reflects 73 Work Less, Enjoy More 46 Cream of the Blues Catalog .74 Schoefibaunt Views The Blues 48 R&B Discography 83

Subscription rates payable in advance. One year, $20 inU.S. A. Published by (except Alaska, Hawaii and PuertoRico) and Canada, or $45 The Billboard Publishing Company by airmail.Ratesinother foreigncountries on request.Sub- 2160 Patterson St., Cincinnati, 0. 45214 scribers when requesting change of address should give old as Billboard Tel.: Area Code 513, 3816450 well as new address. Published weekly. Second-class postage paid at New York, N. W., and at additional mailing offices.Copy- right1967 by The BillboardPublishing Company. Postmaster, PUBLISHER: Hal B. Cook, New York Office please send Form3579to Billboard,2160Patterson St., EDITORIAL OFFICE:165 W. 46thSt., New York,N.Y. 10036. Area Code 212,PL 7-2800 Cincinnati,Ohio 45214. Cable: BILLBOARD NEWYORK 46114° 19 EDITOR IN CHIEF:Lee Zhito wig Vol. 79 No. 23 EXECUTIVE EDITORS:PaulAckerman, Ray Brack, Aaron Sternfield 1,4'PA ABP 11"

4 Billboard World of Soul Ti( fikiewa ,rettied

MOTOWN TAM LA GORDY SOUL VIP S., As Presented by America's Most Popular Recording and Performing Artists

THE SUPREMES THE FOUR TOPS THE TEMPTATIONS MARTHA & THE VANDELIAS MARVIN GAYE SMOKEY ROBINSON & THE MIRACLES STEVIE WONDER JR. WALKER & THE ALL STARS THE MARVELETTES JIMMY RUFFIN BILLY ECKSFINE BARBARA McNAIR THE ISLEY BROTHERS CHRIS CLERK BRENDA HOLLOWAY THE COUNTOURS THE SPINPERS GLADYS KNIGHT & THE ri:S EARL VAN DYKE TAMMI TERRELL THE MONITORS THE ELMS THE VELVELETTES

ItvilOTOWNI RECORD CORPORATION THE BLUES:A Definition By Arnold Shaw Sometime during 1917-1918, the late Frank Walker, Despite the contrasting and even conflicting opinions a pioneer of blues and hillbilly recording, heard Bessie there are large areas of agreement,if not as to essence, Smith in a Selma, Ala., honky-tonk. "She was just a kid atleast as to substance. No one questions that jazz is of 17. maybe 18," Walker laterrecalled. "ButInever an offspring of the blues and thereis no disagreement heard anything like the torture and torment she put into aboutthestructure,thetonality,and theracialand the music of her people. It was the blues and she meant musical sources of what Richard Wright has descrihed as it." Walker added: "It was all a matter of feeling with "a form of exuberantly melancholy folk song." But be- her.It was inside. Not that there was any repression. It cause there is an unclear view of the sociology, resuiting all came out in her singing." from an inadequately defined historical perspective, the SinceWalker'soverpoweringencounterwiththe aesthetics of the blues are sometimes misunderstood. Empress of the Blues, hundreds of scholars, critics and By 1900, the blues had developed into a definitely blues people themselves have sought todefine thees- stylized form. Although there are traditional blues that sence of the blues. Most go with Walker in emphasizing are not in the 12 -bar form, T -Bone Walker's emphasis is the extreme emotionalism. "When we singblues,"singer - accepted view ofstructure. The Tin Pan Alley song writer Alberta Hunter has said,"we're singin' out our traditionally is a 32 -bar form, structured into four 8 -bar hearts, we're singin' out our feelings." But Miss Hunter, units whose set-upis AABA. Show songs tend to add who wrote the words of one of the great blues standards, many variants but especially one that may be described "Down Hearted Blues," strikes an additional note: "To as an ABAB structure, in which the units may he viewed me, the blues are-well, almost religious. They're like a as 16 -bar units. The 12 -bar form of the blues is divided chant. The blues are like spirituals, almost sacred." intothree units of four bars each and a chord line, To the Father of the Blues, W. C. Handy, the blues following the three basic chords of the diatonic system are the music of deprivation as well as a race. "Like the (I, IV. V), is strictly adhered to (see illustration, next page) spirituals," he has said, "the blues began with the Negro. Over thissimple chordline,to which instrumentalists itinvolves our history, where we came from and what have intime added 9th's,11 th's andI 3th's. thousands we experienced. The blues came from the man farthest of blues melodies have been evolved. The characteristic down. The blues came from nothingness, from want, soundofthebluesis,ofcourse,theresultofthe from desire." flatting of two notes (the 3d and the 7th) of the major Combining the views of Hunter and Handy, T -Bone scale.Itis believed that Negroes added the flatted notes Walker, a Texas singer popular in the late '40's, stresses because the scales they brought with them from Africa the importance of form: "You've got to live the blues, werepentatonicratherthanseven -notedandbecause and with us that's natural-it's born in us tolive the theflatted notes achieved atonalitythat brought the blues. . . . It takes a bluesy feeling and the old 12 bars." European tempered scaleclosertothe African.Since Displeased with Dan Grissom's rendering of "I'm Gonna flatted melody notes are played against the non -flatted Move on the Outskirts of Town," T -Bone observes: "Gris- note in the bass or chord (E flat sounding discordantly som sings sweet but the blues aren't sweet." Expressing against E), a large degree of tensionisinherentinthe adiametricallyopposite view, Frank Walkersaidof music. Bessie Smith's later days: "There was bitternessin her The three units into which the 12 bars are arranged and, you know, the blues aren't bitter." form an A/A/B structure. This description applies to the "The blues is more than a form of folk song." Paul lyrics even more than to the rhyme scheme. In tradi- Oliver writes in his book "The Meaning of the Blues." tional blues, the initial line or statement (A) is repeated "Though the blues may frequently be associated with a (A) and explained, resolved, or commented upon in B: state of depression, of lethargy or despair, it is not solely a physical or a mental state.Itisnot solely the en- durance of suffering or a declaration of hopelessness; nor is it solely a means of ridding oneself of a mood. It is all Gonna lay my head on the track (A) of these and itis more; itis a part of the Negro's being, living with him and within him. Implicit in the term Gonna lay my head on the track (A) isthe whole tragedy of the Negro racesince Black Anthony Johnson, the first of the 20 and odd Negroes to set foot on American soil, landed from a Dutch 'man 'Cause my baby, of warre' at Jamestown in 1619." she won't take me back (B)

6 Billboard Worldof Soul 1... 2... 3... 4... 5... 6...7... 8... 9... 10...11... 12... Tonic (I) Sub/dom (IV) Tonic (I) Dominanti (V) Tonic (I) C chord F chord C chord G chord C chord

The dash at the end of each A line signifies that there the discrimination, the segregation and his deprivations, isspace (roughly two bars) for instrumental or vocal but he could not and was not beaten down by them. improvisation. In short, the blues form embodies the call - Two aspectsoftheblues,bothaesthetic,areof and -response pattern, which was a feature of African sociological import.Upto the present, the intensely per- group singing, and which is to be found in many of the sonal nature of the songs and blues styling has been song types that preceded the blues: namely, spirituals, universally admired. This development was an inevitable gospel songs and work songs. The adlib.featureis concomitant of the change in outlook and experience that stronger in country blues than in classic or urban blues. came with the Negro's separation from plantationlife. From the field holler, the direct forerunner of country Suddenly, he was no longer a faceless farm laborer, prized blues, came the surprise accents, the irregular rhythms, like a horse or cow for his productivity, but an indi- the frequent use of rubato (notes extended for expressive vidual free to find his own way. It would take time for the purposes) and portamento (the voice gliding from one individual to free himself from the sense of dependence note to the next). Musicologist Marshall Stearns contends, and submission of the group slave. In the spirituals-, he in fact, that "the most important single element in the sang, "Let my people go!" Now he would sing: "Nobody blues is the cry or holler." knows you when you're down and out." I have italicized Now, there is now question that the blues are Negro the shift in point of view to underline a crucial point: in origin. But, as Richard Wright has pointed out, "All that the blues are an expression of thefreedslave's American Negroes do not sing the blues. These songs efforttoadjust emotionally tohis new position as a are not the expression of the Negro people in America citizen-albeit depressed and deprived-and to deal with as a whole." Nor are they without specific time co- himself as an "I" instead of "them." Thisaestheticdevelopmentinvolvesanother. The ordinates. A large number of blues deal with trains, high- spirituals made a large use of idealized imagery, swath- ways, voyages andjails.These items imply thatthe Negro had mobility and was no longer bound to the soil, ing a bitterrealityinthe soft cotton of an imagined in short, that he was 'free.' The blues are the songs of an other -world peace and security. With the blues, a hard itinerant people; they are the laments of a dispossessed and tough realism invaded Negro song. As a slave, the people; they are the plaints of a people without homes, Negro had work, shelter, food and family. As a free without family, without love, and without money. citizen, he had to seek all these, moving from place to place and encountering all the hardships, emotional and "The most astonishing aspect of the blues," Wright economic, of a dislocated existence. The blues are the observes, "is that though replete with a sense of defeat saga, not only of the Negro's transition from a chain - and down-heartedness, they are notintrinsicallypessi- gang farm laborer to the isolated existence of the share- mistic; their burden of woe and melancholy isdialecti- cropper, but of the later change from rural to urban cally redeemed through sheer force of sensuality into an living.In imagery and subject matter, the songs have almost exultant affirmation of life,of love, of sex, of an immediacy and directness of expression stemming from movement, of hope." Other historians and analysts have theday-to-day problems a people,littleprepared for noted the emotional ambiguity of the blues, the curious the new world, had to face and solve. combination of melancholia and mirth, of trouble in mind Even if the new life offered little economically, it had withoutdemoralization,ofdeprivation withoutdisillu- an open end. And so there was hope in the face of de- sionment. pression, optimism in the midst of frustration, determina- Enslaved, the Negro sang spirituals. The only hope tion in the absence of the power to change things. Out was for Heaven after death. When a heaven on earth of this ambiguous existence arose the emotional ambiv- became apossibility with his freedom from bondage, alenceoftheblues,withtheirshifting major -minor hope infused even his most depressing moments. But in tonality. the years after the Civil War and for amny decades of When the Negro's economic and political position im- the 20th century, he was a ghetto citizen,unable to proved and the civil rights movement opened the door exercise the rights or avail himself of the opportunities to greater equality of opportunity, jobs and education, which were technically his. "There is a certain degree of Negro song and singing acquired a new intensity, drive passivity,"Wright hasnoted,"almostmasochisticin and sense of self -pride. Almost a hundred years after the quality.. . . Could this emotional stance have been de- EmancipationProclamation,theSupreme Courtout- rived from a protracted inability toact,or a fear of lawed segregated schools and a quality known as "soul" acting?" Lacking economic and political power, the Negro - a complex feeling of bitterness, anger and self-con- had no choice except to submit. He could do little about fidence-came intoAmerican song.

Billboard World of Soul 7 Chart and Soul...

Major Lance

Little Richard

The Staple Singers

The Vibrations

8 Billboard World of Soul That'sour song 1=11C 2.andOWE&

Cookie Jackson

The tbrey Twins

Walter Jackson

(1,"EPIC''Marca Reg. T.M. PRINTED IN U.S.A. ti"Okeh." Marcas Reg. T.M. Printed in U. S. A. 9 Billboard World of Soul In 1920 songwriter -pianist Perry Bradford persuaded Ralph Peer, then the recording director of a new record label OKeh, to cut a young Negro singer. The Harlem 100YEARS girl's name was Mamie Smith, and though she sang the blues, she was not related to the great Bessie Smith. In fact,it was Mamie who paved the way for the wax appearance of the Empress of the Blues. Mamie's second OKeh disk included a new Bradford song "Crazy Blues." OF THE BLUES Itsoldin such quantities that the company embarked on its so-called "race series" and began recording other Negroartists.Soon Gennett Records, Paramount and By Arnold Shaw other enterprisinglabels followedsuit. Mamie Smith's "Crazy Blues" served another historic function. It brought the blues into Northern cities with Negro populations and, insofar as it inaugurated the era of the classic blues singers, helped bring a segregated music out of its ghetto origins. In the decades after the Civil War, the blues took shape slowly as a folk art, transmitted orally by itinerant, amateur performers. Like other itinerant Negro working people, the pioneer guitar pickers were rootless wanderers, plying their trade on Southern streets and in tenderloin districts until recordings gave them access to a larger and wider public. Tennessee, Texas and Louisiana have each sometimes been credited with originating the blues style. But by now most scholars regard the Delta areaof Mississippi as the most likely source. Rural in origin, the earliestblues unquestionably developed inplaces with limited instrumental resources and without a European instrumental tradition. For this reason, Big Bill Broonzy, who was born in Mississippi and raised in Arkansas, is doubtless right when he says, "We sang the blues. In New Orleans, they played jazz." The blues explosion came in the '20's. But the first blues appeared in print in 1912. Although W. C. Handy's "Memphis Blues" has sometimes been erroneously credited, it was not the first and not really a blues. As Samuel Charters points out in "The Country Blues," the first Negro blues in print was "Dallas Blues" and, ironically, it was by a white Oklahoma City musician named Hart Wand. The most famous of all blues, Handy's "St. Louis Blues," appeared in1914, an expansion of an earlier Handy publication "Jogo Blues," whose melody he had gotten from a Memphis piano player. By then everybody in Tin Pan Alley-Negro writers like James P. Johnson, Noble Sissleand Clarence Williams as wellas white songsmiths like Irving Berlin, Walter Donaldson and Gus Kahn-were all trying to produce so-called blues song hits. The vogue of Classic Blues Singers inthe Roaring Twentieswaspreponderantlyafemaledevelopment. Bessie Smith, discovered by Frank Walker, recorded 160 bluesforColumbia Records,beginningwith "Down Hearted Blues" in February 1923. "Nobody Knows You When You're Down and Out," regarded by many as Bessie's greatest disk, came in 1929, only four years before her final comeback sessions. Bessie got her big break through the Rabbit Foot Minstrels whose star, Gertrude (Ma) Rainey, became the first big-time blues singer to appear in theaters throughout the Midwest. Ma Rainey's biggest Paramount Record hit was the famous "See See Bessie Smith, the "Empress of the Blues," isuniversally Rider," with whose writing she is generally credited. considered the greatest blues artist of all time. She was dis- Other prominent blues shouters of the era included covered by Frank Walker, pioneer record man, in Selma, Ala., Clara Smith, unrelated to the other two Smiths, whose in the 20's, and Walker later sent Clarence Williams to bring best Columbia disk was her recording of Tom ("Jazz Me her North. All of Bessie Smith's recordings are on the Colum- bia label; and years ago Columbia repackaged the singles and Blues") Delaney's great song "Nobody Knows the Way I issued them in a set of four LP's. A project currently under Feel This Morning." There was Ida Cox, a Paramount art- way isthe remastering of all of Bessie's recordings-much ist who launched "The Blues Ain't Nothin' But a Woman more than on the original set of four albums. (See story on Cryin' For Her Man," written by the label's able record- John Hammond.) This release, complete with brochure, is ex- ing director, J. Mayo Williams. Also Bertha Chippie Hill, pected to be a major event in the world of recorded music. an OKeh singer, who made the first platter of one of the

10 Billboard World of Soul most recorded blues, Richard M. Jones' moving "Trouble obscurity, writes, "that is associated with the lonely, poor, In Mind." farm country of central Texas. Itis very different from There were also male voices to be heard during the the strong, rhythmic singing of men like Leadbelly from Twenties. Blind Lemon Jefferson, regarded as the father northern Louisiana or the complex style of the Mississippi of country blues singers, began recording for Paramount singers." The third descendant of the Blind Lemon tradi- in 1926. The following year, Big Bill Broonzy cut "Big tion, Aaron T -Bone Walker, was able to swim success- Bill's Blues" also for Paramount, his first disk in a long- fully into the urban tributary of the blues that became lived career that reached its peak in the late '30's on known as rhythm and blues. Vocalion ("Just a Dream") and yielded nearly 300 copy- McKinley Morganfield, known as Muddy Waters, is right blues. In 1928, Mississippi John Hurt made records currently singing r&b in Chicago, but grew up in the for OKeh, only to disappear into obscurity and farming Delta blues tradition. In the early '40's, when he was first at $28 a month until he was rediscovered in 1963 and discovered by folklorist Alan Lomax, he made a series of brought to the Newport Folk Festival. on -location recordings in Mississippi, someof which have There were also white blues singers in the Twenties, recently been reissued and which have been aptly charac- the most important of whom was The Singing Brakeman. terized by producer Pete Welding as "shot through with From 1927 to 1937, Jimmie Rodgers, who came from all the agonized tension, bitterness, stark power and raw Meridian, Miss., an important rail junction, and who is passion of life lived at the brink of despair." regarded as the father of country music, recorded more While Billie Holiday of Harlem, 52d Street and Cafe than a dozen original blues-many in the train tradition Society Downtown, imparted to pop singing qualities of of Negro blues-and an equal number of what he called urgency and intensity inherent in the blues,singer Lil blues yodels. His style, less raucous than Negro country Green of Chicago became pivotal in the development of blues singers and less intense than the classic blues sing- Negro recording from race to rhythm and blues. Among ers, provides an interesting link with the white singers of the men who were key figures in this urban but segregated the '50's and '60's, American and British, who combine development of the blues were Big Joe Turner, a Kansas hillbilly and blues influences. City bartender turned vocalist who became a top -selling The Depression clobbered the record business asit r&b artist on Atlantic; Jimmy Rushing, the original Mr. did the rest of American industry. Afterwards, the top Five by Five, who was nurtured by Kansas City big band blues artists were virtually all male. Post -depression blues swing, as was Count Basie in whose band he sang vocals assumed an urban cast as the focus of Negro music shifted from 1936 to 1950; Fats Domino, who hit in 1955 with toChicago and Harlem where many Southern blues "Ain't That a Shame" and other million sellers; and Ray men migrated during the lean years. A new style of blues Charles, who started as a jazz instrumentalist, turned suc- singing emerged, largely under the impact of a highly cessfully to r&b and became a Gold Record seller as the talented singer -writer from Nashville. Leroy Carr, who foremost soul stylist of our day. With r&b, blues shouters wrote such great songs as "In the Evening" and "How began to be accompanied by big bands with honking Long, How Long Blues," developed astylethat was tenors-but more significantly, blues styling became part showy, musical and polished by contrast with that of the of the mainstream of American and British pop music. rural blues shouters. Accompanied by an inventive guitar- Bythemid -'50's,too,divergentmusicalcurrents, ist with a fine command of lovely passing chords, who whose confluence first vaguely appeared in the singing of was known as Scrapper Blackwell, Carr cut many hit Jimmie Rodgers, combined to give us the amalgam of records on Vocalion between 1928 and his untimely death white hillbilly and Negro blues known as rock 'n'roll. in 1935. This was essentially a white style, which after Bill Haley By then, the Greenville,S.C., singer who became of Pennsylvania ("Rock Around the Clock") and Elvis known as The Presidential Minstrel (FDR's), had made Presley of Memphis, developed alongside of r&b as the recordings as The Singing Christian. At the height of his music of today's teen-agers. careerinthe'40's,Josh White brought themusical The Negro backlash took shape slowly. Butitap- sophistication and showmanship of Carr to a peak of peared, first,in the form of the Motown Sound out of perfection. Forerunner of Harry Belafonte, rather than Detroit, and more recently, in the revival of bedrock blues Odetta or Ray Charles, White and his bell -like diction in Chicago. The Supremes and other Motown artists ef- added matinee -idol sexuality to the blues and he became fectively exhibit the power of gospel music to take pos- the first Negro to present them as art songs on a night session of modern harmonic refinements. In the Chicago club floor. development, one hears again the raw, biting, visceral Yet White had been nurtured by the Southern shout sounds that once marked country blues and today char- tradition of Blind Lemon Jefferson. He had, in fact, been acterize soul singers like Lou Rawls, formerly of Chicago, lead -boy for the blind Texas singer during a year -and -a - and Junior Wells, formerly of Mississippi. Sam Charters, half tour through North Carolina and served similar ap- who recently put together three volumes of "Chicago/The prenticeships with blind Joel Taggart and blind John Blues/Today," recording groups live in the Windy City's Henry Arnold, who sang spirituals on street corners and Negro ghettos, has said: "Chicago is the last place left in blues at house parties. The rural blues tradition of Jeffer- the country where a living music isstill played in local son, who recorded 79 blues for Paramount from '26 to '30 bars and neighborhoodclubs.It'swhat New Orleans and who sang "in a high crying voice with the biting tone used to be like in the '30's, what Memphis was like in the of the guitar whining behind him," was carried into the '20's." And Junior Wells, one of the new bluesmen, has '40's by three important bluesmen, all of whom served said: "Blues gets in my whole body, my whole soul.It as lead -boys for Blind Lemon. knocks me out.Itkills me.IfIcouldn't do that,I Leadbelly (Huddie Ledbetter) came from Louisiana wouldn't be." and several penitentiaries, where he was serving sentences Perhaps the most interesting contemporary "blues" for murder, to write and record many hard -driving blues, phenomenon is the emergence both in England and here but also the tender ballad "Good Night, Irene." From of white groups that sing in a style so lowdown they Centerville, Tex., in 1946, Lightnin' Hopkins traveled to can easily be mistaken for old-time, country bluesmen. Los Angeles to make his first records for Aladdin, lapsed The sonic development recalls the era of the minstrel into obscurity after trying rock 'n' roll, and made a come- shows when white men performed in blackface, save that back after 1959. "Hopkins learned the intense, crying, today's imitators are not mocking or deriding, but seeking vocal style," Sam Charters, who helped rescue him from to draw strength from a great tradition.

11 Billboard World of Soul and the By Arnold Shaw THE BLUES What would pop singing have been like without Billie Holiday? Perhaps an answer is to be found to this specu- lative question by asking another. What was pop singing like before Lady Day? There was no shortage of fine singers during the first of course, the Voice. And who was Frank Sinatra's great three decades of the century. One thinks quickly of those vocal teacher? "It was Billie Holiday," Frank has said, who came out of and carried on the minstrel tradition "whom Ifirst heard in 52d Street clubs inthe early (Eddie Leonard, Joe Howard, Al Jolson); the vaudevil- 1930's, who was andstillremains thegreatestsingle lians who played the Palace (Nora Bayes, Fanny Brice, musical influence on me." And Frank adds: "With a few Belle Baker); and the radio vocalists (the Street Singer, the exceptions, every major pop singer in the United States Vagabond Lover and the Groaner).Singing was show- during her generation has been touched in some way by manship and motion. It was Joe Howard cakewalking or her genius." Al Jolson crying "Mammy" on bended knee.It was In short, through Billie Holiday, and after Sinatra, the dramatics and tap dancing.It was projecting to those in touchstone of pop singing became emotional sincerity- the balcony in the days of preamplification. It was mostly qualities of immediacy and involvement that were inherent songs of joy and excitement, with a ballad thrown in for in the blues. a change of pace. Not until radio brought the microphone Now, for all of her tremendous gifts,Billie was not into the nightclub and theater was the singer able to stand considered a blues singer by jazzmen of her day and is still-even Rudy Vallee had to resort to a megaphone to notregardedasoneinretrospect.Leonard Feather project effectively-and address himself in a more intimate reflects the opinion of jazz critics when he observes: "She manner to his audience. was always referred to in the lay press as a blues or torch The first singer who made a style of intimacy was, singer, yet essentially she was neither." Feather contends 12 Billboard World of Soul "The greatest female jazz voiceof all time..."

that Billie was basically not "a messenger of misery" and, Artie Shaw and Count Basie-and had toaccommodate citing the fact that happy songs outnumber the sad by herself to the swinging tempos of the day.Even on her vol- recordings with Teddy Wilson, her vocal issandwiched two -to -one ratio in Columbia's second retrospective an up - ume, argues that "Billie often turned amelancholy refrain between instrumental choruses;occasionally,in into something with a fey, gay air." Feather's position, an tempo number like "Too Hot for Words," onemarvels at extreme to which most historians will not go, seems on the breath control that permitted her tohandle the lyrics better footing when he notes that her repertoire included deftly.The disks she made under the banner ofBillie fewer than a dozen true blues. Holliday and Her Orchestra afforded a betteropportunity Ralph Gleason, who calls Billie's "the greatest female for the nuances of the blues stylist to comeinto play. jazz voice of all time," cites disk jockey Ralph Cooper's It was in nightclub appearances with smallcombos introduction of her at the Apollo: "It ain't the blues.I that her vocalizing scaled the heights. Thenshe sang as is, but you got to hear her." Gleason she felt, artfully manipulating pitch and intuitivelyemploy- don't know what it emotional adds: "It ain't the blues, but the blues is init.In some ing all the devices that make the blues singer an strange, arcane, witchlike way, Billie made the blues out extension of his instrument. Billie had anatural feeling of everything she sang." Unquestionably, it was this strange for contrasting textures. She seldom repeated amusical quality that assailed John Hammond when, as he tells it, phrase, as in "You Let Me Down," without sensingthe he stumbled on Billie back in 1933 in a Harlem speakeasy value in changing the color or hue of the note-adevice on West 133d Street: "She sang as if she hadreally lived," of which Sinatra later became the pop master.Over and Hammond recalls. "She struck me with an impact rivaled above this editing of sound for feeling, there wasthe only by Bessie Smith." matter of Billie's own, natural sound, anidentification, Despite the small number of blues in her repertoire, which, like the color of one's eyes, a singer eitherhas or Billie always saw herself in the blues tradition. Once when doesn't have. Billie had a high-pitched hoarseness, atight- Feather asked her about the unusual lyrics on her record- ness of the vocal chords, which was asidentifiable and ing of "Billie's Blues," she replied: "I've been singing the inimitable as her troubled life-also, in many ways, a per- sames blues as long asIcan remember." On another fect sonic reflection of it. The sound she produced was occasion, Billie described her singing style in these terms: inescapably tense and, even in happy songs, the timbre was "I got my manner from Bessie Smith and Louis Arm- searing. strong. Wanted her feeling and Louis' style."More re- Apart from her impact on pop singing through Sinatra, vealing from a technical standpoint was her observation: Billie became the forerunner of a school of female vocal- "I don't think I'm singing.I feel like I'm playing a horn. ists, all of whom function on the boundary lines between I try to improvise like Les Young, like Louis Armstrong. the blues, jazz and pop. Sarah Vaughan, Dinah Washington, Peggy Lee and, more recently, Nancy Wilson, display in . . I have to change a tune to my own way of doing it." The blues influence that Billie passed on to pop singing varying degrees the imprint of Billie's vocal personality. took several forms. From the standpoint of basic style, When the Voice shook up bobby soxers a quarter of a songs were not just songs to Billie, but fragments ofexperi- century ago, he offered the fullest embodimentof the ence, regardless of how banal or cliche the lyrics.When qualities that made Billie the giant she was: the feeling she sang, she was not the show -woman or entertainer, but of intimacy, the depth of emotion, the sense of being lost the blues singer of old reliving a troubled, a painful or a and the glow of sheer sex. happy moment. Even the most mediocre words took on "I've been told that nobody sings the word 'hunger' new poignance and depth as they were projectedthrough likeI do," Billie wrote in her autobiography. "Or the the complex layers of Billy's own emotions. Whether one word lover Ralph Gleason adds another four-letterword knew of her illegitimate birth or her emotion -starved and to those that made her "the epitome of sex";namely, sordid childhood, there was a plangent bitterness in her `baby,' in the sense of lover. The singers before Sinatra, renditions of "God Bless the Child" and "Why Was I Born" including Der Bingle, were basically sexless.Just as song - that gave them the immediacy of personal memory. writing was then still circumscribed by the euphemisms "Strange Fruit" was not simply a devastating indictment of Victorian nature imagery-as the movies panned to the of lynching but a picture of Billie herself suffering, as sea or sky to suggest intimacy-so most popsingers Gleason has putit,"from an incurable disease-being affected various poses, nonchalance, ebullience or gaiety, born black in a white society wherein she could never be to suggest, but also to shield audience from therealities but partially accepted." And when it came to songs like of epidermis. Without thinking about it, Billie exuded sex "Mean to Me," "You Let Me Down," "I Cried for You," both as a woman and a singer. More than one critic "My Man" and all the love -hungry ballads she sang, Billie succumbed to the spell of flesh as well as the art of was tellingitlikeit was in her own tortured life. The the voice. In some ways, the high point of this earthy point is, however, that in her songs, the bell was never necromancy came with Billie's opening at Cafe Society tolling for anyone but herself, and intensity of feeling downtown in1938. "She was simply shocking in her never had to be simulated. impact," Ralph Gleason recalls-and so does John Ham- If Billie was not a blues singer in the traditional sense, mond. "Standing there with a spotlight on her great, sad, it was partly the result of professional demands. During beautifulface, a white gardenia in her hair, she sang much of her early career, she sang with dance bands- her songs, and the singers were never the same thereafter."

13 Billboard World of Soul The Best Ears in the Business By Claude Hall

The mimeographed pamphlet-carefully prepared by a public relations firm-tells the Motown Records success story in colorful terms. About quality control, the press release says: "In essence, each recording is 'custom made.' A re- ording by any Motown artist must undergo stringent scrutiny for perfection of performance, perfection of production." It goes on to say that many records have been re - mastered and redistributed after they were initiallyre- lease-and points to the Four Tops' hit of "Standing in the Shadows of Love"-after "Motown's quality control division advised a better master could be obtained." This is where the joke comes in. The quality control division was label president Berry Gordy Jr. He heard the record and decided it could be better and had it made better. Merely because he felt the record would sound betterif remastered. His judgment was based on what he could hear in the record. "He has the greatest ears for hearing a hit record in Berry Gordy hard at work. the business," said one of his close associates. "So we'll go through all of the extra work and expense of turning out another version of the record, then I'll ak him ifit was worthit.But you knowitis." And itis, obviously. Since Gordy launched the label more than six years ago, more than 60 per cent of all of the label's singles have hit the Billboard charts and more than 70 per cent of its albums, according to another key executiveatMotown-Barney Ales,vice-presidentin charge of sales. True, the final record must meet the approval of Gordy, but the Motown story is a story of more than just one man. There's Ales; there's Smokey Robinson who, besides heading up the group of Smokey Robinson and the Miracles, does much of the producing at the label and is a vice-president in the firm; there's the writing team of Brian and Eddie Holland and Lamont Dozier (Brian Holland and Lamont Dozier also produce records), there's promotion chief Phil Jones; there's the entire corporate set-up which includes not only a highly successful publishing company (14 BMI Awards this year alone), but artist management and their grooming (any of the Tamla- Motown acts are capable of putting on a polished, show - manlike performance and have played everything from high school auditoriums to the Copacabana nightclub in New York). The acts under the Gordy banner include Smokey Robinson and the Miracles, the Supremes, the Tempta- tions, the Four Tops, Stevie Wonder, Martha and the Vandellas, Jr. Walker and the All Stars, and others-almost all are household words now not only in the U. S., but around the world. "Motown has become very well Smoky Robinson, vice-president, left, acceptedinallforeign countries,"said Jones. "We've and Barney Ales, sales vice-president. had top 10 records in almost every nation-Argentina, Israel, England, Spain, Singapore." Thisledthe Detroit firmtorecently launch the heralded "Motown Sound" in Italian as well as English 14 Billboard World of Soul in Italy and plans were under way to also turn outSpanish versions of U. S. bits. Ask any deejay or program director of a radiostation anywhere in the U. S. and he'lltell you the Supremes are a pop act. The records ofalmost every artist or group on the Motown label are pop,but no one could contest the fact that the sound has its roots in blues.Gordy, an employee in an automobile factory, founded thefirm on a borrowed $700 and a song"Way Over There" that he wrote which was recorded by the Miracles.Today, after six -plus years, the records still have those roots-theSu- premes and the Temptations are played asheavily by r&b-format radio stations as Hot 100 format stations. But the label has grown so huge that it encompasses other aspects of the music field today. For example, an album of "The Supremes Sing Rodgers and Hart" was released in June. A similar album for the Temptations was in the works . . . pop-oriented product with still that Motown flavor.Holland andDozier, two crack a&r producers, have been working with psychedelic groups. All, of course, have to meet the approval of Gordy before released. That means they have to have high quality. The string of hits of the Gordy labelsisfantastic. All the more so when you realize the firm releases 50 to 60 singles a year. "It's a question of how many singles can you bring home effectively,"said Jones."I think many record companies release so many singlesbecause they have to . . .they have so many artist commitments. But we've taken a long time to build our reputation with program directors and music directors of radio stations so that when a Tamla-Motown record comes in, it should at least be auditioned." The Motown Sound, he said, is "the hit sound of today The .Supremes

. . . it's world-wide."

a *eat / Temptations Martha & Vandellas 111111111111=

Chris Clark Stevie Wonder Marvin Gaye The Marvelettes

15 Billboard World of Soul Atlantic Helped Pave The Way

Ahmet Ertegun Jerry Wexler Nesuhi Ertegun

By Claude Hall sing one blues song for me, as a record a r&b tune, we look for a favor. They had that church feeling. strong bass line." "The Broadway scene messes up "As a result, the blues records we That's the key to Motown Records' your music," says Jerry Wexler of made with Ruth came out like ur- success, Ertegun felt."Hillbilly mu- Atlantic Records in explaining why banized, watered-down version of real sic, to me, has always sounded mu- the labelis making tracks-just as blues. But we discovered white kids sicallylikewatered-downbluesin producers like the late Frank Walker started buying these records because spite of the great lyrics." and RalphPeerusedtodo-far the real blues were too hard for them Wexler: "Do you know that when afield from its headquarters in New to swallow. Distributors started telling r&b records that go pop they out- York. usthey were sellingtheserecords sell pop records?" The reason, both AhmetErtegun,president,and pop. Elvis Presley came out of this men felt,isthat bluesisthe most Wexler, vice - president, are two men bag and that's what started rock 'n' important tradition in music-"closest who've built a great career out of roll. Eventually, this led to the Bea- to world sensitivity." thebluesand,together withvice- tles." But for years many blues singers president Nesuhi Ertegun, have helped Many early blues featured Yancey were like hobos. Some made the caba- pave the way for today's broad pop typebasslines based on 12 bars. rets. Wexler felt that Leonard Chess acceptance of blues. Now thisisvirtually obsolete, said and his brother Phil had done much "We always wanted to make blues Wexler. "Blues isall gospel changes topopularizeblues."Chuck Berry records, said Ahmet Ertegun, "but few insofar as today's commercial records is a pure country singer who happens blues singers were in New York. In are concerned." to be a Negro. Leonard Chess knows California, there were a lot of people The most important thing on hit Berry is a country singer... listen to who migrated from Texas and the r&b records today isthe bass line, Berry musically, his diction, his feel- South; they were deep in the blues. Ertegunsaid,"and thisisan outing. Muddy Waters, on theother You take an artist like Ruth Brown, growth of early blues. That's what hand, has a deep South blues feel- a pop singer. I said, 'Let's sing some differentiates r&b from jazz." ing to his work. blues' and she told me shedidn't "Also, from pop music," Wexler "It's not that any one record com- like blues. So I had artists like her pointed out. "When most of us go to pany made blues popular," Ertegun

Esther Philips The Drifters La Vern Baker

16 Billboard World of Soul -.

Billy Joe Turner Ruth Brown Wilson Pickett King Curtis Arthur Conley

said. "We certainly have had artists Ertegunsaid.There wereFletcher ing the building period of 1952-1955. who've contributed to the cause. So Henderson, Jay McShann, Fats Wall- "Ray Charles and Dinah Washington did Aladdin Records and Amos Mil- er,theMillsBlueRibbonBand, sang this "manicured" form of blues, burn." Cab Calloway, "and the one band out the sophisticated version, but retained During the depression of the 1930's, ofallthese which played 90 per their blues feeling." Aretha Franklin the only thing that kept the record cent blues-Count Basie." Mentioned is "many artists rolled into one." industry alive, Ertegun felt, was blues also were Chick Webb and Duke El- Other blues singers who've made records. The so-called specialty fields lington. "They are the ones," Erte- it in the pop field but retained their -bluesandcountrymusic-had gun said, "who fashioned not only roots,he said, were James Brown, loyal fans that kept buying records modern blues but modern jazz." LittleRichard,SamCooke,Ray even during the bitterness of the de- "The onlyplace where bluesis Charles, Louis Armstrong in the '30s pression, "keeping several record com- being played today-the 12 -bar blues when he was singingblues. "Even panies alive." -is in the jazz field," said Wexler. when Armstrong was singing'C'est Chicago, hefelt, was the biggest Charlie Parker, said Ertegun, was Si Bon,' it was there." And how you bluescityof themall."You had "the last thing that happened in jazz. could tellis that they always got to Meade Lux Lewis, Jimmy Yancey, What has happened since then? You their audience, regardless. Otis Red- CrippleClarence Lofton,Roosevelt tell me." ding has this today. He can't open Sykes-allthebluesartists wound Among thebigblues bandsstill his mouth without the purest sound up there. Pinetop Smith, Cow Cow making it is Eddie Cleanhead Vinson, coming out."Redding, hesaid,is Davenport. On piano, many of these said Ertegun. "He's still big in Texas." building a following with theintel- could get an orchestral feel. As for Vinson, he said, followed in the style ligentsia all over the world-especial- guitar blues, there was T -Bone Walk- of Joe Turner and Jimmy Rushing. ly in cultural centers such as Rome, er, Big Bill Broozey, Lowell Fulsom, Among the artists who went pop Paris, London. Tampa Red, Memphis Slim,Light- with blues records in the early days, The good blues and r&b still con- nin' Hopkins, John Lee Hooker." saidWexler,were Amos Milburn, noteearthyexpression,both men The golden era of the big bands Charles Brown, Ruth Brown, Lavern felt. "The words of blues are memo- wasn't limited strictly to white bands, Baker. They were going strong dur- rable."

Percy Sledge Joe Tex Aretha Franklin Barbara Lewis Mary Wells

17 Billboard World of Soul Dave Dexter Remembers When

blues. Their ingenuity and knowledge There also was Ham Gratry. His of music led totheir founding of pal was Big Bill Broonzy of Chicago, had been strangely moribund in the a superb interpreter of theindigo, yearsthat followed thedevastating who wangled a Vocalion session on stock market crash of 1929. which Ham beltedhis own "Who There werenuts whocollected Pumped the Wind in My Doughnut?" nothing but jazz and blues disks in Althoughit was an inept vocal,it thatdrearydepressioneraofthe didn't sell,either. NRA, disastrous dust storms, Dillinger The blues meant a lot of things, a and Dizzy Dean. Bessie Smith and lotof names,justasisso today. Ma Rainey were the most sought, and Big Tess Gardelle recorded as Aunt yet 30 -odd years later, we ponder if Jemina. Amos Easton was called Bum- we might not have been wise to have ble Bee Slim. Harold Holiday pre- hoarded the waxings of Bea Booze, ferred to be known as Black Boy Fannie Mae Goosby, Ardella Bragg, Shine. Roosevelt Sykes, one of the Scrapper Blackwell and Ishm an best, was known to thousands only Bracey, and even the unmemorable as the Honey Dripper. Another fa- duets of the never -popular Barefoot vorite, Peetie Wheatstraw, hit big as Bill and Billie Bolling on Columbia. the Devil's Son -in -Law. Most Salvation Army depots pro- LittleBillGaither helpedrevive Dave Dexter Jr. has worked as a Cap- vided a rich source for used records. the record industry with hundreds of itol a&r producer in Hollywood since Going house to house, asking to see entertaining vocal performances un- early 1943, and recently his second book whatever the occupants might have derthe name ofLeRoy's Buddy. on music, "The Jazz Story," was pub- stacked under their hand -wound Vic- lished by Prentice -Hall. A record col- Georgia White had the sexiest, most lector since 1927, Dexter still writes a trolas, was another - but inefficient insinuating voice we ever heard, but weekly column for communitynews- -way of acquiring gems. A penny, you had to drive a few miles out of papers and works withyoungstersin a nickel, three for a dime - one ofyour way to hear her all-timehit, his home, Encino, Calif. fered little for a record in those days "Don't You Feel My Leg." It wasn't only because it was all one had to in any of the campus malt shop jukes offer. we patronized. Mostly, they were dogs: Nat Shil- By the start of World War IIin By Dave Dexter Jr. kret, the Ipana Troubadors, the Hap- Europe in 1939 the blues had emerged piness Boys, Jan Garber - nothing from the basement and attic phonos worth more than a penny each. Some out into the open, and a crew-cut, The blues go way back, back to of the bands were on "want" lists: ebullient John Hammond wasdis- the plantation days of the 18th Cen- Bennie Moten with Jimmy Rushing covering all sizes and shapes of tal- tury. They go back, in fact, to the ("I Wanna' Hang Around My Baby entedsingers.Big Joe Turner was earliestdaysofthenation,back All the Time"), McKinney's Cotton thebest and quickly became The to even before Lenny Feather came Pickers with Don Redman; Duke El- Boss.In thefallof 1940 in New over from England to tell musicians lington,Fletcher Henderson (Mister York, whileblindlyproducing our and a&r men how to make records. Hawkins on the tenor), Blanche and first record session for a "Kansas City The boom periodofthe1920's Cab Calloway, Andy Kirk-these rec- Jazz" album on Decca, we hesitantly tailed off to the dog depression days ords were worth anybody'snickel, supervised(a n dhelpedcompose, of the '30's and hardly anyone bought even with edge chips. without credit) a moody Turner track, records during that dark, dank era. But you had to be careful. There "Piney Brown Blues," which ultimate- Ofthose whodid,few preferred were pitfalls. ly - and astonishingly - became blues. It was the time of Ruth Etting Take the Henrys. There were at a monster in the jukes, an uninten- and Vincent Lopez, Rudy Vallee and least four. Sloppy Henry was good. tional smash hit that shoved a then- Ben Selvin, Sam Lanin and Morton He sang with Eddie Heywood on youthfulwriterfortheBillboard, Downey. Okeh and any of his shellacs could Down Beat and Metronome into the Working for the Brunswick label be usedintrades with othercol- ranks of professional, bedeviled, bel- in Chicago, and unable to subsist on lectors. Shifty Henry was only so-so. ligerent and ulcer -ridden a&r men. retail store orders in the busy Loop, Columbia had a Too Tight Henry I've never regrettedit.But some the late Jack Kapp and his brother who rated well under Sloppy and a day I'ddearly love toget my fat Dave packed hundreds ofshellacs peg above Shifty. But Hound Head fists on a mint copy of a blues tune (all78-r.p.m., of course, and easily Henry, a Vocalion bleater who re- I've never found. The title is "Levee breakable) on their backs and, like corded with Cripple Clarence Lofton, Camp Holler" and it was recorded in pack mules, walked the streets of the rated highest of all the Henrys. In a 1933inParchman,Miss., forthe SouthSide knocking on doorsof swap, you could get three by Fess Library of Congress. And the artist? apartments, barber shops, pool halls Williams and his Royal Flushers for a A man, so help me, named Crap and private residences. They sold the single Hound Head. Eye. 18 Billboard World of Soul New850James 7th York, Brown Avenue N.Y. Enterprises 10019 Chess and The Blues:

From The Streets to The Studio

By Ray Brack and Earl Paige

America is indebted to the immigrant BrothersChess for much of the blue-chip blues on record. Withalmost unerring ethnic insight and an arsenal of new instrumenta- tion and engineering ideas, Leonard and Phil Chesshave transported the blues from the shanties of the South and the streets of Chicago to the archives of the Libraryof Congress. And in the process they've helped awaken white America tothisland's chief indigenous musical form. Leonard and Phil Chess came to the U. S. on Colum- bus Day, 1928. They discovered their America on Chi- cago's South Side. It was just after the War, 1946, and they were operating the Macomba Club at 39th and Cottage Grove, booking some top acts and affording opportunity for other talent to jam. You'd see Lionel Hamp- ton, Billy Eckstine, Gene Ammons, Charlie Ventura, Ella Fitzgerald and Louis Armstrong at the Macomba. "We noticed a lot of talent scouts coming in," Leonard Willie Dixon, seated, one of the great blues writers and author recalls. "Several of them seemed interested in an artist of more than 250 songs with Phil Chess (hat) and Marshall named Andrew Tibbs who had been coming around. We Chess in Chicago. decided to record him ourselves, got hold of a studio, and cut 'Union Man Blues.' We also cut 'Bilbo's Dead' to commemorate the then -recent death of a Mississippi gov- calls, "and played us a country music take -off called 'Ida ernor." Red.' It had been turned down by Capitol and Mercury. I "Bilbo's Dead" never sold too well, particularly in Mis- didn't likeitas c&w so we recutitin our little studio sissippi, but the Chess brothers were in the record business. behind the office with two side men. Phil and I were the Name of the company was Aristocrat. Offices were in a engineers. We called it `Mabelline.' " storefront at 71st and Phillips. The catalog number on The rest of the story - how Leonard gave a dubof their first record was "1425," the address on South Karlov the song to Alan Freed at WINS in New York and how Avenue where the Chess brothers first lived in Chicago. Alan playeditand how when Leonard got back to Aristocrat, as a recording company, existed two years Chicago he was met by a stack of orders from his New and during that time a pattern developed that later was York distributor-is trade history. to bring to Chess some of the blues greats. Talent dropped But we're ahead of our Chess story. Berry was on the in "out of the blue." One of the first blues artists to walk Chess label, which succeeded the relatively unsuccessful in the front door in the Aristocrat days was McKinley Aristocrat label in 1948. Aristocrat became the company's Morganfield, better known to blues fans around the world distribution arm. as Muddy Waters. He recorded "I Can't Be Satisfied" "Aristocrat was a bit unlucky," says Leonard. James as his first single. H. Martin, then located on Diversey Avenue, had been Another early Aristocrat side was "Little Black Angel" Aristocratdistributor.But,noting that Chess brothers by Robert Nighthawk. Though thisrecord didn'tsell knew their 180 South Side accounts better than he, Martin too well (and the Chess brothers founditexpedient to recommended that they distribute their own product. They knock the word "black" out of thetitle),the session did, transporting product in the trunk of a car. stands out in the Chess story becauseit was thefirst "Every porter, Pullman conductor, beauty and barber- in which blues writer -singer -bassist Willie Dixon worked shop was selling records in those days," Leonard recalls. with Leonard and Phil. "He's been my right arm ever Firstartist cut on the Chess label was Gene Am- since," says Leonard. mons. The initial session is significant in that it resulted Otherbluesartists who since1948 have walked in two of the Chess brothers' many "firsts." unannounced into the Chess offices include Chuck Beriy, Booking time at Bernie Clapper's Universal Studios, Willie Mabon, Ellis McDaniel (whom Leonard dubbed Leonard and Phil had Ammons cut the first instrumental Bo Diddley "because it meant 'funny storyteller' "); James cover of a vocal. Ammons did "My Foolish Heart," at that Crawford, known on disk and stage as Sugar Boy, and time a big Billy Eckstine hit. Sonny Boy Williamson. Leonard tells how Junior Mance was on piano and "Berry came in with a wire recorder," Leonard re - was "fooling around" with Ammons on "Foolish Heart"

Billboard World of Soul 20 arrangements. One version sounded good to Leonard and "We started seeing daylight with that record," Leonard they cutit,embellishing it with the hollow sound of a says. mike dangling in the studio washroom. That was the first The second single released under the Chess logo was echo chamber effect ever used on a record, and it testifies "Rolling Stone" by Muddy Waters. The year was 1948. to the innovating in recording technique that later char- A quintet of youngsters in England, devouring andre- acterizedthe Chess approachtobluessessions.That gurgitating Muddy's material years later, was to put that Ammons session also was indicative of the Chess faith in song title to good use. Chess also recorded Gene Wright studio -evolved arrangements, a belief that was to hold that year, among others. them in good stead recording blues. But all Chess blues artists didn't walk in the door un- In their own studios Leonard and Phil later experi- ceremoniously. As Chess developed library, Leonard went mented with other sounds and techniques that were to on the road in the South. Blues was king. It was the early rock the recording industry. They tried tape -echo effects, '50's and to walk into a station with blues underyour arm distortion, and they hung a 10 -foot section of sewer pipe was enough to get it played. from the ceiling of their studio to obtain a 1/10th of a second delay. "They used to take records out of my hand and put Though that first Ammons session also brought forth them right on the turntable," Leonard swears. "Goodby," "Pennies From Heaven" and "Bless You," it Chess swung through the South about every three was "My Foolish Heart" that broke big in Chicago, at- months, making a 5,000 -mile circuit. Entering a new town, tracted wide interest and leddirectlytonationaldis- Leonard would ask around about bluesartists.In this tribution of the Chess label. (Continued on page 22)

InThe Words of Willie Dixon

Here are some excerpts from a conversation Billboard Q. What is "soul"? reporter Earl Paige had recently with prolific blues writer A.It's feeling. Blues are built on truth, a certain feel- Willie Dixon at the Chess Producing Corp. studios in ing of sadness, a soulful feeling.I can remember as a boy Chicago-Ed. going to churchI would hear the same songs Iheard on the street-only with different words. Q. How many songs have you written, and which has A guy may think his salvation is to go to heaven, to been most recorded? go to a place of peace. But outside the church the same A.I've writtenover 250 blues songs. "My Babe" has song could be he wants to go down the road.It'sjust been recorded most, followed by "Hootchie Cootchie Man," a different destination, that'sall. "Seventh Son" and "Make Love to Me." "Seventh Son" Another differenceis: you might have two guys. who won a BMI award in1954. can blow good; one guy knows his instrument from A to Z and is very precise; the other guy isbetter because he has that feeling. My mother used to say, "Everybody Q. You've recorded some of your own songs? has something but nobody has everything." A. Yes, I began recording with the Big Three Trio in Q. How is blues changing? 1947. 011ieCrawfordplayedguitar,Baby Doo Caston A. There's more dancing. But to dance to musicis was on piano, I played bass. One of our firstrecords, "Wee Wee Baby" was on Columbia. "Signifying Monkey" one thing; tofeelitisanother. Words arenot soim- was on the flipside. portant for dancing. But for people to relax and to think you have to give them words. Eveninthe days when the Big Three Trio was playing, we played for listening and Q. What brought you to Chess? for dancing. A. My first connection with Chess was in 1951.I came We're tryingto into satisfyyoungstersnow.Blueshas direct the Robert Nighthawk session that created always been something that has to adjust to the world. "Little Black Angel."It was a good session.Everything If the world is in a fickle condition, music will be fickle. was head arrangements. You have to get a feeling and a But if the world is thinking seriously, then the music will mood. You can't work a session like that from something be serious. on paper. A man feels different when he's on the street from when he comes into a studio to cut. Q. Your most memorable session? A. I stillremember thesongs.Itwas withMemphis Q. Where do you get your ideas, and how doyou Slim,in work? 1946. We cut "Rocking the House," "Kilroy Was Here," "Darlin' I Miss You" and "Lend Me Your Love." We A.Bluesisaproduct of poverty-strickenpeople.It didn't use a drum and we had two horns, an alto and is passed on from generation to generation. A lot of blues a tenor. Memphis was on piano and I was on bass. is written around lovesickness. Maybe one guy is blue because his woman leaves, and maybe he's blue when she Q. What about blues abroad? comes back. A. We started hearing that Big BillBroonzy was over I don't have to do much thinking. I can be riding along there saying he was the last of the big blues daddies. in my car and hum a tune. Then I'llsing some of it and Well, in 1959 a woman from Israel came over to the Gate pull over to the curb and write down some lines.If you of HorninChicago where I don't write something down it may never hit was playing with Memphis you again. Slim and we went to Israel. We couldn't geta sponsor for I write down the words first. You can alwayscome back blues, so we went on to France, just Memphis Slim and with the melody. I almost never write the title. There are myself. so many titles. You try to pick one that is not so common. For the past five years I've been handling the American I don't know how many of my songs gotaway before Folk Blues Festival tour of the European countries, includ- I learned how to save them. I wrote "Somebody Tell That ing Scandinavia, using about nine to 12 artists eachyear. Woman" in 1949 and Peter, Paul and Mary cutit under J.B.Lenoir, a guitarist -singer who died April 28 of this the name "Big Boat Up the River." Aman called me from year, was on three different tours. Buddy Guy, John Lee New York and I told him we had it recorded on Columbia. Hooker and T. Bone Walker have also beenover three It was one of thefirstsongs I put on paper. times. We're planning a Japanese tour.

Billboard World of Soul 21 Continued from page 21 strumentation. He tried "I'll Be Home" with Pat Boone and it was a million -seller. way he found artists,masters and songs. Notable are During the 50's some classic blues came out of the Chester Burnett, peerless blues singer and writer whom Chess studios on East 49th Street in Chicago. Chess cut in- we know as Howlin' Wolf, discovered by Leonard in dividual members of the Muddy Waters band. Lead guitar West Memphis, Ark.; Jackie Brenston, whose "Rocket 88" player Jimmy Rodgers ("It's his song," said Waters, "let Leonard picked up from Sam Phillips in Memphis, and him record it.") cut "That's All Right." Little Walter, the Big Boy Crudup, to whom Leonard was steered by blues harmonica player, and piano player Otis Spann also cut ex- fans in Forrest, Miss. cellent sides. Steered to Chess by deejay Allan Freed in Leonard carried a Magnecord tape recorder in his car, Cleveland (who was soon to move to New York) were the a heavy two-piece model. Many times he sat that unit Moonglows and the Comets. The Moonglows' first side up in a bean or cotton field, running an extension cord for Chess was "Sincerely." The Chess brothers then spun from the plantation manse ("I always paid for the elec- two lead voicesoffthe Moonglows, called them the tricity."), and recorded blues on location. Crudup, who Moonlighters, and cut "So All Alone." The Comets had still reportedly works in the fields for a living (though ahit,aided by Freed airplay, called "Nadine." he's one of the legendary blues writers and artists), was Twisting the dials on these hits, innovating constantly, first recorded by Chess in this way. imitated inevitably were Leonard and Phil, with Willie "Moanin' at Midnight" was Howlin' Wolf's first Chess Dixon pouring his soul into the arrangements. "We'd go into the studiototry toget a rhythm side and his first hit. going," explains Leonard. "We'd do it over and over and Typical of the songs Leonard uncovered on his South- the beats just evolved. Dot, for example, built its reputa- ern swings is"I'll Be Home" by Fats Washington. tion on the Chess beat. Today Ihear beats and riffs "I was introduced to Fats Washington in Shreveport we used 15 years ago. I was shocked when I first heard by Stan Lewis, Stan the Record Man," Leonard recalls. the soundtrack from "Man With a Golden Arm." It was "Washington wanted to sell me that song for $25. Ire- full of Chess rhythms and riffs. fused. I'd learned some hard lessons on buying songs. If "Bo Diddley came to Chess and created some beats the song is good a writer will sometimes later say you that have had great influence on rhythm and blues mu- appioached him first. So I suggested Stan buy a piece of sic. More artists have made money on Bo's beat than it. He did." Bo himself. It was a big break for Fats Washington. Leonard "Soul? It's a new word for something old. It's a feeling had the Flamingos cut "I'll Be Home" on his new sub- that grows out of experience. Blues is just a story that sidiary label, Checker. Randy Wood, who was just start- you've lived. The Rolling Stones don't have the feeling ing at Dot, had the idea that Negro blues could be done that our blues artists have. They couldn't have. But they've by white singers with the same arrangements and in- done very well in their own context.

`The I.C. Brought the Blues ToChicago' By Earl Paige ord Shop, at 47th and South Park. on WSBC was really our first Negro "There will always be blues," says He got into production after the war, radio personality. George Leaner, "because the people 1946, after meeting Lester Melrose, When rockandrollbecamea who need it don't put it down." a blues broker. strong influence, Leaner says, blues The Negro needed blues in Chicago. "In -the beginning artists didn't work again emerged as programming forCe From the South, as did the Leaner directly with record companies. They as stations sought identity. family from Louisiana in the30's, had brokers, people who handled all "Blues was becoming more urban, they came, first to work in the meat the paper work and details.I started but still not sophisticated, There was packing plants and later in the steel recording bluesartistsupstairs over still that creative crudeness that dis- mills. the Eli Pawn Shop in the thirty-four tinguishes real blues from everything "The IllinoisCentralRailroad hundred block on South State Street. else." brought blues to Chicago. With those "The big labels then were Exclu- Sophisticationcame,butLeaner thousandsoflaborerscamePetie sive, Modern, Alladin, Specialty and wonders if this has been to the good Wheatstraw, 011ieShepard, Blind Supreme. These were basically West and admits, "Today I wonder if I'm Boy Fuller, Washboard Sam, Little Coast labels. Blues was flowing into hip to what the youngsters want. Brother Montgomery, Blind Lemon Los Angeles out of Texas. "Everybody is formula and every- Jefferson, Memphis Minnie and Rosita "A number of circumstances led to thing is format. We fall in line. We're Howard," recallsLeaner, owner of the post-war blues explosion. When directed to the youth market, but I One-DerfulRecords."Blues is a Cecil Gant's"I Wonder" brokein don't really know what the kids are product of the South and nowhere else 1945,a number ofrefugees from after.Isuspect they're after what is becauseitrelates the stories of the Europe, who had great ethnic knowl- most like themselves. They seem to social impact of the American Negro. edge, saw thepossibilitiesinblues want atotallyuninhibited perform- Blues istruth, anditevolves from and the independent label was born. ance. And to a professional the kind socialfactors. There is,and always The emergence of BMI and the rapid of things they want seem unprofes- has been, an individualism in blues. growth of Negro radioin the late sional." This means that things are constantly 40's accelerated the blues movement." Will a new blues emerge? happening." Leaner himself subbed on occa- "Yes and no. There's not enough Leaner and his sister and brother- sion for Eddie Honesty at WJOB in adult audience to perpetuate a new in-law, Bernice and Bill Chavers, be- Hammond, Ind., and calls Al Benson blues. But our young people will al- gan selling blues records in the late the father of Chicago Negro radio ways be influenced by and influenc- 30's in their own store, Groove Rec- programming, "though Jack L. Cooper ing a blues evolution."

22 Billboard World of Soul I

Billboard World of Soul America's Most Important Song Form

A111.40,41ilack Hammond

By PaulAckerman

. Negro musical form. "In addition to its contribution to jazz "Blues are America's most important song form . . it has also heavily influenced rock and roll, country music there is no question about it . . . itis the root of jazz, and folk music. It is also the bedrock of gospel music," which is America's most important serious music . . . and allfirst-classjazz musicians areinfluenced by blues." he said. He pointed out that an outstanding example of The speakeris John Hammond, Columbia Records' the fusion of blues and gospel is the art of Ray Charles. director of talent acquisition. Hammond, who also pro- In the country field, Hammond said, one cannot doubt the duces for Columbia and Epic, is universally regarded as fact that Jimmie Rodgers was heavily blues -oriented, and one of the most astute record men in the industry-aniche the blues is part of the country music tradition, he added. he has held for decades. Hammond continued: "Duke Ellington, our most im- Among the artists he has either discovered or been portant composer, was greatly influenced by blues; and associated with are Benny Goodman, Billie Holiday, Count this is evident in his important early works, such as 'The Basie, Teddy Hill, Meade Lux Lewis, Albert Ammons, Mooch' and'Blackand Tan Fantasy' among others. Joe Turner, Pete Johnson, Aretha Franklin and Bob Dylan. And such a noted conductor -composer as Leonard Bern- "I found Charlie Christian,the great jazzguitarist stein indicates his versatility and range of musicianship by who became one of the regulars at Minton's in Harlem, occasionallyplaying 'Honky Tonk TrainBlues'ora where bop was born. Ifirst heard him in Oklahoma City," something equally bluesy." Hammond reminisced. Hammond's talentscoutingandrecordingactivity "The blues," Hammond added,"are ever-changing never flags, as is indicated by such noteworthy finds of andinfinite,and theyprobablyrepresent thegreatest recent years as Aretha Franklin and Bob Dylan. Recently concentration of feeling in pop music." he cut an album by Buddy Moss, one of great old-timers The executive, who has been recording since1932, in the blues field. "The search for talent is constant," he when he cut Fletcher Henderson, considers the late Bessie said, adding, "Ihit the college festivals and the night- Smith, Empress of the Blues, "the most important female clubs and other locations . .. I also listen to approximately singer we have ever had in America." He added: "She 50 tapes each week." could make entire audiences weep ... I used to catch her Speaking ofthecontributionof Memphis tothe actattheoldLafayette Theater on 132d Street and world of pop music, Hammond remarked that Elvis Presley Seventh Avenue, and at the Alhamba on 126th Street, in the early 1950's liked to take in the show at the Apollo both in Harlem. I first heard her in 1927." Theater in Harlem, where he would watch and listen to Most of Bessie Smith's sides were cut by thelate Bo Diddley. Frank Walker, who had discovered Bessie Smith in Selma, "Today, of course, there are many white artists who Ala.Walker, when he was in a position to record her, dig the blues, such as Paul Butterfield, the Blues Proj-

sent Clarence Williams into the deep South to find her ect and many others . . . and these talents make it on and bring her north; and he settled her in Harlem. It was the level of urban rater than rural blues." In connection John Hammond who recordedBessie'slastsidesin with thisitisinteresting to note that Hammond's son, 1933. These included "Gimme a Pig Foot and a Bottle of John Hammond Jr.,sings the blues and has just been Beer," "Take Me for a Buggy Ride" and "I'm Down in signed by Atlantic Records. the Dumps." "The blues," Hammond said, "are now having an in- "Bessie," said Hammond, "influenced me more than ternational impact." He pointed out that the British ap- did anyone else." preciated this musical form even before the bulk of Amer- Hammond revealed that one of Columbia's big proj- icans did. "For years blues in America sold only in the ects is the preparation of a complete package of Bessie Negro market; but during that era theBritish people Smith's recordings. Completion is scheduled in two years. generally dug the idiom." And the current British scene, Thus far, there is a four LP set of 47 sides. Hammond notes, is very blues -conscious, as is evident in These are being re -mastered and will be included in the work of such acts as the Beatles, the Rolling Stones the over-all project. "She recorded a total of 150 -odd and others. In Europe generally, Hammond points out, a songs. We will very likely issue these in a package of 10 considerable amount of blues recordings arereissued. LP's, together with a brochure and photographs, as well The European understanding of blues has been abetted as appreciations from other singers." by the foreign tours of such American artistsas Son Hammond reminisced: "You know, she never recorded House, Big Joe Williams, thelateBillBroonzy,- Jack with a drummer. She insisted on setting the beat her- Dupree, Memphis Slim and others. self, saying, '1 don't want to be a slave to no drummer.' " Hammond has cut blues records for many labels. Hammond also recorded Ida Cox, whom he regards These include Okeh, Parlophone, English Columbia (EMI), as the greatest blues singer next to Bessie Smith. He also American Columbia, Decca, RCA Victor, Mercury and cut Josh White and many more. Vanguard. His experience has been profound, and as a Hammond noted that one of Bessie's great records, result of his immersion in the field Hammond concludes "Money Blues," was written by Dave Kapp, record in- that every great blues artist is unique in style. Finally, he dustrypioneer and head of Kapp Records. states, the language of the blues is the language of human The blues, Hammond added,istruly an American experience.

24 Billboard World of Soul Congratulations from StaX / V Olt,SOULSVILLE, U.S.A. the BIG sound of '67

ONae'l Mabel Johr

STAX/VOLT 111.1111P- 11111r6McLEMORE AVE., MEMPHIS, TENNESSEE 38106 sporadically for the past several years. The currentartist roster is headed by B. B. King, who hasbeen released by the Biharis since 1950. The other artistsinclude Vernon Garrett, Lowell Fulsom and Z. Z. Hill. The company It Takes More has continued the Modern line which releases cutsby Arthur K. Adams, Jackie Day and Mary Love. A glance at the firm'sfirst catalog illustrates how deeply involved the company was with bluesmaterial, beforeit was stylish to sell blues. ThanaJug of Booze There were singles on Modern by John Lee Hooker, Lightnin' Hopkins, Smokey Hogg, Pee Wee Crayton, Little By Eliot Tiegel Willie Jackson, Floyd Dixon, Little Willie Littefield, Joe Hill Louis, Helen Humes, Boyd Gilmore, Hadda Brooks, "We used to bring 'em in, give 'em a bottle of booze Howard McGhee, Pearl Taylor, Three Bits of Rhythm, and say, 'Sing me a song about your girl.' Or, 'Sing me a Happy Johnson, Clarence Williams, Russell Jacquet, Will song about Christmas.' " The speaker:Saul Bihari, a Los Rowland, Gene Phillips and his Rhythm Aces, Jim Wynn, Angeles record manufacturer, whose involvementwith the Scamps, Harry Choates, Wardell Gray and Vido the blues dates back to 1945. "They'd pluckaround a Musso, Jimmie Grissom, Jimmy Witherspoon, Jimmy Mc- little on their guitars, then say 'OK' and make up a song Cracklin, Johnny Otis, Little Junior Parker, Benny Carter, as they went along. We'd give them asubject and off Jesse Belvin, Etta James, the Cadets and Hawks, Pete they'd go. When it came time to quit, we'd give them a Johnson. wave that they had 10 seconds tofinish." Concurrent with its blues releases, Modern regularly Thus were blues recordings created at a new, fledgling dished out jazz product, with a number of Gene Norman label called Modern, which found itself among theelite sides prominently featured. The label's first artist pianist small companies specializingin blues recordings,later was Hadda Brooks, whose debut disk was "Swingin'the called "race" records because they sold exclusively to Boogie." The brothers expanded their recording activity Negro patrons. by singing Johnny Moore and the Three Blazers with Today, after a nine-year hiatus out of the blues mar- Charles Brown. Their original intent on recording Hadda ket, Saul Bihari and his two brothers, Jules and Joe, Brooks was to acquire blues material for jukebox locations are back in the field again, aggressively seeking out mas- which brother Jules operated. ters and artists. Reflecting back on those limitedsaledays,Bihari Today, the technique of recording a blues disk is in- recalls that a good blues single would sell 200,000 copies. finitely more complicated than bringing in some itinerant Modern's price was $1.05, while such major labels as field hand, plying him with whisky and waiting for the RCA Victor, Decca and Columbia were selling singles for inspiration to flow forth. 78 cents. "Today, everything is arranged," Saul Bihari explained "It was very rare for a record to spill over (go pop) at the company's executive offices -pressing plant facility, in those days," Bihari continued. Hadda had several, so symbolically located alongside a railroad track. Somehow did Joe Houston with "All Night Long" and "Blow Joe, there was poignant significance to the company's shoulder- Blow." These last two tunes were instrumentals. In 1956 ing a single line of railroad track. So much of the blues we had "Dance With Me Henry" by Etta James which was derived from the lonesome feelings andfrustrations sold 400,000 copies. Georgia Gibbs did the song and of poor troubadours, who rode the rails,shifted from sold close to one million copies." In 1957, a commercial menial job to menial job and created music about life's form of blues single, "Eddie My Love," by the Teen travails. Queens, crossed over the segregated sales border. "By then "Today," continued Bihari, "everything is pretty much things were starting to go pop quite a bit. planned. If you can go into a recording session with a Bihari feels blues singers today are more "dynamic" strong piece of material, you can usually come out with in their interpretations. Lyrics of the old blues tunes dates a record." The one ingredient in a blues project which a performance for the person listening for such a clue. has remained constant down through the years is a strong "Mama used to be a very popular word. Today, baby is song. That's also the most difficult commodity to obtain. very common." "With good material, we believe anybody can sing it and To capture some of the emotions of the past, a 42 - make a hit out of it. But finding good blues material is title Oldie Series on Modern has been devised for the very hard.It's not like the pop field where there are singlesmarket. The Bihari LP catalog from Modern, many writers turning out songs." Kent and a budget United line, shatters all illusions about Where does a blues company unearth this needed artists' uniformity of style. There isthe soulful Jimmy material? "It's almost up to the artist to get it himself. He Witherspoon exciting an audience with "Ain't Nobody's can write it or if he's lucky someone will turn up with a Business"; Etta James' rather gentle "Dance With Me good tune. You're really taking a chance when you go Henry" with a tenor saxophone and tinkling piano dating into the studio." that arrangment to the '50's; Howling Wolf's nasal "Big When the Biharis joined the exclusive fraternity of City Blues" with its sexual underscore (I'm gonna give you blues proponents, which then includedtheExclusive, a party tonight/I want you to ride wih me honey while Apollo, Alladin and Savoy lines, there were strict mar- the moon is shinin' bright/ridin' in the moonlight"); the ket limitations on the sale of a 78-r.p.m. single. One of Ikettes' arrangement of lead voice coupled by two voices the reasons for the brothers' decision to return to the repeating the main phrase on "I'm So Thankful"; Tina rhythm and blues fieldisthe broadening sales accept- Turner's frantic pleading in her screaming style on "Please, ance for blues material around the world. Bihari can re- Please,Please"beforeaSt.Louisnightclubcrowd; call when radio play for a blues single was limited. To- B. B. King's leading a sax section on "Rock Me Baby" day, the rock 'n' roll stations are jammed with r&b singles and his rather undramatic version of "Everyday I Have wich have "turned pop" or have gained acceptance from the Blues"; Joe Turner's full -toned "Kansas City Blues"; Caucasian as well as Negro listeners. the late Jesse Belvin's rather dramatic "I'll Mess You Up" The Biharis' current r&b efforts will be focused on and the rather Tin Pan Alleyish "Billy Boy" by the Teen their Kent label, which has been issuing blues material Queens.

26 Billboard World of Soul Ray Cluirles... The Heart oNoulDELUXE 2 RECORD SET HIS NEWEST ALBUM

T-

A MAN AND HIS SOUL LISTEN ABC 595 A Collection Of Hits ABC 590X ABC RECORDS, INC.RECORDS NEW YORK/BEVERLY HILLS DIST. IN CANADA BY SPARYON OF CANADA Tangerine Record Corp.

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BLUES IS KING LIVE AT CAFE AU -GO-GO THE BLUES IS WHERE IT'S AT THE NEW JIMMY REED ALBUM B B. King BL 6001 John Lee Hooker BL 6002 Otis Spann BL 6003 BL 6004 BLIJUWAY A PRODUCT OF ABC RECORDS, INC. ...IS WHERE ITS ATIRECORDSA SUBSIDIARY OF AMERICAN BROADCASTING COMPANIES, INC. 27 Billboard World of Soul lyric where truthful interpretation are the development of poignant mono- of the highest order. logues which are often high-powered Unlike the period in the history of statements of a sociological nature. bluesmusic when thestylesand Example: on the tune "Dead End YOUNG PROS sounds of the players were generally Street" Rawls makes the acid com- rusty, raw voices often blurred, and ment that as a child in Chicago dur- the accompaniment was a single un- ingthe winter, whenitwas time EXPLORE THE amplifiedguitar,today,theblues to go tosleep, he first had to get field offers copious vocal styles and dressed to go to bed. instrumental combinations,thepro- Helping Rawls interpret life as he BLUES PATH ducer points out. seesit with a driving intensity, has By Eliot Tiegel As Rawls' producer, Axelrod re- been the talented young Hollywood ceives a wide variety of songs.In- arranger, H. B. Barnum, whose ties Withintherecordindustrythey terestingly,theyarenotallblues - to Axelrod are very strong. are known as a creative team. Among oriented,whichindicates what can The sounds which Rawls and Bar- the general public this fact may not happen when abasicbluessinger num develop are "jet age blues" to be as well known. In any instance, crosses the threshold to top 40 radio Axelrod, who believes it is the func- Lou Rawls and Dave Axelrod are stations and becomes a "popular mu- tion of the producer to help the art- the two key cogs on the team which sic" personality. ist "come across"honestly. "When has clickedin producing bluesre- The storylines in 1967 style blues we'reinthestudiorecording and cordings which are among this coun- songs have to keep abreast with the everything's grooving right," Axelrod try'stop -sellers. performers themselves, Rawis admits. says eagerly, "you can forget about Rawls and Axelrod have one basic Heisabletoaddanextrain- everything. Nothing else matters but thingin common: theyboth were gredient tohis presentation through the music." nurtured in the jazz community before Rawls' "Live" LP moved onto the national chartsinApril,1966. Rawls, in his early 30's and Axel- rod, 34, are in the forefront of the youngprofessionalsexploringthe blues asa mass entertainment me- dium. "Everybody has the blues," offers Axelrod, a slender disk producer at Capitol. "Man, we all get the blues . .. if you've gone through a lot of change in your life,then you can play the blues. A good example is Frank Sinatra singing 'Come Rain or Come Shine.' He sings that more soulfully than the way he did 'That's Life,' which was his rhythm and blues- sounding hit." For Rawls, a recent graduate of the "chitlin' circuit," small jazz and blues clubs, the music he has been associated with all his life, is "a slice oflifethat people know and can assess. The other types of music are writtenoffthe topof somebody's head. They're fantasy. The blues gets tothe meat of thesituation. For Axelrod, who has produced jazz and rhythm and blues recordings for the past 10 yearsin Los Angeles, Rawls isa "happening," a distillationof an expression which ringswiththeemotion ofcurrent times. Axelrod also records Adderley, a veteran jazz saxophonist whose funky, simple versions of "Mercy, Mercy, Mercy" and "Why (Am ITreated So Bad?)" have become popular hits. From the producer's standpointin- side the control booth, thereis no difference in recording a blues vocal- UNITY OF PURPOSE: Producer Dave Axelrod and ist and instrumental group, although vocalist Lou Rawls study the blues in the studio. there are added moments of height- ened concern when working witha 28 Billboard World of Soul in 1966 the World of Soul gavebirth to

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29 Billboard World of Soul Jim Stewart The "Memphis Sound," according to one of the nation's most successful r&b men, is a combination of old- fashioned "cotton patch" blues, country music, and rock 'n' roll. Put them all together and they spell "soul," that in- tangible something which Jim Stewart describes a "genuine emotion of the inner -self." Stewart is president of Stax Records (a title formed from his own name and that of Estelle Axton, his sister, whoisthe firm's vice-president) and Volt Record (a name that came out of the blue). Stewart runs the recording and publishing end of the well -organized firm; hissister handles the adjoiningretailoutlet. When all of the elements of this operation are brought together it becomes "Soulsville," a landmark in the heart of Memphis. More accurately,Soulsvilleisinthe heart of Mc- Lemore Street,a Negro sectionof thecity,andit's there for a purpose. Stewart said he moved into the middle of the Negro district because thisis the physical area of the traditionalblues. There he set up shop inthe old Capitol Theater("forawhile theythought we were

JIM STEWART- TheVoice from Soulsville

Carla Thomas

30 Billboard World of Soul Capitol Records"), and expanded from there. To the east istheretailoutlet,Satellite Record Shop, and justto the west is the East Publishing firm, also a part of the organization. Inwhat once wasthelobbyofthetheaterthe visitor now finds two large reception desks, manned by a busy, competent (and integrated) staff. Directly up the carpeted stairwayisStewart's plush office. The section of the theater where audiences once satis now the recording studio, slanted floor and all. And the stage area is now the control room, equipped with ultramodern electronic gear. Thisphysicalarrangement,supplemented bythe "soul," alsoiswell supplied with the other vitalparts. Not only are the songs of Stax and Volt written there by Stewart'sstaff,buthissame grouphandlesthea&r (Stewart himself operates the board at the sessions) with "head arrangements," plays all the instruments, and aides in the promotion. Stewartisaself -described hoe-downfiddlerfrom Middleton, Tenn.. who, at a young age, went into the flanking business. He took a flier into the recording busi- ncs and, as he putsit, "produced a string of flops."

That's when he moved into the physical area of traditionalblues. He selected his spot on McLemore Street which hefelt would be conducive to r&b talent coming in. The first of these was Rufus Thomas, who then was a disk jockey at WDIA. Thomas brought along his littledaughter,Carla,and theycutafather -daughter duet in the summer of 1960. It became a local hit, and sold about 20,000 records nationally. Then Carla cut a single by herselftitled "Gee Whiz," andittookoff. Stewart promptly aligned himself with Atlantic for distribution purposes, and Carla Thomas had a half -million seller on her hand. After that, things fellinto place. In 1961, the Mar - Keys (who were to become the staff writers and staff Rufus ThomaA bandfor Stax and Volt)hitthetop10with"Last Night." In1962,it was "Green Onions" by Booker T. groupsetsthestyles and moods of the country, he (Jones) and the M.G.'s (Memphis Group). In 1963, Rufus claims, this is an important omen for r&b. The European Thomas wentbig with "Walkin' the Dog," and soit mai ketalsoisbecoming more keenly aware of r&b. went.Itwasn'tuntil1962 that the Volt subsidiary was Otis Redding, Arthur Conley, San and Dave and Eddie formed, andit was to be strictly a "soul" label. Its first Floyd havejustconcludedaEuropean tour.Stewart artist was the epitome of this type of music, Otis Redding. views this with mixed emotions. Admitting thatit helps Backing him andallother artists were the same mu- spread the Memphis Sound, he also notes thatit holds sicians-Steve Cropper on guitar, Booker T. Jones on up production oil McLemore Street. organ, Al Jackson on drums, Duck Dunn, electric bass. In an average week, five sessions a week are cut at Andrew Love on baritone sax, Wayne Jackson on trumpet. Soulsville. The musicians and writers work by the clock, Joe Arnold on tenor sax and Isaac Hayes on Piano. and keep things humming. Consequently, there is no cus- These men, for more than five years, have provided the tom work. There are regular staff meetings, and all ideas musicfor every album and singlereleased oneither are shared. Fortunately, so are the profits. label. Stewartalso has a new jazzlabel(Enterprise),a "Hank Williams was asoulsinger,andthe r&b new pop label(Hip), and a gospel label(Chalice). He people dig him," Stewart said in explaining the parallels notes that many of the r&b singers once sang gospel mu- betweenthistype of music and country.Inboth, he sic.which addsstillanother ingredient tothefinished said,the heritageisstrong, handed down through the product. generations. He said the first records cut by Elvis Presley Stewartisaquiet,friendly, unassuming man with (in Memphis) were a combination of blues and country. thepatienceandbearingofabanker,thedown-to- Stewart noted what he considers a good sign. Rhythm earthness of a hoe-down fiddler, and appearance of a and blues not only is the "in" thing on college campuses, successfulbusinessman.He.too,hasblendedallthe hutisbecoming so withthejetset.Sincethislatter right ingredients. 31 Billboard World of Soul The Live MB"(

Otis Redding Scene

for r&b fans will not come out to see a handful of acts that they can easily see on TV. On the more positive side, the Rhythm and blues shows today,like profootball new auditoriums and arenas built over the past decade on games, Broadway musicals or Hollywood movies,are big the outskirts of major cities, especially in the South and business. Outstanding r&b packages,likethe one that Southwest, have opened up many more places for r&b starred Otis Redding late last year, cangross over $250,000 packages toplay. And the tremendous impact of top in a month of engagements, a figure that would have been r&b names, through records, on an ever -widening audi- unheard of a scant five to 10 years ago. (The Redding ence has made it possible to build a giant show around show, presented by A. P. 0. Productions, topped that r&b super -stars. figure.) There are about a dozen super -stars who can head- Ten years ago there were more r&b packages on the line a one-nighter show and assure the booker and the road than there are today, but they were smaller shows promoter powerful grosses. Top among themis James that played more small cities than large and featureda Brown, who issuch a powerful artist that he doesn't handful of top acts. Now r&b shows start out big, fea- need any supporting acts at all on his show to score at the ture close to a dozen top acts, and play in larger arenas box office. Brown is without question the biggest draw and auditoriums than ever before. They play the largest on the r&b circuit. Other big-time stars on the r&b scene cities and they play before more people than a half dozen include Otis Redding, the Temptations, the Four Tops, of the small r&b shows of 10 years ago. The cost ofa top the Supremes, Ray Charles, Wilson Pickett, Jackie Wil- r&b package can run between $4,000 to $7,500a night. son, Joe Tex and Billy Stewart. Ray Charles and Fats but the grosses, in the large auditoriums they play these Domino, thoughstillstrongatthebox-office,appeal days, can hitas much as $40,000 for one night. The more strongly today to a white than a Negro audience. average gross for a big r&b package runs between $10,- Only a few female artists, besides the Supremes, fit the 000 and $15,000 per date. super -star category. Moms Mabley is probably the closest R&b booking agencies (such as Universal, Shaw and to it. Queen) and r&b promoters, have moved up from the For a number of years, The Motortown Revue, fea- small r&b units that once ranged the country playing turing the top acts on the Tamla-Motown label, was a small towns, to the large, big -city units for many reasons, box-office bonanza, both on the one-nighter circuit and most of them economic. The impact of television has at theaters. However, that show isno longer a regular ruled out any but thebig, star-studded r&b packages, entry and Tamla-Motown stars like the Supremes, Stevie 32 Billboard World of Soul The Supremes

James Brown

Wonder and the Four Tops now headline their own even fair headliners can earn as much as $2,000 for a shows. one-nighter on a weekend. James Brown and the Su- The biggest producers of r&b shows are A. P. 0. premes get as much as $12,500 for a college concert.Some Shows, of Miami, and Henry Wynn's Supersonic Enter- performers would rather work that one night for big prises of Atlanta. Three booking agencies handle 90 per money and lay off the rest of the week, and because cent of the r&b acts in the business: Universal Attractions, of thisalot of actsare unavailable for many one- Shaw Artists Corporation and Queen Booking Agency. nighter tours. There are a handful of other firms, who either specialize Yet inspite of these problems, r&b shows, though in r&b acts or send out occasional r&b shows, which there are fewer of them than there were years ago, are cover the other 5 per cent. doing better than ever. They are drawing bigger and Putting together an r&b show is not a simple matter. bigger crowds, and getting fatter grosses. Generally, the Even if some of the big names are available, the sup- audiences for these r&b shows are 80 per cent Negro porting acts needed to make it a strong show must also and about 20 per cent white, even in the South. Occasion- be assembled.Itisdifficult to find enough good sup- ally, in addition to r&b acts, a pop act or two will be on porting actsallfree for the same period. While the thebill. Mitch Ryder and the Young Rascals are two super -stars such as James Brown and Wilson Pickett are white acts that also have r&b appeal. well known and have proved themselves before audiences R&b shows are not only doing better in this country, for a number of years, the supporting acts are usually they have also become very strong overseas. England picked because they have just had, or appear to be on especially has become one of the hottest countries for r&b their way -to having, a big hit record. Since shows are acts. During the past three or four years r&b names have booked months in advance, it is no easy matter to decide racked up sensational grosses in England, stars of the two or three months ahead of time who will have a big stature of James Brown, Wilson Pickett, the Supremes, hit. That's why bookers study the Billboard charts every Otis Redding, the Four Tops, etc. Recently the Stax- week as carefully as dealers do. Volt show, featuring Otis Redding, Eddie Floyd, Carla The booking picture for r&b shows is also complicated Thomas and otherstars on the Memphis -based label, by the great success of r&b among pop fans. R&b acts concluded a successfdl tour of England, playing to r&b are the hottest performers on college campuses today, fans throughout the British Isles.It's another indication and according to r&b bookers,collegeswill buy top of the appeal and vitality of r&b performers, not only acts and will pay the limit to get them. This means that in this country but throughout the world. 33 Billboard World of Soul By Aaron Sternfield The The day when r&b actsplayed almost exclusively beforecoloredaudiencesincoloredclubsisnowa memory. The regular appearance of r&b artists on the pop charts, combined with national television exposure of r&b acts, has created a lush nightclub market forthis talent. The Shaw Artists Corp., which specializes in booking Nightclub both r&b and blues artists, reports a recent sharpin- crease in club bookings and the creation of clubs-having generally white patronage-with r&b talent policies. Latest of theseis Boston's Starlight Lounge, located inthe predominantly white Allston section of the city. As showmen, r&b artists generally have more on the Scene ball than a lot of other performers because of their constant opportunities for exposure. For example, while vaudeville is generally considered dead, houses such as the Apollo in New York, the Regal in Chicago, the Howard in Washington and the Uptown in Philadelphia thrive with r&b bills. These theaters offer new as well as established acts the opportunity to work before live audience. Inaddition, many r&b clubs catering primarilyto Negroes are on solid footings. Reason for this is that r&b stations have many all -day listeners ofallages,while pop stations generally attract a younger listenership. In terms of club appeal, the r&b performer is way ahead. His listeners include adults who may be served liquor legally and who have the money to spend. A pop performer who gets heavy airplay may not draw well in a club because his teen-age audience isnot a nightclub audience. According to Tom Carroll at Shaw Artists, the field is also opening up for blues singers. S.A.C. artists suchas John Lee Hooker and Jimmy Reed, who have formany years been strong in the blues specialtyfield,are now playing colleges and enlarging their base. An artist like Hooker will only command $750 a night (as opposed to the nearly 10 times that amount which James Brown will draw), but these college dates are becomingmore and more frequent. Also, blues singers have been booked into jazz clubs for years, and this policy shows no sign of abating. And Carroll believes that the recent establishment of Chuck Jackson the BluesWay label by ABC Records, with thepower of the ABC establishment behindit,will aid further blues artists as club performers. Most of the blues activities in clubs today is confined to weekend dates, although John Lee Hooker hasre- cently played the Whisky a Go Go clubs in Los Angeles and Atlanta. In terms of financial reward, the college dates and concert work make much more sense than club engage- Bobby Hebb ments. A blues singer, without a package, can earnup- wards of $500 for a night's work at a college concert. He won't earn much more for a week's work ata club. S.A.C.'s roster of blues and r&b acts includes Ray Charles, Chuck Jackson, Bo Diddley, Lowell Fulsom. B. B. King, Otis Redding, the Vibrations, Junior Parker, the Five Stairsteps and Bobby Hebb. Junior Parker The recent appearances of James Brownon the "Ed Sullivan Show" and the Five Stairsteps on "To Tell the Truth" are bound to bring r&b acts to the attention of millions of consumers who wouldn't know Lowell Fulsom from Lowell Thomas. And while r&b will continue to existas a specialty market, the acceptance of r&b acts by the general public Bo Diddley bodes well for these performers on the concert and nightclub stages. 34 Billboard World of Soul 1111111big):

SHOUT IS on F Re WITH THE ARTISTRY OF `THE GREAT SCOTT' FREDDIE SC BOBBY HARRIS DONALD HEIGHT THE EXCITERS

Shout Records, Inc., 1650 Broadway, NewYork, N.Y. 10019 (Top left) Don Robey and Gatemouth Brown in the early days of Peacock Records. (Top right) Gatemouth is a vibrant live performer. (Bottom right) Gatemouth is crowned King of the Blues at the Coronation Ball.

Robey's Faith PAys Off

By Claude Hall

In the early days, r&b music was waited until the last day of the year world. France, England, Puerto Rico, "felt to be degrading ... low,and not before releasing Brown's second rec- and Bermuda are very big areas for to be heard by respectable people," ord. So I was mad." r&b and gospel,hesaid. He also said Don Robey, president of Duke - He turned out his own record of doesquitealotof business with Peacock Records in Houston. "Peo- Brown doing "Mary IsFine" b/w r&b and gospel in Africa. ple believed that for years. ..peo- "Time Is Expensive" and named the "Business for us is 500 to 600 per ple 35 to 40 years old. record label afterhis club."It was cent better than 10 years ago. There's "But their children found outit a two-sidedhit," he said. From a so many more records and artists and wasn'ttrue;they weren't taughtit label that started with its roots deep blues records are going right into the like their parents were. in r&b and blues and gospel, Robey pop field . . . they're hardly classi- "Ialwaysfeltthat someday the has expanded to embrace all types of fying them any more. Why, artists like r&b record business would be a pay- music,including pop and country. 0. V. Wright and Bobby (Blue) Bland ing thing," he said. But among hisfirstartists was the are being played now by pop sta- Robey started Peacock Records 18 Five Blind Boys of Mississippi, whose tions when deejays used to complain years ago when he had an argument "Our Father"isstillselling today. about Bland's screaming before." with Aladdin Records. Robey had a This record has "been nice to me He felt there were different types nightclub called the Bronze Peacock through the years," Robey said. This ofblues-low-downblues,up -beat and hisstarartist was Gatemouth firstgospelrecord was numbered blues, and sophisticated blues. "But Brown,whomhealsomanaged. 1500 and the firmis now inthe I don't believe there's any difference Brown had been signedtoa con- 4,000 in religious records. between blues and r&b; it's just that tract by Aladdin for two records a In theearlydays, many records what we release, by the time it gets year."I wanted him to have a rec- were regional hits, but never got out to New York,it'ssomethingelse. ordout because he was playing in of the area; today, Robey ships gos- Sometimes it's even called folk mu- myclub everynight.But Aladdin pel and r&b recordsallover the sic."

36 Billboard World of Soul The House of Soul The House of the Blues

JIMMY REED JERRY BUTLER JOHN LEE HOOKER WILLIE DIXON THE HOWLIN' WOLF CHUCK BERRY SONNY BOY WILLIAMSON MUDDY WATERS BO DIDDLEY

ARE MUSICEEINRAD AIME 1619 Broadway, New York, N. Y. 10019

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Billboard World of Soul 37 "purists." Another of these original pioneers, King Rec- ords, has on its roster one of the biggest r&b names of the 1960's, James Brown. The success of Atlantic, Savoy, Chess, King, Imperial, Modern and Specialityinthe1940's andearly'50's helpedinspireaflock of r&b labelsand spurred the entry into the field by established pop firms. Columbia's R&B Okeh label, Victor's Groove and Decca's Brunswick, all became r&b 'labels;Capitol,Mercury and ABC -Para- mount moved into r&b; Duke Peacock, Imperial, Scep- ter -Wand, Tamla-Motown, Stax-Volt,Minit,and many others, added their logos to the r&b scene. By the mid - 1960's more than two score labels were issuing r&b rec- Popularity ords on a steady basis. The major r&b labelsin the field today,1967,in addition to Atlantic-Atco and Chess -Checker, are King, Tamla-Motown-Gordy, Stax-Volt, Brunswick, Kuke-Back- beat,Scepter -Wand, Okeh, ABC -Paramount, andBell- Amy-Mala. Otherlabelswithsteady r&b productin- clude Dial, Date, Shout, Soul, Tangerine, Carnival, Gam- ble, Uni, Riverside, Charade, Jewel, Dynamo, One-Der- Hits New ful, Mark II, Highland, Solid State, Money, Minit, Parla, Calla,Ric -Tic, One Shot,Mar-V-Lus, Goldwax, Tuff, Arhoolie Diamond, Original Sound, Ronn, Dionn, Kama Sutra, Musicor, Windy C, Groovesville, Verve, MGM, RCA Victor, Capitol, Fame, Mercury, Smash, and the newly revived Kent label. The great number oflabelsand theintensityof Peak competition in the r&b field has helped make it one of the most exciting areas of today's record business. R&b deejays are willing to take a chance on newcomers, in a By Morgan Roberts manner that Top 40, middle road or good music stations rarely do. New r&b artists have a chance to make it with their first record-if itis good enough. More important, Rhythm and blues recordings are enjoying unprece- an r&b record that breaks pop usually can and often dented popularity today, not only in the United States, does outsell the biggest pop hit, because itsells in two but in many other countries throughout the world. It has markets. Today more and more top r&b hits do break been reliably estimated that sales of r&b records are 25 pop, because the r&b stations have enough of white as to 30 per cent of the pop disk market in this country and well as Negro audience to create excitement about r&b a substantial proportion of pop sales in England, France disks in the pop market too. and Japan. R&b albums as well as singles are big sellers today. Today's booming sales of r&b records did not happen Atlantic,Chess, Tamla-Motown, Stax-Volt,King,Bell, overnight. It took years of hard work and determination on and many other r&b labels have r&b LP's in the best- the part of a handful of independent record companies to selling album charts every week. break r&b out of the confines of a limited market and get Another very strong aspect of the r&b field are its itexposedtoa mass audience.Consistentlyexciting "oldies." The big hits in the r&b idiom never become cut- r&b records produced by these independent labels and outs. They sell day in and day out over a period of years. the exposure of these records by Negro radio stations and Many singles released back in the 1950's still sell copies disk jockeys helped spread the infectious sound of r&b todaytodedicated r&b fans throughout thecountry. among white as well as Negro youngsters. In the mid - Some of the rarer r&b singles fetch very high prices 1950's, when the demand for the r&b sound began to from aficionados. rival the sweet pop sound of that era, Top 40 stations R&b oldies also sell solidly in LP collections. There and pop deejays latched on to the r&b sound too, and have been scores of r&b oldies albums issued over the eventually many other labels, both large and small, fol- years and a great percentage of them have hit the best- lowed the pioneers into the field of r&b disks. seller classifications. Many of them have contained rec- The dedicated pioneers of r&b in the late 1940's were ords by former r&b artists who are no longer on today's Atlantic and Savoy Records in the East, Chess and King scene, but in spite of that they sold and continue to sell Records in the Midwest and Modern, Speciality Records to students, historians, pop musicians and just plain fans and Imperial on the West Coast. These firms filled the of r&b. vacuum left by the large labels that virtually abandoned The overwhelming impact of r&b in today's market is the r&b field during World War II. indicated not only by the sales of r&b disks but by the in- Today, one of these pioneer labels, Atlantic Records, fluence of r&b and its performers on pop music. Most of is the dominant force in r&b. Although Atlantic has moved today's top pop -rock groups, from the Beatles and Rolling into many other areas now in addition to blues,itsex- Stones to the Mamas and Papas and the Monkees, were tensive roster of great r&b names, its constant introduction influenced by the great r&b names from the Chicago- of new r&b performers, and its tradition of quality r&b based blues singers like Muddy Waters and Jimmy Reed, releases, has made it the leader of the field. to Wilson Pickett, Otis Redding and James Brown. Chess Records has maintained a strong positionin That's the meaning of r&b records in today's volatile r&b over the years having built its own special image with pop market. And itall began only about 20 years ago "Chicago blues"thatareofintenseinteresttoblues due to the dedication of a handful of indie r&b labels.

38 Billboard World of Soul Billy Preston Lou Rawls Verdelle Smith The Soul Aggregation Ruben Wright The Checkmates Cannonball Adderley Sam and the Iridescents Lottie Jo Jones The Magnificent Men Dobie Gray Thelma Houston Nancy Wilson Patti Drew avadoe RICOli OS

39 Larry Uttal, president of Amy - Mala - Bell Records, long ago real- ized that the hit record action in the independentfieldislargelyinthe Soul Searching in the South South. "Some of those independent pro- ducersarededicatedtothepoint where they'll go into the hills and out into the fields to find talent and bring them into the studio. They're interested in bringing out the soul of the singer. . . not the musical perform-

ance, the technical perfection . . . those are secondary. "They also have a unique ability to communicate with the artists. Most of these producers have either country music or blues backgrounds and these two forms, in my opinion, come fromlargelya commonsource. There's not that much difference in James Carr's "On the Dark End of the Street" and a country record. It's a country song done with a blues feeling. "Such songsas"Sweet Dreams" and "Release Me'-these can go back and forth and be done well in either field." Many of the records produced by Goldwax Records out of Memphis, which Bell Records distributes, have a country music guitar sound running through them, Uttal said. He could Larry Uttal see no slackening of the current r&b explosion. "I find there is an increasingly greater acceptance of this type of material in the pop markets. Con- versely, a white performer like Mitch Ryder is very big in the r&b markets. "Asfarasbluesisconcerned, you've got to get the product out of where it's at. You may, from time to time, get a big blues item out of New York or California, but the bulk comes out of the South, with the exception of Tamla-Motown. I think the best Lee Dorsey blues sourceisMemphis. Goldwax isthe second -most important company in the area after Jim Stewart. Andit'scoming upwithunbe- lievable product that sells and sells. Not a record on the label has sold lessthan50,000. AnotherisDon Schnoeder out of Pensacola, Fla. But he cuts most of his records in Mem- phis.Outof New Orleans,Allen Toussaint and Marshal Sehorn have been fantastically successful with Lee Dorsey for us. In Fort Worth, there's Charles Stewart who's coming along quite well with the Van Dykes." Uttal'skeytosuccess,and he's coming up with hit after hit,ishis Mitch Ryder James Carr abilitytoobtain product fromin- dependent producers and promote it over the top. Much ofitisstrictly pop. But today, even producer Bob Crewe in New York - a la Mitch Ryder - is coming up with those blues sounds.

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Billboard World of Soul 41 Memphis Slim pictured outside Les Trois Mailletz with Peter O'Toole.

By Mike Hennessey

The music of the American Negro hasalways been admired andex- tolledbyasmallbutinfluential minorityin France. Jazz inallits Les Francais forms, from earthy, primitive blues, through New Orleans, swing, bebop and avant-garde has found its cham- pions in celebrated critics like Charles Malson and Andre Hodeir. Itissignificant that France's two Aiment major independent record companies -Barclayand Vogue-were both founded on jazz catalogs and, since the war, almost every major Ameri- can jazz musician has appeared in the clubs and concert halls of Paris. Le Blues Jazz in general remains a minority music. But in the last five years the audience for blues and soul music has grown considerably as a result of concerts and TV appearances by leading exponents like Ray Charles, James Brown,OtisReddingandPercy Sledge.

42 Billboard World of Soul (Above) Ray Charles and Joe Adams arriving at Orly airport fGr a Paris concert. (Left) Charles on stage at th? Salle Pleyel.

Otis Redding on stage at the Olympia in the same show with Europe No. I d.j. Hubert in the background. James Brown on stage at the Olym- pia Theater, Paris, in March 1966.

France has in fact experienced the same evolution as that of other countries - the public has come toap- preciate blues and soul not through jazz but by coming through the back door of rock 'n' roll and rhythm and blues. One artist who has helped more than any other to spread the blues message in France is Memphis Slim, who has been a French resident for the last five years. Says Slim: "So much popular music today is based on the traditional blues and more and more people are developing atastefortheoriginal stuff." The strong influence that American music has in France today began with rock 'n'roll, especially as played by such people as Chuck Berry and Bo Diddley. The rock 'n' roll period then gave way to a "ye -ye" craze which Sam and Dave on stage at the Olympia (Continued on page 44) during the Stax-Volt package show.

Billboard World of Soul 43 The Four Tops at a recent concert in Suresnes, just outside Paris.

(Continued from page 43) years soul and gospel music has been busy on the record scene with re- strongly represented. Artists like Nina cordings for Polydor, Vogue, Colum- was an uneasy amalgam of American Simone, Marion Williamsandthe bia, Odeon and Philips. rhythms and French lyrical pop songs. Gospelaires of Dayton have scored In the soul section of the wide- But currently the stream is divid- heavily in recent years. ranging blues field, Ray Charles and ing again as the French song reverts "There is no doubt," says Memphis James Brown have both made a tre- to its traditional format and the im- Slim, "that interest in the bluesis mendous impact in France and more ported blues and soul music becomes increasing. I have worked continuous- recently the Barclay and Riviera rec- more and more in demand. lyin the last five years and found ordcompanies have beenscoring The first company to put blues and a tremendous response in theuni- heavily with releases on the Atlantic, soul on the map in France was Pathe- versities and colleges. Atco, Stax and Volt labels. Marconi when it launched the Tamla- "People in Europe-young people The appearance in March of the Motown catalog in April 1965. The especially - know more about the Stax-Volt package of Otis Redding, T -M show was a sellout at the Olympia blues than the young people in Amer- Arthur Conley, Eddie Floyd, Sam and Theater. If featured the Supremes, the ica. I suppose in the States the blues is Dave, Booker T and the MG's, the Miracles, Martha and the Vandellas, right there under their noses so they Markeys and Carla Thomas gave a tend to overlookit.But in France tremendous boost to soul music in Stevie Wonder and the Earl Van Dyke they regard blues and soul as exotic France and record sales of these art- Sextet. music. I was surprised to find when ists have been most impressive. Pathe-Marconi spent $4,000 pro- Ifirst came to Europe in 1960 that In April, Ray Charles returned to moting the show and invited its rep- people knew allabout the records Paris for two SRO concerts, and in resentativesfromotherEuropean I'd made, when they were recorded the fall James Brown will be back at countries. Since then, Tamla-Motown and who was on them. They asked the Olympia with hisentire show. artistshave been steadysellersin me about musicians I hadn't played Meanwhile Barclay followed up the France and sales have been stimulated with for 10 years." tremendous success of the Stax pack- by the return of some artists for one Slim said the first big impact made age by bringing over Percy Sledge for night stands, latest of which was by by the blues in France was in 1962 a mammoth concert which featured the Four Tops who scored a tremen- when the Folk Blues Festival pack- 47 ofitsartists and was televised dous success in February. age appeared in Paris. "I was in that and broadcasted throughout France. The increasing demand forblues package in1962 and 1963 andit When rock 'n' roll first hit France, and soul has also been fostered by was a great success." local artists rushed out cover versions such U.S. -oriented disk jockeys as Sincethen the package hasre- of the big American and British hits. Hubert on Europe No.1, Rosko on turnedeveryyearandplayedto This, to a certain extent, reduced the Radio Luxembourg and the France warmly responsive audiences. market forthe original recordings. Interprogram"PopClub"which Slim has been featured prominent- But the blues and soul artists have heavily features soul music. ly at the Trois Mailletz club on the the field to themselves because their The trend isalso reflected in the Paris Left Bank and has also toured music has absolutely no equivalent in programming for the annual Interna- throughBritain,Italy, Germany, France, and neither has France any tional Jazz Festival at Antibes-Juan- Sweden, Denmark, Belgium, Holland, artists who could begin to compete les-Pins where for the last four of five Spain and Morocco. He has kept in this idiom.

44 Billboard World of Soul The Rhythm & Blues Hitsare onMODERN and KENT Records

ARTHUR K. ADAMS Z.Z. HILL SHE DRIVES ME OUT OF MY MIND BABY I'M SORRY b/w b/w GIVE ME SOME OF YOUR LOVIN' WHERE SHE AT MOD. =1034 KENT =464

JOHNNIE ADAMS LOWELL FULSOM

DON'T WAIT TOO LONG EVERY DAY I HAVE THE BLUES b/w b/w NO IN BETWEEN NO HARD FEELINGS MOD. 4036 KENT #466

JACKIE DAY B. B. KING WHAT KIND OF MAN ARE YOU? WHO CAN YOUR GOOD MAN BE b/w b/w

LONG AS I GOT MY BABY TREAT ME RIGHT MOD. 4037 KENT A67

MARY LOVE CLAY HAMMOND TALKING ABOUT MY MAN TAKE YOUR TIME b/w b/w DANCE CHILDREN MY JEALOUS GIRL MOD. #1038 KENT #468

B. B. KING Please Love Me Woke Up This Morning Sweet Sixteen (Part I) Every Day IHave the Blues 3 O'Clock Blues You Upset Me Baby You Know ILove You Rock Me Baby MARVIN AND JOHNNY Cherry Pie JOHN LEE HOOKER Boogie Chillen I'm in the Mood ETTA JAMES Roll With Me Henry JIMMY WITHERSPOON Ain't Nobody's Business No Rollin Blues HOWLING WOLF Riding In the Moonlight JOHNNY "GUITAR" WATSON Those Lonely Lonely Nights TEEN QUEENS Eddie My Love ELMORE JAMES Dust My Blues JOE HOUSTON All Night Long Blow Joe Blow JESSE BELVIN Goodnight My Love THE JACKS Why Don't You Write Me THE CLIQUES The Girl In My Dreams SMOKEY HOGG Little School Girl PEE WEE CRAYTON Texas Hop YOUNG JESSIE Mary Lou THE CADETS Stranded In the Jungle SHIRLEY GUNTER AND THE QUEENS Oop Shoop SAUNDERS KING S. K. Blues (Part I) JIMMY NELSON t-99 Jimmy Nelson ROSCOE GORDON No More Doggin BIG JAY McNEELEY Deacon's Hop THE IKETTES Peaches 'N Cream I'm So Thankful IKE AND TINA TURNER Please, Please, Please (Part I) LOWELL FULSOM Black Night

LITTLE RICHARD Tutti Fruiti - Ready Teddy Jenny Jenny - Long Tall Sally Lucille Slippin' and Slidin' KENTI monER,..-

Billboard World of Soul 45 Britons Dig The Blues By Nigel Hunter Before World War II,blues and Organs became a regular part of soul musicinBritain was the ex- the bluesline-ups,notably Graham clusive preserve of a small number of Bond with Korner and Georgie Fame. jazz buffs who indulged their inter- It took a good year before the blues est mostly through 78 r.p.m. records messagebegantospreadoutside releasedoccasionally under thetag London in late 1963 and 1964, aided of "race music." alot by traditional jazzman Chris In the Fifties, blues began to move Barber who booked leading Ameri- out ofthe jazztributaryintothe canattractionslike Muddy Waters popmainstreambymanifestations largely out of his own pocket. likeskiffleexemplified byLonnie Liverpool and Manchester were the Donegan's "Rock Island Line," and nextcenterstodigtheblues,al- then thetraditional(i.e. New Or- thoughLiverpooleventuallyopted leans) jazz boom which followed. foritsown uniquelocalvariety The real McCoy in blues and soul spearheaded by the Beatles. virtually took root here as a protest There was littleaction on record Work Less, and reaction against the stereotyped at this time. In 1962 Jack Good got traditional jazz which was being pur- the musical message from Korner's veyed in overwhelming quantity. The Blues Incorporated, and recorded an place of birth was a jazz club in the LP by them for Decca. The album is Ealing area of London, the cradle stillinthe current catalog now in Enjoy More was a band calledBlues Incorpo- 1967, and has topped the100,000 rated, rocked byitsleader,singer - sales mark. guitarist Alexis Korner, and the time TheStones'initialissueswere By Hank Fox was early 1962. rhythm and blues,i.e.,Negro pop music, in style and inspiration, and Blues artists are currently working This band numbered initsranks popularizedtheidiomimmensely. less and enjoying it more. According or as guest performers some of to- Otherhelpfulfactorswere dances to Dick Alen, sales manager of Uni- day's most consistenthitparaders, like the Twist, all combining to re- versal Attractions Inc., mot blues acts whose current work still bears strong vitalize the British pop scene on an are on stage about three days a week influences from those pioneering days unprecedented basis. instead of the six they worked just a of blues and soul. Tamla Motown came uponthe few years ago. But at the same time, Rolling Stones Mick Jagger and stage about three years ago, and ex- bluestalentis demanding and get- Charlie Watts were respectively erted an enormous influence with its ting more money per booking. singer and drummer with Blues In- Detroit disk sound, with Martha and "There was a time when we could corporated, Paul Jones,ex -Manfred theVandellas,theSupremesand only book bluesactsinall -Negro man and now solo,alsosang on others showing a consistent shade of neighborhoods orthe South," Alen occasions, and guests included Ani- true blues in their work. The Tamla said, "but now our artists are playing mal leader Eric Burdon from New- touring caravan failed,however,in dates throughout the country and all castle and Zoot Money. thespring of1965,partly because over Europe." Another prominent and influential itarrivedtooearly when Tamla's "Bluesare becoming more com- figure from that time was the late appreciation was still localized in the mercial," Alen continued. "No more Cyril Davies, who played harmonica Southwest and mostlybecausethe isit limited to one ethnic group and and sang with Blues Incorporated and dramatic record sound from Detroit a smattering of other fans. The teeny- also spoke blues volumes on 12 -string could not be reproduced satisfactorily booper and thecollegianare now guitar. Davies' death in 1964 left a on stage. tuned in." gap on the scene. Now the blues and soul influences Although Alen credits the greatly From Ealing blues and Blues In- are established and dominant in much expandedradioexposureforthe corporated moved into the West End of Britain's pop music. Blues have growth of blues, from a talent agency of town later in1962, and started settled down tomaterial from the viewpoint, he attributes much of its a series of SRO engagements at the Chicago, country and folk categories, successtothebluesstageshow. Marquee Club. About the same time, and soul steadily gains ground, with "Many of our acts that we have are theFlamingoClubfurtherdown people like Nina Simone and labels successfullyscoringwithoutahit Wardour Street was serving the rock likeAtlanticandStaxhelpingits record." 'n'rollvarietyoftheblues,and progress. Universal, which wasfounded drawing big audiences, mostly Skiffle,bluessingerslike Jimmy some 20 years ago, now has more colored,whereastheMarqueeites Rushing and Big Bill Broonzy were than 200 acts. In the past six years, were white. exposed to the public ear during the itsstaff of agents has grown from Korner and Blues Incorporated fa- traditional boom. The alumni of Kor- three to eleven. Some of the talent vored the Ray Charles variety of rep- ner'sBlues Incorporated, the Twist in Universal's roster are James Brown, ertoire, and the blues story diversified and the Detroit recording techniques who Alen calls one of the largest as the Bo Diddley and Chuck Berry are all links of the chain of success drawers in the country, Chuck Berry, styles caught on through the Rolling for blues and soul which have made Joe Tex, Junior Walker, Wilson Pick- Stones'earlywork,andManfred them permanententitiesinBritish ett,BillyStewart,andSamand Mann leaned towards soul. pop music. Dave. 46 Billboard World of Soul The World of Soulon 8 &4

A .8 M MAINSTIEA ABC PARAMOUNT MIRA AMY MIRWOO ATCO MUSICOR ATLANTIC NEW VOIC

BELL PRIMA COMMAND PROJECT 3

CRESCENDO ROULETTE DOT STEREO SESAC RDU SPHERE SOUND

FOCUS STAX GLAD HAMP TJCO GOLDWAX 20th CENTURY HORIZON VAULT

UNPULSE YE JAY TRACK VERVE VERVE RXICINAYS VILLAGE GATE VOLT

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14k ilk 14k\ fin lilt an 11111 orn 177. 77% R":711 tl 111111 1111 11611 11.1 IIIII IOU Ill ru IFR 1LJ INTERNATIONAL TAPE CARTRIDGE CORP wr ITCC BUILDING / 663 FIFTH AVENUE / NEW YORK, N. Y. 10022 / TEL: 212-42140BD; TWX: 7100351.34911 W V 'W Sutsidiary of Destra Corporation It's No GAMBLE Schoenbaum Views The Blues that "You can't really be a pop label "synthesisblues." And among the " TOGETHER"by without being a blues label. Ameri- younger bluessingers on the V/F can music is so firmly rooted in the label, Dave Van Ronk and Richie blues that a heavy proportion of what Havens are developing as blues styl- The Intruders is commonly accepted as pop product ists in their own right. Laura Nyro, (Gamble G205) is synthetic blues." whoisnotregardedasablues These are the sentiments of Jerry singer,will come out with a blues Schoenbaum,whoheadsMGM's album on her next outing. climbed to the Verve/Folkwayslabel. While V/F Schoenbaumcreditsthecolleges isnot normally considered a blues top of the charts! label, a surprising percentage of V/F and the change in jazz with the wide acceptanceofthebluesin product does fallinthe blues bag. recent WATCH FOR The catalogincludesrecords by years. suchbluesgreats as JohnLee On the former, he points out that THE NEW Hooker, Lightnin' Hopkins, Leadbelly, thecollegiansaredemanding,and Jimmy Witherspoon and Mama getting, more soulacts on campus. INTRUDERS ALBUM! Yancy. These college performances, Schoen- Schoenbaum points outthatlike baum said,areprovidingafirm Our Newest Winner Group- many classicalartists,bluesartists economic base for r&b acts, and are often have no permanent label affili- providing them with the exposure for THE CRUISERS ation,butwillrecordfora wide record sales. You'll be hearing about them! variety of companies. On the latter, Schoenbaum main- A popular V/Fact,theBlues tains that modern jazzis not dance GAMBLE-The specialists in Project,plays what isconsidered a music as jazz was a generation ago, Soul Records that go pop! contemporary pop rather than a blues and the kids are turning to current style, but it comes out in a derivative themesfordancing. Among these Distributed by the world's best . . . blues style, which Schoenbaum calls themesis r&b. Albany 1.S. DIST. Atlanta GODWIN Baltimore MARNELL Boston DISC Buffalo BEST Charlotte BERTOS Chicago UNITED Cleveland MIDWEST Freed's Contribution Dallas BIG STATE Denver DAVIS Detroit RECORD DIST. E. Hartford to R&B Growth GLOBE El Paso M. V. KRUPP Hawaii MICROPHONE Houston UNITED R&b music hasalways appealed Freed came up with the term 'rock Los Angeles CALIF. RECORDS to one segment of the population- 'n' roll' for the name of those shows. Memphis MEMPHIS/DELTA the Negro-but lately,itappeals to We copyrighted the term. And we more. It's ethnic in origin, said Roul- Miami TONE actually collected royalties from rec- Minneapolis HEILICHER ette president Morris Levy, but like ord companies foritsuse. One of else Nashville MUSIC CITY "anything that'sgood,ithas them was Capitol Records, as I recall. New Orleans NEW ORLEANS spread. But then we couldn't protect it after New York BETA "The way I look at it,all r&b is a while, about two weeks, because Newark WENDY more popular today because of one it would have meant filing a thou- Phila. CHIPS guy-Alan Freed. He was actually sand lawsuits.. is Phoenix ARC the first deejay to play r&b and blues "My recollection that he used Pittsburgh HAMBURG on a pop music radio station and had the term also for the name of his an appealto St. Louis ROBERTS the younger element. radio show on WINS, so the station San Fran. INDEPENDENT MUSIC That was in Cleveland when he was may have been named in the copy- known as Moondog . . . Seattle FIDELITY ELECTRIC about 1953, right,too." Ithink. Then Freed came to New The first big r&b record that went Shreveport STANS York to work as a deejay on WINS. pop, according to Levy was "Gee" He lostalawsuitto New York's by the Crows on Gee Records. George GAMBLE RECORDS Moondog andhadtochangehis Golden produceditin1954. Levy 1650 B'way, New York City 10019 name. Freed and I were producing laterbroughtthelabel;thissingle (212)757-2750 some live talent shows at the Brook- isstillselling today, he said. "It's a lyn Fox Theater and the Paramount; collector's item."

48 Billboard World of Soul 1111111041,40

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Billboard World of Soul 49 Wright Beat, Strong Storyline

By EliotTiegel

As a disk jockey in Cleveland, Ed a solid bass beat laying the founda- Wright's keen ear sought out records tion for everyone's efforts. with therightbeat and astrong Wrightisconcernedaboutclear storyline. As the general manager of definition. He points to modern rec- Minit Records, the rhythm and blues ording techniquesasan invaluable wing of Imperial Records, these same asset in capturing the multitudes of ingredients have a fresher meaning. intensity and complexities which the NEW DUO: Minit's Jimmy Holiday, They are must components inthe modern blue arranger -writer -perform- right, with Clydie King, a Raelet seeking development of an r&b recording if er seeks out. added facet to her career in r&b. it's to crack through all the competi- The lyrical quality of a blues song tion pouring forth from all sections has to "motivate people,"ithas to broadcasting for a desk job with Min - of the country. possess "some sort of message," and it, Wright answers quickly: "for the challenge." The record industry, with If a tune is arranged uptempo, the ifthe messageisabout love . . . beat has to be driving.If the song that'sgreat.Wrightbelievesblues its multitude of labels is more a chal- is slow, then the beat has to pulsate. songs withasociologicalorracial lengetothe young executive than R&b material must have a big beat, slant are more along the lines of folk working in a market where there may Wright contends, because of the mu- music than rhythm and blues. The be 13 stations and the competition is sic's heritage, "going back to Negro 26 -year -old Cincinnati native sees an so much narrower. gospels and spirituals." association between the music of to- In his new role with the Liberty Since departing radio last January day and the blues of the past eras. subsidiary,Wrightdoesa&r,sales after 12 years, Wright has been Min - "The old songs were basically based and promotional chores. He isable it's guiding light in its drive for ac- on a beat with a strong message. Joe to conduct the necessary "hype" pro- ceptance in the highly specialized r&b Turner and Fats Domino both sang motional calls around the country "to market. Since January, Minit products fast songs which carried a message," hissales and disk jockey contacts. have borne Wright's influence: voices he pointed out. "Ed,thisisEd," he says, "What's are clearly presented up front, with Asked why he left the excitement of happening? . . . Itlooks like that recordisgoing to be very big.St. Louisjustordered4,800copies. You're not leading the country any more." Duringthepastseveralmonths there has been much criticism over allegedobjectionallyricsinsongs, with one tune's "Sock It to Me Baby" title strongly being burned over the coals. Wright counters theseallega- tions,especially in the bluesy blues field, by emphasizing thatalyric's interpretationcan be anythingthe individual wantsitto be. "Sock It to Me Baby" could mean hitthat BoyWells instrument or play that music strong." Recently, Wright signed Minit vocalist -writer Jimmy Holiday as a producer. An ex -fighter, friend of Ray Charles, Holiday's voice is gutsy and strong. He wears wide collared shirts, reminiscent of the Billy Eckstine era. "I had an idea to use a low drum Rein roll with a light beat on top," he saidto Wright, during a discussion RECORDS about experimentation. "I'll try it one day." Holiday's adventuresome spirit resulted in his recording two sides last April with Clydie King, one of the Raelets. Listening to "Ready, Willing le's That Way Sometimes' and Able," Wright said, "That's our sound, bright and happy andthat means it can go pop. The other side is more r&b-oriented." In that com- Contact: ROSCOE MURPHY, 431 So. 62nd St.,Phila., Po. (215) SH 74721 ment, Wright summed up the current state of the market.

50 Billboard World of Soul '441111111111.

begins with... RECORDS

ARTISTS: Lee Dorsey Mitch Ryder Clyde McPhatter

The Van Dykes The Emperors James & Bobby Purify

The Attractions Oscar Toney Jr. The Incredibles

Mr. Bo & His Blues Boys Lou Johnson Clifford Curry James Carr The Ovations Spencer Wiggins PercyMilem

Mighty Sam Betty Harris Diamond Joe Eldridge Holmes Billie Dearborn

PRODUCERS: Allen Toussaint MarshallE. Sehorn

Bob Crewe DonSchroeder Charles StewartMadelon Baker

Jim Riley Buzz Cason Bobby Russell Quinton Claunch

Rudolph Russell Charles Green & Brian Stone

LABELS: AMY MALA BELL AUDIO ARTS BIG D

BIG TOP DYNOVOICE ELF FLASHBACK GOLDWAX SPHERE SOUND NEW VOCE SANSU TAURUS PALA

Bell Records1.776 Broadway, New York, NY. 10019 Whitey Makes The R& B Scene

By Claude Hall Carl Perkins, and Charlie Rich, had MercuryRecordshasablue-eyed beenrecordingblues artists;he soul artist-Lori Burton. Many r&b deejays and program merely adapted the same sound to What the future holds for white directorsfeltthey'dbeentricked the white gentry. artists in a field that was previously when they found out that the Right- It wasn't untila couple of years limitedto Negroartistswould be eous Brothers were not really Negroes. ago, however, that a mass movement difficult to predict. Many r&b radio Regarding Rocky G, one of the major of white artists to the Negro sound stations are facing a rather unusual personalitiesin thefield, WWRL developed.Today,you'llfindr&b type of competition today-the pop (New York) general manager Frank radio stations playing records by such music stationsare programming up Ward (hisboss)said, "You should to 40 per cent r&b records;these have seenhisface drop when he artists as Frank Sinatra, Chris Mon- found out." tez, the Young Rascals, the Spencer records are thehits,bought by all radiostationsare But,ineffect, the "damage" had Davis Group, the Beatles, the Roll- races.The r&b been done. The Righteous Brothers ing Stones, Johnny Rivers. The r&b creating the r&b hits, especially with had paved the way for an influx of stations claim these artists have soul. new artists.Then the popstations white artists on the r&b charts and on Inaddition,therearemanyacts pick them up and present them to r&b radio station playlists. It was actu- who've not yet got that all-important a wider audience. ally Georgie Woods, then with WDAS r&bairplayandhaven'tyethad Ineffect,thepopstationsare in Philadelphia (now with WHAT), much record success. Wayne Coch- playing the r&b hitsafter they get who coined the term "blue-eyed soul" ran, a dynamic artist, has won fan- into the top 10 on the charts of r&b and he coined it to cover the Righteous tastic acceptance with live perform- stations. R&b stations, in retaliation, Brothers. ances in Negro theaters and night- are more and more programming the But,whiteartistsunderstanding clubs, but hasn't come up with a hit top 10 pop hits in their market. Thus r&bsoundsandthefeelingwith record yet. the sounds of pop and r&b radio which most of theseartistsdeliver Also, the influence of soul shows stations are becoming much alike. their messages in song have long been up stronglyin several bands whose In many cases,the deejaystaffs on the scene. One of the majors, if style is blues -rock. These include the of these stations are integrated. One not the first was Elvis Presley who ButterfieldBluesBand,theBlues r&bformatradiostationrecently came out of Memphis on the Sun Project, and the Doors. Their albums adopted the policy of allowing about Records label to set the music world sell quite well and record companies 35 per cent ofits programming to on fire with a gutsy, hard sound and expecttosoon, come up withhit white artists, soul or no soul. a driving beat. singles out of these groups. R&b artists,ineffect, have been Sam Philips, president of Sun, who Soulisall -consuming; today you partially"souled"out.Butthey're discoveredPresleyandothersoul - might considerita method of de- making the pop scene so strong, they sounding artists like Jerry Lee Lewis, livery rather than a form of music. couldn't care less.

ElvisPresley's.gutsy Wayne Cochran wins soundwinshim a applauseplaying in No. 1 award. Negro theaters.

The Righteous Brothers get their Gold Record from Sammy Davis Jr.

52 Billboard World of Soul Surprise Smash Trio BOBBY BLANDHIM TOLLIVER0. V. WRIGHT "THATDID IT" "IN RETURN FOR YOUR LOVE" "HEARTACHES, HEARTACHES" b/w b/w b/w "GETTING USED TO THE BLUES" "GETALITTLE SOUL" "TREASURED MOMENTS" Duke #421 Sureshot #5035 Backbeat #583 MORE SIZZLING SINGLES (R&B) FOR 1967 "LITTLE SALLY WALKER" "FORGIVE ONE MISTAKE" (The Tornados) Sureshot #5032 (Little Eddie Taylor) Peacock =1949 "YOU KNOW WHAT TO DO" "T C B" (Taking Care of Business) (Buster Jones) Sureshot #5033 (Johnny Meyers) Peacock #1954 "TRY TO KEEP YOURSELF UPTIGHT" "GO-GO GIRL" (Jay Holman) Peacock #1955 (Lavell Kamma) Sureshot #5034 "I'LL BE TRUE TO YOU" "GET AWAY BLUES" b/w "TIRED OF BEING FOOLED BY YOU" (Junior Parker) Duke #406 (Melvin Carter) Peacock #1956 "COLD HEARTED WOMAN" "YOU'VE BEEN GOOD TO ME" (John Roberts & His Hurricanes) Duke #417 (Joe Hinton) Backbeat #581 "SOMETHING FOR THESE BLUES" -A GOOD MAN IS HARD TO FIND" (Buddy Ace) Duke #419 (Roy Head) Back Beat #582

"DON'T KILL MY GROOVE" c/w "LOVE MELIKE I WANTA" (Ernie K -Doe) Duke #420 THE WORLD'S GREATEST SPIRITUAL PRODUCERS PRESENT AN AVALANCHE OF GOOD GOSPELS IN ALBUMS FOR 1967... PEACOCK SPIRITUAL ALBUMS PLP #129 I'D TRADE A LIFETIME (The O'Neal Twins) PLP #130 THE LORD IS SWEET (The Hi Way Que C's) PLP #131 PRAYED TOO LATE (The Sensational Nightingales) PLP #132 HE'S DONE GREAT THINGS (Reverend Cleophus Robinson) PLP #133 WE ARE IN CHURCH (The Pilgrim Jubilee Singers) PLP #134 LIVE AT THE MUSIC HALL (The Mighty Clouds of Joy) PLP #135 THE BEST OF REV. CLEOPHUS ROBINSON (Rev. Cleophus Robinson) PLP #136 THE BEST OF THE MIGHTY CLOUDS OF JOY (The Mighty Clouds of Joy) PLP #137 THE BEST OF THE SENSATIONAL NIGHTINGALES (The Sensational Nightingales) PLP #138 THE BEST OF THE DIXIE HUMMINGBIRDS (The Dixie Hummingbirds) PLP #139 THE BEST OF THE FIVE BLIND BOYS (The Five Blind Boys-Jackson Harmoneers) PLP #140 GOLDEN GEMS OF GOSPEL (Variety-Spiritual) PLP #141 BACKSLIDING HEIFER-Sermon (Reverend Cleophus Robinson) SONGBIRD SPIRITUAL ALBUMS SBLP #201 LETTER TO JESUS (Inez Andrews) SBLP #202 TRIBUTE IN PRAYER (Rev. Oris Mays) SBLP #203 BELIEVE IN ME (The Melody Kings) SBLP #204 WHERE ILONG TO BE (Gospel Crusaders) SBLP #205 SOFTLY THE NIGHT IS FALLING (The Kansas City Melodyaires) SBLP #206 THE LADIES RIDE THE GOSPEL TRAIN (Variety-Spirituals) SBLP #207 COME TO JESUS (Reverend Amos Waller and The Mercy Seat Choir) SBLP #208 ANTIOCH MISSIONARY BAPTIST CHURCH CHOIR IN CONCERT (ReverendF.N. Williams-Pastor) SBLP #209 THE SECOND COMING OF CHRIST (Reverend Isaac Jenkins) FEATURED ROCK ALBUMS FOR 1967 BLP#66 EIGHT MEN -FOUR WOMEN (0. V. Wright) DLP#82 BLUES THAT GAVE AMERICA SOUL (Variety-Rhythmand Blues) DLP#83 THE BEST OF JUNIOR PARKER (Junior Parker) DLP#84 THE BEST OF BOBBY BLAND (Bobby Bland) PLP#2000THE BIG ONES FROM DUKE/PEACOCK (Variety-Rhythm and Blues)

DUKE/PEACOCK RECORDS, INC. 809 ERASTUS STREET, HOUSTON, TEXAS 77026 (713) 673.1225

Billboard World of Soul 53 HOME OF THE BLUES

MemphisandBealeStreetare "I am getting the white buyers hip," nomenon. "If you have the merchan- synonymous with the blues; and one Cherry stated,"with thereal blues dise, your business will hold up through . that is why oftheimportantmerchandisersof . .. with suchlines as Atlantic, Stax, most of the year .. and I alllabelsof con- blues records inthe areais Ruben Volt,Prestige,Bluesville,Folkways, carryvirtually Tradition, Colonial, Variguard, Chess, sequence in the soul field." Cherry. Cherry is head of the retail Checker, Cadet Stinson, Arhoolie and Cherry expressed regret that a sec- operation known farand wide as Blues Classics. . . . In the last six tion of Beale Street, from Main to "Home of The Blues," and it is right months there has been a marked in- Second, is scheduled to be torn down on Beale Street. Cherry's record lines crease in the number of white buyers, owing to an urban renewal project. contain the cream of the blues and and I regard this as a plus business." Along with many others, Cherry is of soul product; and today, he says, this Speakingofbusinessgenerally, the opinion that the district should be productissellingto white as well Cherry stated that today the record sparedbecause ofitshistoricand as Negro buyers. industry is no longer a seasonal phe- cultural significance.

Nashville's Blues is R B Sound Highclass Now' in Memphis yet, DialRecordsinNashvilleisan r&boasisin They haven't torn up Beale Street a vast desert of country music. Andit wasn't intended but one veteran operator says that the "real" bluesis dead. that way. Joe Cuoghi, President of the Hi label,said W. C. Dial may be the only label in the world which went Handy ("who really didn't live here very long anyway") solely by the dictates of its distributor. Intended to be an is forgotten by his own people, even though a traceof all -encompassing label, it moved directly into the rhythm his influence has trickled through over the years. and blues groove when Atlantic assumed the distributor- "Blues is high class now," Cuoghi says. "It's not the ship. down-to-earth stuff it used to be." He added that beat is Buddy Killen, executive vice-president of Dial, said the thing now, and people of all ethnic backgrounds dig he and Jack Stapp, president of Tree Publishing Co., rhythm and blues. "just decided we ought to have a label. We were going Cuoghi has a pretty close pulse on things. He entered to do a little of everything-pop, country, and whatever into the recording industry 10 years ago, and has had else came along." more than 21 years in the record retailbusiness, 19 years Dial's first artist was songwriter Joe Tex, and that in the jukebox business. got things going in the r&b direction. Atlantic took over His first big star and big record were, respectively, from there. Dial eventually became anallsoullabel. Bill Black and "Smokey," which sold a million. That was Tex came up with14 consecutivehits,including his in1959. He stillhastheBillBlack Combo on the latest, "Show Me." He also has done a live album, rec- label,along with suchartistsas Willy Mitchell, Don orded by Killen in Detroit while Tex was on the road. It Briant, Norm West, Gene (Bowlegs) Miller, Jerry Jaye, has not yet been released. Ace Kenner, Charlie Rich and Norvel Phelps. Dial added such artists as Frogman Henry, Little In addition to his recording firm, Cuoghi operates Archie, the Dialtones, and the latest signee, Jimmy Soul. JEC Publishing, the Royal Recording Studio, two retail Now Dial is shooting again for versatility.It has just stores and a one -stop. Along with his Hirecordings, he recorded a Swedish pop artist, Steff Sulke, on a straight rents the studios to Decca, Mercury and to smallerlabels. ballad number. If it clicks, the label will be going more "Nobody talks about Handy anymore," Cuoghi said. and more with pop. However, it does not plan to lose its "Now and then some school might put on a special r&b identity; instead, it seeks expansion. Ultimately it may program, but the young people don't even knowwho he do a country tune or two. was." However, he admitted that people who produce the "Memphis Sound" are born with it, and agrees that Stapp and Killen hold similar positions at Tree and heritage plays a part. at Dial. Joe Tex is an exclusive Tree writer as well as a He feelsthat Memphis has been overlooked asa Dial artist. recording center. He notes that old-timers such as Sam There may be new oasis cropping up. Monument, Phillips (Sun) were cutting everything from country to with its Soundstage Seven, is making a step into the r&b rock and rollyears ago, and lately has been doing a field, under the leadership of John R., and Ernie Young "little r&b." Phillips has his own expensive studios and at Nashboro has had a few releases. As things stand now. offices in downtown Memphis. The studios are used for however, Dial has put Nashville on the r&b map. all purposes and by several labels.

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Old Bluesmen Never Die- They(lust Play Away

By Ellen Sander

The blues aren't dying, nor are they even fading away. this highly distinctive form of Afro-American secular folk While some musicologists concede that much in the popu- music was exposed to the chord structure of the European lar music scene has its origins in the folk blues of a few Protestant hymn. These two musical forms superimposed, decades ago, they mourn the passing of the traditional the blues were born. No form of music can be found as form. a more important source, inspiration and directional factor Their mourning is a bit premature. Not only are the in American popular music of any era. traditional blues still a force in the record industry, but New lyrical interpretations were added as the Negro, their impact on popular music is as great as it ever was. liberated from the field, moved into other areas of work. No examination of the commercial blues is complete From this cultural mobility came railroad songs of the without an examination of the source-the traditional folk section gang, steamboat songs and prison songs of the blues which evolved into jazz, r&b and which has con- chain gang and the rock pile. The Negro's love of balladry tributed to the current pop sound. issimilarly responsible for many songs of the narrative The Negro slave in the agricultural South sang and type. And from this grew an emotional type of music, hollered in the field to ease the strain of cotton picking differing from the functional worksongs, and a new meas- and corn shucking, and in doing so, perhaps unconsciously, ure of creativity shaped and formed the style of the blues. answered an emotional need to keep alive the sounds of Consider thestatement of Odum and Johnsonin home. At the beginning of the blues stand these work "Negro Workaday Songs" (1926): "The folk creative proc- songs and field hollers of the Negro which employed the ess operates on a song, the origin of which may already pentatonic scale now common to African and American be mixed, and produces, in turn, variations that later be- Negro music, and a decided tendency toward syncopation. come the basis of formal blues." Hayakawa offers: "The These earlyblues also showed alove of complex blues arise from the experiences of a largely agricultural rhythmic combinations and strange harmonies, a deriva- and working class Negro minority with a social and cul- tive of African tribal music. The classic blues progression tural history different from that of the white majority." of 12 bars emerged from these African idiomatic rhythmic Blues lyrics, although emotionally charged, are unsenti- accents and African vocalisms, containing the character- mental and realistic in their accusation against an ordinary, isticdissonance, certain sounds that cannot be notated, workaday life.As such the blues became a social expres- which are approximated inlater blues by striking two sionof the American Negro, and with the blues, the notes a half -tone apart. New character was added when Negro subculture had its own popular music.

56 Billboard World of Soul 1.

Mississippi John Hurt

Sonny Terry, Muddy Waters, Brother John Sellers, John Lee Hooker, Joe Turner, Lightnin' Hopkins and Josh Whitecarry on the tradition.

The blues have a precise, raw vigor and a melancholy Age of the Blues," comment on the musical talent of the universality which accounts for its appeal in a growing American Negro are to be found as early as 1784 in nation and rapidly changing social scene where individual Thomas Jefferson's "Notes on Virginia." human preoccupations were being overlooked. The blues concerns itself with many things that have been lost; lost Although the more traditional folk blues remains alive happiness, lost freedom, lost human dignity and most of today in rural Negro sections of the Deep South, it has largely been modernized into r&b, the pop music of Negro all,lost love. urbania. Hence we have the distinctive sounds of Mem- Very often tales of woe are told through a veil of phis, Chicago and Detroit blues. irony and abarelydiscernibleundercurrent of social protest. And although the blues are intrinsically sad, itis Among the exponents of folk blues are artists such as never a hopeless despair, and the worst tragedies are not Sonny Terry, Muddy Waters, Brother John Sellers, John Lee without a touch of humor. The coincidence of humor Hooker, Joe Turner, Lightnin' Hopkins and Josh White, and tragedy is characteristic of the blues, and testimony whose popularityisrediscovered as a more enlightened of a people, who, although oppressed and persecuted, have audience realizes the importance and mourns the loss of never been too discouraged to forget to laugh at them- Blind Lemon Jefferson, Big Bill Broonzy, Mississippi John selves. Hurt and other old bluesmen. Humor, a great equalizer, served to soften the sting Herb Gart reflects that "The loss of Mississippi John of overwhelming social and political forces by focusing on Hurt was a literal loss of love," in a tone of voice unusual the intimate fragments of a more meaningful personal for a manager speaking of aclient."He presented a struggle for survival and happiness. The subtle and expres- strong music in a very gentle way. He was a classicist, a sive lyrics of the blues remained unaffected in form as totalartist whose influence can't be measured by the the blues were commercialized. Jean Cocteau observed that idiom in which he performed. His Casey Blues' the poetry of the blues is the only substantial contribution has been described as the highest form of folk art. While to folk poetry in our century. the influence of folk blues is very large and very real, The earliest traceable published blues music is W. C. Mississippi John Hurt, with hisabilityto confront an Handy's "Memphis Blues" written in 1909 and published audience of thousands and establish a vital, intense indi- in1912. And although most of thecritical writing on vidual communication, transcends the idiom itself." early blues is to be found from 1920 to 1940. the "Golden (Continued on page 58)

Billboard World of Soul 57 (Continued from page 57) From a humble, unassuming cotton field, a plaintive, rhythmic wail traveled, evolved, changing moderately in "The only reason," said Rick Ward, ABC Records an essentially undirected manner, until recorded for pos- publicity chief, "that the deep South and the West Coast terityon aluminum.Instrumentalized,commercialized, are considered the only commercially fertile field of the played white and black and marketed to a people who old blues sound, is that those are the only areas where this now had a music of their own, the blues have had the type of music has been exploited. We would not have most significant influence on what is now, somehow ironi- established a separate label, had we not been altogether cally referred to as the "contemporary sound." certain that there were very good national marketing pos- As recordings of a generally more sophisticated quality sibilities for this sound." continue to occupy choice spots on the charts, the pop He added that several artists were pulled from the groups who consider themselves a cut or two above rock company's other labels to head the line of talent to be 'n' roll look to the authenticity of traditional blues as an presented on BluesWay. "For example, we found that out important source of material. An increasing population of of ABC, B. B. King was a consistent, good selling blues amateurs follow suit, among them, the serious folkniks artist. And he was far from alone." move increasingly closer to the material of the older blues Although vocalists will predominate on BluesWay, artists. This pattern is generating sales not only in blues blues instrumentalists will be recorded, and both categories records but in instruments, sheet music and instruction are the object of a talent search by Bob Thiele. The present books and recordings. Elektra had just released a "How to BluesWay roster includes B. B. King, Otis Spann, Jimmy Play Blues Guitar" LP. Reed, John Lee Hooker, Joe Turner, Roy Brown and Eddie The consumer audience, also, appears to be looking "Cleanhead" Vinson. The first four LP's were released to a simpler, less pretentious form of entertainment as a around the first of the year. BluesWay plans to release balance to the banalities of much of popular rock, the two or three albums a month, a smattering of singles and complexities of the more avant-garde jazz, and the pleas- has ambitious advertising and promotional plans for the ant blandness of pseudo folk music. In the hysterically label and individual recordings. changing phenomenon of "straight"pop, more stable,

Stormy Monday Man

ByEliot Tiegel After 38 years as a professional musician, T -Bone Walker refuses toretire. The 57 -year -oldartistis one of the authentic blues singers working the boards these days. The "Stormy Monday" man himself, Walker says that everytime he tries to make up his mind to retire, "here comes something nice. The last time Iretired," he re- called between shows at the Troubadour in Los Angeles where he was on the bill for the first time in his career with a young rock 'n' roller, "I got a letter to come to London and sing at a blues festival." Having never been in London, Walker packed his electric guitar and took off to join Helen Humes, John Lee Hooker, Sonny Terry, Brownie McGhee, Big Willie Dickson and Jump Jackson for a series of concerts in England and Germany. They did 31 days with a blues package. During the past several years the man who grew up ina small town outside Dallas, who heard songs by Blind Lemon Jefferson and who worked with Cab Callo- way, Billy Daniels and Ethel Waters, has toured the Continent as a solo blues performer (with backing by local British groups) and with his first all -jazz package. The blues are lifeitself to Walker, who is thinking about slowing down one of these days, but not as long as T -Bone Walker bookings are stillavailable and he can play his music His voice and his guitar exude the blues before new audiences.

Billboard World of Soul 58 abiding forms of music are finding a permanent place in albums, "Wild About My Loving" is a pop version of the ever increasing record libraries of the public. some old Jim Jackson lyrics, and their "Sporting Life" The Vanguard Recording Society, which has,ac- sounds too much like B. B. King's interpretation of Willie cording to Maynard Solomon, "run the gamut" of old Nelson's "Night Life" to be coincidental. blues artists, finds the current LP releases of Skip James On the other side of the coin, the guitar work of (20- and Mississippi John Hurt maintaining a consistent,re- year -old, white) Mike Bloomfield of the Butterfield Blues spectable level of sales for a generally longer period of Band was used to back up Eddie Vinson on a recently time than the volatile hit albums. The last recordingses- recorded album of the latter. sion of Mississippi John Hurt will be released onan LP "It seems to be a phenomenon of natural evolution," by that company in mid August and will undoubtedly draw said Bob Thiele, a&r man on BluesWay, "thatwe now additional sales of a sentimental level. get back to original blues." By the same token, ABC in organizing BluesWay John Lee Hooker and Jimmy Reed headlined the felt that its blues artists should not be forced to compete American Festival of Music, sponsored by the Boston as such with teen oriented recordings, more advanced Herald -Traveler on April 21, t 2 and 23.Itissignifi- jazz, novelty and other types of material. canttonotethatJohn Leehas,inthepastfew British rock groups responsible for the proliferation of months, been booked at such places as Whiskey Au Go- burgeoning American groups admit to being influenced Go,the Golden Bear andtheFilmore Auditorium. and indeed inspired by Negro blues artists. The Rolling Hooker, now well into his '50's, is reportedly better booked Stones gleaned their name from a Muddy Waterssong and and earning more money than at any point in hiscareer. are quoted as saying they go out of their way to listen to Tom Carroll and Frank Sands of SAC agree that here is him. John Coltrane was the inspiration for theByrds, con- an essentially ethnic market expanding. Old bluesmen, far sidered by many to be the inaugurators of folk-rock. from being out of the commercial picture, have recently "I love my baby by the lovin' spoonful" isa line from been further promoted by ABC's efforts toexpose and a song popularized by Mississippi John Hurt and the der- market the authentic blues via BluesWay,a new label ivation of that group's name. A band fromone of their from that company announced late in 1966.

The author of some 40 blues tunes, Walker's voice is derful thing when a man brought me one. It was kind rich and strong, his fingering on guitar quick and supple, of hard getting used to because I couldn't adjustit.It his piano playing adroit. had an echo sound.. . .I would hit a string and hear the Walker says his blues tunes have always been written note behind me." for his own pleasure. Yet Lou Rawls, Nancy Wilson and Walker also feels he may have pioneered in another several other singers have recorded the tune, "Stormy area. In 1933 he joined the Count Biloski Band in Fort Monday" which was Walker's first hit recording. "People Worth, Tex., and for six weeks played guitar and sang callit 'Stormy Monday' but 'Tuesday's Just as Bad' is with theall -white band. His pay was around $30 a the actual title," Walker said. week. With aficionados of vintage blues performers, Walk- His first taste of "big money" occurred around 1936 er's name rings true. He has recorded for several small or 1937, when after having moved to Los Angeles and labels during his mobile career, his most recent affilia- started working at a small club, the Little Harlem in tion being with Jet Stream in Houston. (Walker said in Watts, a patron got him a booking on the Sunset Strip. February he had a contract from ABC Records in his "I was the first man to put the blues on the Strip," suitcase and hoped to join that label.) he said. The pay was $450 a week as leader of a blues Walker's original compositions are reflections of how bandatthe Trocadero Club. On thebillwere Billy people bounce off his mind's eye. He has written "I Got Daniels and Ethel Waters. Walker sang "In the Eve- a Break Baby," "This Is a Mean Old World," "Hard, Hard ning When the Sun Goes Down," "Mean Old World," Way to Go," "I'm in Love With a Woman," "Woman "The T -Bone Blues" and "Careless Love" for the cafe You Must Be Crazy," "West Side Baby" and "Bobby society audience. "The reaction of the people to the Sox Baby." blues was just beautiful," said T -Bone. From this Strip "People in the South where I used to live, live the club, Walker joined the Les Hite band for one year as life of the lyrics," he said. "It was a big thing to play the a sideman -vocalist. His first recordings were cut in 1940 blues. If you couldn't play the blues you were nothin'. for the Black and White label and numbered some 40 Especially in alittle town like Linder, Tex., whereI sides. grew up." For five years starting in 1946 Walker barnstormed Things really haven't changed that much since Walker the South with his own nine -piece band and was in and started playing with his family's string band when he out of the band business in the succeeding years. was around six years old. "People today are still living the Although he confesses to enthusiasm for the modern life of the blues. I've seen people cry when you sing the generation, Walker doesn't feel inclined to create blues blues. Something must have happened to them to put based on current happenings. "I'm more interestedin them in that mood. Then I've seen people jump and people and the life they lead. The last song I wrote was shout." 'I Used to Be Your Fool'. . . but that was long ago, Walker feels he was the first blues singer to use an now I'm wise to you baby, I'm not your fool no more." electric guitar. He pegs his start in 1935, before Charlie On stage, Walker's blues come in two varieties, fast Christian joined the famed Benny Goodman Sextet. Walk- and hot and slow and simmering. "Playing the blues er explains he chose theelectric guitar because with fast takes the soul away," he charges. "Play it slow and an unamplified model he was always being covered over it'snice to listento. This is what we call sweet blues when he played in big bands. "I thought it was a won- because it allows you to hear the sweet harmonies."

Billboard World of Soul 59 BLUESWAY: Where it's at ABC Records' new BluesWay label, which bowed late on the BluesWay on a monthly basis, andNewton's goal last year,is showing strong signs of becoming a major is at least 15 BluesWay LP's in the market by the end factor in today's increasingly blues -oriented market. The of 1967. first four albums on BluesWay by veterans in the blues Althoughvocalistswillpredominate on BluesWay, field (B. B. King, Jimmy Reed, John Lee Hooker, Otis instrumentals will be recorded, and both categories are Spann) have received excellent public and critical recep- the subject of a talent hunt by Bob Thiele. tion.Apparently BluesWay offers what one writer called Beginning his search in Chicago, Thiele said, "Just like "a missing link" in the current market between the tradi- jazz, the real authentic blues made its way up the Missis- tional blues and the new blues issuing from today's young sippi from the Deep South, landing in Chicago, where recording artists.The general feeling seems to be that there's probably a greater wealth of blues material and a labeldevoted exclusivelytothe bluesisneededat artists than any other place in the country." B. B. King, exactly this point in the musical history of the idiom. Jimmy Reed and Otis Spann are all based in the Windy Conceived by ABC Records' director ofartist and City, and John Lee Hooker hails from not far away, repertoire, Bob Thiele, and strongly endorsed by company Detroit. President Larry Newton, the Bluesway subsidiaryis the BluesWay is marketed in a single jacket, with liner objectof concentrated effort fromalldepartmentsat notes written by authorities on the subject, such as Nat ABC Records, Inc. Newton's plans are to gather a stable of Hentoff, Stanley Dance and Sheldon Harris, to name a traditional blues artists, rather than signing the younger few. The liners contain complete personnellisting and generation to record for BluesWay. In addition to artists recording information together with photographs.The representedinthefirstfour BluesWay albums,the ABC Records logo is an integral part of the design for the label has signed Joe Turner, Roy Brown and Eddie (Clean - new BluesWay logo and label, with "BluesWay iswhere head) Vinson as exclusive artists. The first single released it's at" as the identifying slogan.

CAP ComesonStrong in R

Since making the decision one year ago to make a created two labelsspecificallyfor r&b product-Fair- major effort to break into the r&b field, Cameo/Parkway mount Records and Goodtime Records. Lonnie Young- Records has racked up one of the strongest showings the blood is signed to Fairmount and the Soul City records label has ever made not only on the r&b lists but on the for Goodtime. pop charts as well. President Al Rosenthal, sales manager Bogart stressed that in making its bid for the r&b NeilBogartandnationalpromotion managersCecil market, the company has done a great deal more than Holmes and Marty Thau called their plunge into r&b the just make records and send them out with the hope that most rewarding move the company has made in the past they'll be played. "Marty Thau, Cecil Holmes and I are severalyears. Holmes, incidentally,is one of the few on the road constantly. We spend a great deal of time Negro national promotion managers of a pop label. with our artists and at the stations. We make it a point to Biggestfactorinthebreakthrough has been the know what's happeningineveryterritory and when phenomenal success of the Five Stairsteps on the Windy something is breaking-or ifitis not happening and we C label which is distributed by Cameo/Parkway. Starting feel that it should-we go in for a personal look. withtheirfirstrecord "You Waited Too Long," the "Too many pop companies that say they are diversify- group has had a string of successive hits. Their current ing into r&b merely give itlip service. They're big on "Ain't Gonna Rest" is their fifth chart single in a row the phone and they lavishly entertain r&b deejays who and their first LP "The Five Stairsteps"is now on the come to New York but you never see themwhen you're album charts. on the road. This kind of attitude doesn't foolanybody. The Five Stairsteps, who range in age from three to We've seen many 'pop' companies lose r&b records that 17, have become one of the biggest box office groups in might well have gone the route if someone had gotten the r&b field. They have headlined both the Apollo and out of his office for a couple of weeks and really worked Regal theaters and had national TV exposure. their product. You can't fully understand what's going Other strong r&b names developed by Cameo/Park- on in the field without being there. The picture you get way are Bobby Marchann, who made the charts with is too distorted." "Shake Your Moneymaker"; Eddie Holman who has had According to Rosenthal, "The decision to commit our- two disks grace the bestsellerlists - "This Can't Be selves to a major r&b program stems from our feeling True" and "Am I a Loser?"; Lonnie Youngblood whose that r&b is the dominant and even the motivating force current offering is "Soul Food" and the Soul City who in contemporary music all over the world. Today, hits have a strong contender in "Cold Hearted Blues." Re- have no racial boundaries and 'crossover'records are cently, both Eddie Holman's "Somewhere Waits a Lonely commonplace. As a progressive recording company, we Girl" and Bobby Marchann's "Help Yourself" racked geared ourselves to takefull advantage of the oppor- up powerhouse sales. tunity this 'crossover' represents and the result speaks for To solidify further its position in r&b, Cameo/ Parkway itself."

Billboard 60 World of Soul Et***getA-61,613&,W4tactal ON94tVANGUARD RECORDS

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By Ray Brack

There are a lot of things kids won't buy today, but personal reason involved that can create the mood or they're buying the real folk blues. Wary of shallow senti- feelingthat makes theblues." ment, preachment, cliche and propaganda, they're finding "Bluesisa storythat you've lived and felt,"says the blues to be believed. With soul, apparently, there's no Leonard Chess, who has carried his tape recorder into credibility gap. Southern plantation shanties to capture some of America's Extrapolating on the basis of phenomenal sales of its most memorable music." "Real Folk Blues" series on campus, Chess Producing Musicologists point out that blues is not an expres- Corp.isbetting that the teen record buyer is about to sion of sadness or pathos but of thetotal human ex- turn to Muddy Waters, John Lee Hooker, Howlin' Wolf perience. As such, blues may best articulate for the now and Sonny Bob Williamson. generation the anxieties and ecstasies of the age. "Look," said Chess advertising manager Dick LaPalm, "The most astonishing aspect oftheblues," wrote pointing to the inside front cover of a successful teen Richard Wright, "is that, though replete with a sense of record magazine. "There's my first Muddy Waters ad for defeat and downheartedness,theyarenotintrinsically the teeny boppers." pessimistic; their burden of woe and melancholy isdi- Perhaps it's a surfeit of secondhand, sophisticated blues alectically redeemed through sheer force of sensuality into that has the youngsters looking for antecedents such as an almost exultant affirmation of life,of love, of sex, Waters and Sonny Boy Williamson. of movement, of hope. . . . Blues are a lusty,lyrical "We're tryingtosatisfy youngsters now," concedes realism charged with taut sensibility." Willie Dixon, author of some 250 of the best blues songs, And Hughes Panassie has written, "The blues, in spite including "Seventh Son." "Blues has always been someof their nostalgic mood, have nothing to do with whining- thing that has to adjust to the world. If the world is in a but rather express a confidence, a tonic sense of vitality." fickle condition, music will be fickle. But ifthe world As a young writer in Europe, James Baldwin experi- is thinking seriously, then the music will be serious." enced startling self -realization through repeatedly listen- For the youth giving serious thought to the universal ing to two blues recordings. themes of the blues, even good derivatives like the Roll- "It was Bessie Smith, through her tone and her cadence, ing Stones don't fullysatisfy. Sometimes the copies are who helped me to dig back to the way Imyself must too polishedto parody what George Leaner callsthe have spoken when I was a pickaninny and to remember "creative crudity" of the blues. the thingsI had heard and seen and felt.I had buried Dixon, who's writing a book on the subject,says, them very deep.I had never listened to Bessie Smith in "The abilityto deliver the blues with depth of feeling America (in the same way that, for years,I would not can't be learned from books or schools. You may learn touch watermelon), but in Europe she helped to recon- to imitate, but without this feeling handed down through cile me to being a 'nigger.' " many generations of poverty-stricken people you cannot Say students of the real folk blues, youth today are duplicate the blues. You can find people who can play finding meaning in the unsophisticated, philosophical state- rings around bluesartists with their guitars and other ments of the blues. instruments, and can sing clearer and have better voices, The Rev. Gordan Humphrey, pastor of Chicago's Shiloh but they can't duplicate thatreal,inherited soul. Baptist Church, explains blues' youth appeal likethis: "No one can dream up the real blues, nor can you "What is blues? To some it's race or ethnic music. To get the blues when you want them, unless you have a many itis plain soul music. But to the kids itis hope." ORDER your extra copies of the WORLD OF SOUL today available in limited supply. Only $1.25 per copy postpaid. Payment must accompany order.

BILLBOARD- World of Soul 165 West 46th Street New York, N. Y. 10036 Please send me copy(s) of the 1967-'68 WORLD OF SOUL editionat $1.25 per copy,postpaid. My check or money order is enclosed for (NO C.O.D.'s)

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Including: Close Your E Time After Ti Because of You When I Fall in love ti!! Mod for tore

1 EM 3004/TES 40C4 and their atum

The Coasters The Spellbinders The Glories ."Down Home Girl"c/w"Soul Pad""Since I Don't HaveYou" "I Stand Accused" 2-1552 2-155C 2-1553

Each one aageto remember. © "DATE", MARCA REG. MADE IN U.S.A.

Billboard World of Soul 63 Scepter in R& B GrooveBy Fred ..,,

Scepter Records has relied strongly mendous that it's become difficult to the firm, "Twist and Shout," which on r&b-oriented material for its suc- define. Five or six years ago, there was one of the earliest Beatles success in the pop market and fully in- was no problem. A record was either cesses. Soon after Scepter was formed, tendsto continue thispractice. Be- r&b or pop. Not so today. The appeal the company set up the Wand label. fore forming Scepter in1958, Flor- of theartistsisuniversal,not just Wand's biggest success, "Louie, enceGreenbergproducedShirelles confined to one area. Louie" by the Kingsmen sold well in records, which were leased to Decca. "Theinfluencethatr&bmusic r&b areas. The Shirelles became thefirsttop - has made on the pop fieldalsois The strong influence of gospel mu- selling pop act on Scepter with r&b great with such pop groups as numbers as "Dedicated tothe One the sic and gospel training is evident in Rolling Stones and the Animals de- such Scepter starsas Dionne War- ILove" and "Tonight's the Night," both gold records. cidely influenced by r&b. Many art- wick, whose family are gospel singers. The latter, released in 1960, ists today don't like to be designated Scepter's gospel Hob label has James markedthebeginningofScepter's as r&b, feeling this label may limit Cleveland's "Love of God," which being on its own through distribution them." was turnedinto one of thefirm's and merchandising. The naming of OnScepter's success, Schlacter biggest r&b hits "The Love of My Luther Dixon as a&r head brought pointed out that the company began Man" by Theola Kilgore. Scepter further into the r&b groove, producingr&bproductwhenthis Schlactercreditsthefeelingand "a move we've never regretted," ac- fieldstillwas asmallsegment of materiallearned in churchwith cordingtoMarvinSchlacter,vice- the music business and was "treated strongly contributing to the emotions president of the firm. Schlacter also asastepchild." The company de- of r&b, whichis what has captured had been with Scepter since its early velopedartistsand product inthis the public's attention. "We now are days. vein as teen-agers, young adults and interested in providing a Chuck Schlacter explained, "The country the public in general became inter- Jackson and a Maxine Brown with and the music business have finally ested in r&b. therightmaterial. We don'tthink cometorecognize r&b musicfor Schlacter noted that English the exposure will be limited because what itreallyis and have come to groups were much quicker to recog- thatmaterialisr&b. The emotion acceptitas a tremendous influence nizethemeritsofr&bthanthe and excitement of r&b are becoming on today's pop music.Infact,the American public. As an example, he part of the pop scene. And we've only acceptance of r&b todayissotre- cited the Isley Brothers' big hitfor scratched the surface.

Chuck Jackson Maxine Brown

Dionne Warwick

64 Billboard World of Soul BCC QUEEN BOOKING CORP. 165o Broadway .Saile 141(1 ,1'enY ark. New York 10019 Tel.: 265-.3350-1-2-3

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...and many more booked exclusively byQUEEN-v BOOKING CORP. Ruth Bowen, Pres. James Arnold, Vice-Pres. DECCA's B RESURGENCE By Aaron Sternfield

"The record company that mails singles to r&b disk techniques. One of Gabler's first accomplishments was to jockeys and expect to get air play is whistling 'Dixie.' I hire top sidemen for the recording sessions and thereby know about 500 r&b deejays by name-and I know the instill a professionalism which had been lacking at times. names of about 300 of their wives. When I want play on a The big break in r&b music and promotion came dur- record Ivisit the deejay or call him up, ask about the ing World War II. With Negroes earning decent salaries family, chew the fat a while, and relax. More often than in defense plants, their spending power became a factor not, he'll ask me what looks like it might happen." that sellers of goods began to reckon with. Hence the The speaker is Joe Medlin, national r&b promotion proliferation of Negro radio stations, programming r&b manager for Decca-Coral-Brunswick. Medlin, who was a music. The earlyadvertisers were ribjoints and hair recording artist not too many years ago, and more recent- grease manufacturers. ly was with Atlantic Records, was hired by Lenny Salidor, As the Negro purchasing power increased in the 1950's, D -C -B promotion head, to beef up the Decca r&b effort. these r&b stations began attracting the same type of adver- Also hired during the last year was Jack Gibson as a tisers who spend their money with pop stations, and the regional promotion representative for r&b. Gibson is past stations grew fatter, and their influencein determining president and one of the founders of the National Associa- record sales grew proportionately. tion of Radio Announcers, the Negro disk jockey organi- It was in the 1950's that the majors lost their hold on zation. this market, and the specialized independent labels moved Both moves are an attempt on the part of Decca to rein. capture the dominant position the label had in the r&b Decca's decision to move back into the r&b market in world in the 1940's. a big way was prompted, of course, by its recognition of At that time, recalls Milt Gabler, a&r vice-president, the size of the market (Negroes spent $28,000,000 last the Negro dance band and the band singer constituted year), and the realization that the line of demarcation between r&b and pop is narrowing. the commercial side of Negro music. R&b, as itis understood today, did not exist. Medlin feels that while the Northern r&b stations are important, an r&b record can make it and later go pop Big bands of the era included Cab Calloway, Erskine on the basis of an initial Southern breakout. He maintains Hawkins, Buddy Johnson and Andy Kirk. They were big that pop stations will often turn down r&b product initial- on college campuses, and live appearances mant a lot ly, then after the disk has been getting heavy play on r&b more then then they do today. stations, jump on the record. Promotion, when Gabler joined Decca in 1941, was a "You can force r&b on a pop station," said Medlin, fairly simple matter. A few radio stations in the South, but you can't force pop on an r&b station." He pointed aimed at Negro audiences, played what at that timewas out that while r&b stations will program white acts such known as "race" music. Jukeboxes in rib jointswere im- as Tom Jones and the Rolling Stones, the r&b disk jockey portant outlets. At that time, jukebox play was prime will not play a lot of the material regularly scheduled on exposure, and the countermen at the distributors talked up Top 40 format stations. the records to the operators. That was before the days of The r&b disk jockey, said Medlin, has more of a say in one -stops. programming than does the pop deejay, who usually must There weren't too many labels in the business at that follow the dictates of the program director, although this time. R&b radio had not yet spawned the hot independ- say is becoming less and less. ents, and the majors were getting the lion's share of the And while r&b stations generally stay with colored business. performers, they will program white artists if the disk jock- Promotion was aimed at the dance promoter and the ey feels the artist has soul. Medlin cites the country -gospel handful of radio stations. But, Gabler recalls, there really artist Red Foley, who has hit the top country and r&b wasn't any great need to promote. The acts made enough charts with the same record. liveappearancessothattheirrecords had automatic Under the new regime, Decca-Coral-Brunswick has sales. an open door policy for artists and independent producers. When Gabler joined Decca, J. Mayo Williams was the Under contract are Jackie Wilson, Gene Chandler, the r&b producer. One of Gabler's jobs was to check the Artistics,the Young Holt Trio, the Wildare Trio and lyrics to make sure they weren't too blue for air play. BillyButler,all on Brunswick; Jackie Verdell, Gladys It was at this time that Buddy Johnson, with his 16 - Tyler and Ray Pollard, on Decca, and Patty Austin on piece band, began recording the first records which fall Coral. And, of course, Louis Armstrong has returned to intoday's r&b bag-with the back beat and similar the Decca fold. 66 Billboard World of Soul the source 01 soul

INCORPORATED A DIVISION OF MONUMENT RECORD C ORPORATION

NASHVILLE / HOLLYWOOD

THE AMBASSADORS SAM BAKER SIR LATTIMORE BROWN ROSCOE

SHELTON JOE SIMON DEE

AND LOLA JAMO THOMAS

67 Billboard World of Soul A few days before the December 3, 1925, premiere of "Concerto in F," asit became known, Gershwin wrote a descriptive note for The Tribune: "The first movement employs the Charleston rhythm," he said. "The second GERSHWIN, ARLEN movement has a poetic nocturnal atmosphere, which has come to be referred to as the American blues, but in a purer form than that in which they are usually treated . . " To Goldberg, the second movement was not only and THE BLUES one of Gershwin's "loveliest blues," but "more subtle, more sophisticated blues, than the quasi-Tchaikovsky middle theme of the "Rhapsody.' " The following year, Gershwin premiered a group of "Preludes for Piano" in a joint concert with Peruvian singer Marguerite D'Alvarez, who once said: "When I die,Iwant Gershwin's jazz concerto played over my grave." Perhaps the best known of the three that later appeared in print was the prelude in C sharp minor, described variously as a "haunting blues" and a "plangent blues." As in his other major works, "An American in Paris," premiered in 1928 by the New York Symphony Orchestra, contained a major blues theme. "The blues that glorifies the second part of an 'American inParis.' "Goldberg observed, "is,literally and figuratively, true blues.Itis from a Gershwin who may be over his blues, but from a Gershwin who still feels them vibrating through his be- By Arnold Shaw ing." "I find many references to George Gershwin," novelist It is not surprising that the crowning work of Gersh- Carl Van Vechten wrote, after studying his diaries of the win'sshort-livedcareer, "Porgy and Bess,"dealt with Twenties, "and it is interesting to note that my interest in Negrolifeand thathe made such extensive useof the Negro began in 1924-1925 and that George's interest Negroid materials that he was characterized as the Abra- grew up parallel to mine." ham Lincoln of American Negro music. The characteriza- Gershwin's concern with Negro life and music actually tion was made by J. Rosamond Johnson, composer of "Lift manifesteditselfatleasttwoyearsearlier.Forthe Every Voice and Sing," sometimes known as the Negro "Scandals" of 1922, he and lyricist Bud DeSylva wrote national anthem. And the occasion was the Boston pre-, a one -act opera they called "Blue Monday." Critical reac- miere of what has become the most popular and most tions were sharply split. Darnton of The World called it celebrated of operas by an American composer. Later, "the most dismal, stupid and incredible blacicface sketch Johnson explained: "I christened him the Abraham Lin- that has probably ever been perpetrated." A reviewer, coln of American Negro music because he had, with one who signed himself WS, took an equally strong favorable broad sweep, clarified and removed all doubt as to the stance: "George White and company have given us the possibility of using American Negro idioms in reaching the heights of serious musical achievement." first real American opera... . Here at last is a human plot of American life, set to music in the popular vein, using Gershwin, who had become interested in the operatic jazz at the right moments, the sentimental song, "The possibilities of "Porgy" as early as 1926, but could not get Blues," and above all, a new and free ragtime recitative." to the work until eight years later, explained his choice of Facing a split verdict, producer George White took no subject as follows: "It was my idea that opera should be chances,and "Blue Monday" was dropped from the entertaining-thatitshould containallthe elements of "Scandals" after only one performance. Apart from dis- entertainment.Therefore, whenIchose"Porgy and playing Gershwin's larger ambitions, "Blue Monday," sub- Bess," a tale of Charleston Negroes, for a subject, I made titled"Opera Ala Afro-American," ledtohiswriting sure thatit would enable me to write light as well as "Rhapsody in Blue." serious music and that it would enable me to include humor Among those featured in the 1922 edition of "Scandals" as well as tragedy-in fact, all the elements of entertain- was Paul Whiteman and his orchestra. Whiteman liked ment for the eye as well as the ear, because the Negroes. the music of "Blue Monday" so much so that he there- as a race, have all these qualities inherent in them. . . . after played it periodically under a title he gave toit, They express themselves not only by the spoken word but "135th Street." More significantly, when he began plan- quite naturally by song and dance." Although he con- ning the historic Lincoln's Birthday Aeolian Hall considered using Negro folk material, he eventually decided cert of 1924, which he called "An Experiment in Mod- for the sake of achieving a unified style to write his own ern Music," he invited Gershwin to write a Jazz Concerto. spirituals and folksongs. Along with Zez Confrey, composer of "Kitten on the To ensure that his creations would be authentic, he Keys," Gershwin was a featured soloist, playing the piano and a cousin rented a cottage on Folly Island, a small for the premiere of hisfirstlarge work, the famous barrier island 10 miles from Charleston. They paid num- "Rhapsody." On a later occasion, Gershwin said of the erous visits to James Island nearby, which had a large work: "I heard it as a sort of musical kaleidoscope of population of primitive Gullah Negroes. Gershwinat- America-of our vast melting pot, of our incomparable tended many church 'shouts', participating in some him- national pep, our blues, our metropolitan madness." When self, and learned much from the improvised polyphony of he was working on his second large work in1925, he Negro choral singing. When the completed opera went told his first biographer, Isaac Goldberg: "The "Rhap- into rehearsal, Gershwin successfully fought those who sody," asitstitle implied, was a blues impression. The wanted to use white singers with operatic experience in "Concerto" will be unrelated to any program." the cast. Many Negroes with operatic training appeared in 68 Billboard World of Soul the tryouts. Eventually, Gershwin persuaded his colleagues By the time he was a teen-ager, ragtime had passed its to choose Negroes with show backgrounds rather than peak and the sound of hot jazz was in the air. Apart from operatic training, since he felt that the folk character of singing in his father's synagogue choir and hoping for a the work and his songs demanded a freer singing style. career as a vocalist, his earliest musical experience wasin Insofar as Gershwin's songs are concerned, virtually organizing and arranging for a jazz combo. His first song all of them written for Broadway or Hollywood, the feel- "Get Happy," interpolated in a flop revue, led to a job ing for blues -inflected melody is apparent from the start of with Remick's and an association with the Cotton Club in hiscareer. From "I'llBuild a Stairway to Paradise" Harlem. By then the country was in the throes of the through "The Man I Love," "Somebody Loves Me," "My Depression.Partly. as a result of this and because he One and Only" and "Who Cares," his melodies gravitate wrote for Negro artists,the blues -inflected songs that toward flatted 3rd's and 7th's, and one constantly hears came from his pen were a deeper shade of indigothan the dissonance of minor notes sounding against major those produced by Gershwin. chords.Itis unlikely that the formative sources of his From the five Cotton Club scores he wrote between style were authentic, country blues. Born in 1898, Gersh- 1930 and 1935 came such hits as "Between the Devil win reached his teens as ragtime became the dominant and the Deep Blue Sea," written forBill Robinson," sound of popular music. In the year that he became 13, "Minnie the Moocher's Wedding Day," for Cab Calloway, Irving Berlin produced "Alexander's Ragtime Band," and "I Love a Parade," "I've Got the World on a String," in the year that he quit the High School of Commerce to "Ill Wind" and the great standard "Stormy Weather," become the youngest songplugger at Remick's, W. C. Ethel Waters' classic vehicle. During his stay on Folly Handy published his"St.Louis Blues" (1914). Three IslandinSouth Carolina,while he was working on years later, just about the time he gave up songplugging "Porgy & Bess," Gershwin found that the natives were for composing, Remick printed his "Rialto Ripples," co - singing "Stormy Weather" along with spirituals as ifit written with Will Donaldson. Gershwin's second publica- were a folk song. tion was a piano rag. That same year, when he appeared While Arlen was pleased with the news, brought to as accompanist to Rita Gould at Proctor's 58th Street him in Boston when Gershwin attended the premiere of a Theater, his solo was "Desecration Rag." Gershwin's first short-lived Arlen revue "Life Begins at 8:40," he was not song hit "Swanee," writtenintypical 2/4 meter, was happy with the typing that afflicted him as a result of his strongly marked by ragtime syncopation, as was "Fascinat- Cotton Club songs. "Although he has composed ina ing Rhythm" from "Lady Be Good." In fact, ragtime is 'blues' style," biographer Edward Jablonski writes, "Harold the source of the rattling vitality, the jouncy bounciness Arlen is not strictly 'Happy with the Blues' (the title of that characterizes much of Gershwin's music. hisbiography). Nothing annoys him more than being In short, Gershwin came by the blues initially through typed. The factisthat the blues as a musical form- his work in Tin Pan Alley and as an accompanist to with its implied structure and harmony-is minimal in the singers like Louise Dresser and Nora Bayes. Later, in the total output of Harold Arlen." '20's, during the so-called Harlem Renaissance, his friend- ship with Carl Van Vechten and other Negrophiles deep- It is easy to think of a long list of Arlen hits that no relation to the blues at all, from the wonderful score of ened his understanding through contact with the Classic its Academy Award song Blues Singers. Gershwin's first biographer, Isaac Goldberg, "The Wizard of Oz," with suggests another source. Noting Gershwin's Russian -Jew- "Over the Rainbow," through superb ballads like "Let's ish background and his early contact with the music of the Fall In Love," "Last Night When We Were Young" and Jewish musical theater, then flourishing on Manhattan's "My Shining Hour." But there are not very many com- Second Avenue, Goldberg observes: "the most popular posers who can claim the authorship of a trio of indigo isquite as songs like "I Gotta Right to Sing the Blues," "Blues in the scale of the Khassid has a blue note that Night" and "Stormy Weather." And when it comes to the cerulean or indigo as the black man's blues may be." derivative known as the torch song, how Goldberg adds: "In 'Funny Face' thereisa tune that blues -ballad illustrates the point rather neatly;it begins Yiddish and many composers have produced a triolike "That Old ends up black. Put them all together and they spell Al Black Magic," "One for My Baby" and the unforgettable Jolson, who is the living symbol of the similarity." (And Judy Garland hit "The Man That Got Away." who, of course, made a hit of "Swanee.") The main Although Arlen's movie scores represent a wide spec- shortcoming of Goldberg's thesisisthat while Jewish trum of musical colors, his Broadway shows are deeply music has blue notes, it does not have the shifting major - dyed in blue. "St. Louis Woman," "Jamaica," "House of minor tonality that is characteristic of the blues and of Flowers" and even "Bloomer Girl" all deal with phases of much of Gershwin's writing. Negro life and provided vehicles for leading Negro per- In August 1926, Gershwin autographed a copy of his formers of our day. Add to these, larger works like "Amer- "Rhapsody in Blue" for the man who wrote "St. Louis icanegro Suite" voice and piano and "Free and Easy," Blues." "For Mr. Handy," he wrote, "whose early blue a blues opera, and the Negroid cast of Arlen's music songs are the forefathers of this work." becomes well documented. Of the last-mentioned work, * * * * premiered in Paris in 1960, a French critic wrote: "Harold Like Gershwin, Harold Arlen did not write authentic Arlen has treated his subject quite different from Gersh- blues in the folk or formal sense. But so much of his win. He has described it as a blues drama, and, in fact, it musicismelodically blue and ina bluesy mood that is a systematic and methodological apotheosis of the blues Ethel Waters issaid to have called him "the Negro-ist in all their forms. ...Arlen seems to have worked to show white man" she had ever known and Hall Johnson said: us that the elastic and balanced rhythm of the blues can "Of all the many songs written by white composers and lenditselfto the expression of all human sentiments." employing what claims to be a Negroid idiom ... the Cot- Arlen's desire to have his versatility as a composer ton Club songs by Harold Arlen and Ted Koehler easily recognized is quite understandable, and no one can ques- stand far out above the rest." tion the wide reaches of his talent. But itis also un- The son of a Buffalo cantor, Arlen came out of a questioned that the respect he won from Negro performers Russian -Jewish background not unlike Gershwin's. But during his Cotton Club days was early recognition of an the significant fact is that he was born almost a decade understanding and mastery of blues idiom achieved by later. few white composers.

Billboard World of Soul 69 Soul From Cincy

By PaulAckerman

One of the important labels in the Brown and Little Willie John, there r&b and soul fields in the last two arerecordingsbysuchimportant decades is King, operated by Sydney artists as Earl Bostic, Hank Ballard, ?MR Nathan, with headquarters in Cincin- Billy Ward and the Doninoes, the Five nati. King, which today releases disks Royals and Lonnie Johnson. disk by James Brown, was instrumental in influencing the breakthrough of The King operation for many years r&b in the pop market in the 1950's was unique in that it was completely saWan with such artists as Little Willie John, self-contained, with its own branches, Hank Ballard and the Midnighters. pressing and art operation. King even amlata Little Willie John and Hank Ballard, made its own labels. It still is largely respectively, had big hits with such self-contained with regard to pressing, THE MANHATTANS smash songsas"Fever and "The art, etc. Twist,"bothofwhichareprime TheKingpublishingoperation, THE LOVETTES copyrights in King's publishing sub- Lois Music, with its subsidiaries such sidiary, Lois Music. as J&C Music and Argo Music, is re- LEE WILLIAMS & THE CYMBALS King, of course, has also been an garded as one of the most interesting important factor in the world of coun- NORMA JENKINS catalogsinther&bandcountry try music. In fact,itis an outstand- fields.Inadditionto"Fever" and THE TOPICS ing example of an independent which "TheTwist,"Loiscontainsmany has risen to prominence in two areas copyrights in the country field - a PHIL TERRELL which were oncetermedspecialty fieldwhich is beingincreasingly fields. tapped by r&b artists. Some of these An examination of the King cata- copyrights are "Signed, Sealed and De- CARNIVAL RECORDS log reveals a wealth of r&b material livered," "Money, Marbles and Chalk" over the years. In addition to James and "Sweeter Than the Flowers." 24 Branford Place Newark, New Jersey Lubinsky SOUL IS ON PRESTIGE Treads Gospel Path By Paul Ackerman HOMES "GROOVE" labels to DON PATTERSON Oneoftheindependent See Me Now." Others who re- MOSE which played an important role in the corded for the label in this era in- ALLISON cluded Charley Parker, Errol Garner, cootOtiS development of rock and roll in the 1-loirIvov, 1950's is Savoy Records, with head- Una May Carlisle, Doc Pomus, Johnny GE -14E - Otis and the Robins and Clara Ward. 1101,Kovs 061.-C'C quarters in Newark, N. J., operated by president Herman Lubinsky, with Fred In 1949, Little Esther (Today Esther l'''c'*' Mendelsohn as general manager. To- Phillips) started recording for Savoy riili Gii.k-4.111 vaioss and had several giant sellers. ,ERIC'- day, Lubinsky's operation is primarily DI' Pirrs to CRSS in the gospel field, wherein he has Today, the Savoy operation focuses on the gospel music world, but it con- SONNY STITT S°14 many blockbusteracts,leadingoff TOM RUSH tinues to issue a considerable catalog with the great James Cleveland. But of blues, jazz and r&b. The plant in OTIS SPAN the total Savoy operation has included ARNOLD,t Newark isa self-contained operation many musicalcategories,including ROLAND FORKBILLI with its own studio and art depart- c KC'P'sC ' jazz on the Regent label; pop, rhythm 5° ment. Lubinsky and Mendelsohn seek JESSE Fkt° and blues and jazz on Savoy, and gos- FULLER to introduce fresh, new elements in K!Alts pel on the Gospel and Sharp labels. gospel music. They pride themselves vOlItSIC Savoy started in 1939, at which time on having introduced the drum in BILLYHAWKS so,, SO Bonnie Davis cut a couple of hits titled gospelarrangements,aninnovation wok° VAN R(2114 "Don't Stop Now" and "Why Don't first used in a Roberta Martin date in DAVE You Do Right." Other early r&b hits the 1950's. were NappyBrown's"TheRight Today, about 70 per cent of Savoy's Time"and Rubber LegWilliams' gospel session are done live-on lo- PRESTIGE RECORDS INC. AIL "That's the Stuff You Got to Watch" cation. For these dates Savoy sends a 203 SO. WASHINGTON AVE. The latter was cut in1945,in which truckwithmobileequipment,and BERGENFIELD, N.J.07621 year Savoy also issued Miss Rhapsody' personnel whichincludesa musical "He May Be Your Man But He Comes director, a&r man and two engineers.

70 Billboard World of Soul I

Mother Lode in the Archives By Paul Ackerman

The RCAVictorarchivesare Singing with Piano." Sides by Amos loaded with fine blues, and itis the Easton carry the inscription: "Blues intention of producer Brad McCuen singer with piano and guitar." to make more of this material avail- Jimmie Rodgers, father of the coun- abletotherecord -buyingpublic. try music field,and veryblues - Some classic blues has already been oriented,isperhaps thefirstartist issued on RCA Victor's Vintage Se- on the Bluebird label. Others in the ries, but according to McCuen, these blues category were such noted ar- releases have only "scratched the sur- ists and tunes as Leroy Carr with face." "Rocks in My Bed," Sonny Boy Wil- McCuen,knownthroughoutthe liams with "Welfare State Blues" and record industry as a student of rec- Brad McCuen Joe Williams with "Little Leg Wom- orded repertoire, has been with RCA an." Victor 20 years. Prior to that he was When Fats Waller recorded "Two withMajestic Records; andinhis SleepyPeople"onBluebird,this youth he managed a 14 -piece dance thoseyearspioneerslikethelate startedanew, non -bluesserieson band at the University of North Caro- Frank Walker and the late Ralph Peer thelabel. There was alsoa Cajun lina. While with Victor he has pro- were importantinfinding and de- Blues series on Bluebird, with such duced virtuallyalltypes of record- veloping blues artists. Victor's 23000 material as"Leaving Home Blues" ings,ranging from Eleanor Roose- series, for instance, carried much jazz ("Quitter La Maison") by the Hack - velt's "Hello World" to Mary Mar- of the New Orleans school as well as berry Ramblers, and "Les Blues De tin's Victor version of "Cinderella" to blues. Bosco" by the Rayne Bo Ramblers, sacred recordings by George Beverly Among the later artists(circa both cutin1937. The Bluebird la- Shea and Billy Graham. 1930)wereWalterDavis,Lizzie belcarriedthe designation "Cajun" "We willissuemore classicsin Miles, RamblingThomas, Furry on thismaterial. both the rural and urban blues cate- Lewis,FrankStokesandVictoria Other blues material on the Victor gories, McCuen said. He added that Spivey. This era of the catalog also label, circa 1928, includes Blind Wil- on the old Bluebird label alone, RCA includes some interesting gospel and lie McTelldoing"Three Women released more than 2,000 blues disks sermonmaterialbytheReverend Blues" and "Statesboro Blues"; Jim (4,000 sides)by a multitude of ex- J.M. Gates. A bitearlier-about Jackson's"ThisMorning She Was citing and valid artists such as Sleepy 1925-theVictorcatalogcontains Gone"; De Ford Bailey's "Davidson John Estes, Tampa Red, Blind Willie sides by such noted classic blues men County Blues" and "Ice Water Blues," McTell and many others. asSpencer and Clarence Williams. and Ida May Mack's "Good Bye, McCuen, who inthelate1930's Other noted Negro artists on the la- Rider." avidly listened to blues and jazz disks belwereEubieBlakeandNoble In the 1920's and 1930's, McCuen byhangingaroundMiltGabler's Sissle. said,the orchestras were more im- Commodore Record Shop, credits the "Independentlabelsatthistime portant than thesoloistsin Negro blues idiom with being byfarthe were very active in blues," McCuen music, and groups like McKinney's major ingredient in rock and roll. He said, "notably such manufacturers as CottonPickers,theJazzWizards points out that there is a universality Gennett, Paramount and Grey Gull. (with Richard Jones) and Cab Callo- toblues;thatitis understood and By 1933 Bluebird got under way. way were strong sellers. A lot of fox appreciatedin England and France "This was a completelabel,"Mc- trotsandnovelties,inadditionto as well as in the States; and it forms Cuen said."It released sides by art- blues, were released. an important part of the jazz, coun- istsin the pop, country, blues and McCuen's work in the Victor ar- try and folk segments of the music international field." chivesismeasurably aided by Ann business. The earlyBluebirdlabelswould Lexnard, who keeps allthe filesin In the very early years of RCA givethetitle,artist's name and a order. Itisa massive job, but is a Victor,McCuen recallsthatblues briefdescriptionofthematerial. necessary one if the archives' resources was issued on the Victor label (prior Thus, the Reverend J. M. Gates' sides are to be properly exploited. There's to Bluebird) as a separate series.In carrythelegend:"Preachingand gold in those vaults.

Billboard World of Soul 71 I can sign an act three weeks before gether while Phil was in the service. New York managers have even heard When Walden got out of the serv- of theartist." ice in1965,things really began to The South, But Walden operates under "an en- happen. "I never planned on staying tirelydifferent frame of mind" - in this business. . . I was going back something new in today's r&b artist to law school. No one in my family situation. "It's always been that when had ever done thissort of thing," a record artist made it,he'd move Walden said. A Different north. That's no longer the case. Otis Walden isa close friend of pro- Redding, for example, has done more ducers Quinn Ivy and Rick Hall in to improve the racial situation in the Alabama, Quinton Claunche in Mem- South than a hundred sit-ins. He has phis, Jerry Crutchfield in Nashville. a 300 -acre ranch, is a member of the He said all of them sort of consider Frame of Chamber of Commerce, has various Jerry Wexler of Atlantic Records as realestate holdings. When he's not a brother while "Jim Stewart of Stax traveling, he works here at his office RecordsinMemphis is likeour which is in this building." daddy." Redding, who now produces about Redding, felt Walden, is bound for MindBy Claude Hall fiveartists,isspending more and bigger and better things. "He's a fan- more time in the studio at recording tastic producer. He always wrote and sessions and less time on the road arranged for himself . . . it's just a "People have said that 1 ought to as a performer, Walden said. matter of transposing for another art- move to New York. But I don't need Walden and Redding have been ist.Even so,he's just scraping the to. This is where it'sat," said Phil together since the beginning.It edge now of what he'll do eventual- Walden, who heads one of the largest started several years ago when Wal- ly." r&b management businessesinthe den was going to Mercer University A natural musician who can play world. Not in Los Angeles or Detroit, in Macon. He lined up a band for a five instruments, Redding made his or even Cleveland or Houston. But rush party. Redding was the singer firstrecordin1962when Johnny in Macon, Ga. Among the35acts on for the band. The band asked Walden Jenkins needed someone to drive him hisrosteraresuchgreatsasOtis to get them some more dates. Walden to Memphis to a recording session at Redding, ArthurConley, Jimmy started booking the band in1958.In Stax Records. Redding drove him up. Hughes, Percy Sledge, Eddie Floyd 1960he opened his own booking of- "I told him," Walden said, "to make and Joe Simon. The Walden enter- fice and "for three years I was in it something himselfifhe had time." prises also include publishing and rec- by myself." Then, after graduation, He did. "These Arms of Mine" was ord producing. he went into the service;it was at one of the tunes that came out of a "This is where the hitartists are this point that a brother, Allen Wal- 40 -minute recording session and "he from," Walden said. "By staying here, den, joined the firm and held itto- hasn't missed since."

BORN WITH THE BLUES: The True Story of the Pioneering Blues Singers and Musicians in the Early Days of Jazz. By Perry Bradford. (1965) THE COUNTRY BLUES. By Samuel B. Charters. (1959) FATHER OF THE BLUES. By W. C. Handy. (1941) A TREASURY OF THE BLUES. By W. C. Handy. (1926/1949) LADY SINGS THE BLUES. By Billie Holiday with William Dufty. A (1956) BLUES PEOPLE: Negro Musicin White America. By LeRoi BOOK SHELF Jones. (1963) URBAN BLUES. By Charles Keil. (1966) REALLY THE BLUES. By Milton (Mezz) Mezzrow and Bernard OF THE Wolfe. (1946) BALLADS, BLUES AND THE BIG BEAT. By Donald Myrus. BLUES (1966) CONVERSATION WITH THE BLUES. By Paul Oliver. (1966) THE MEANING OF THE BLUES. (Originally published as BLUES FELL THIS MORNING.) By Paul Oliver. (1960/1963) THE BOOK OF THE BLUES. Edited by Kay Shirley. Annotated by Frank Driggs. (1963) BIG BILL BLUES. William Broonzy's story as told to Yannich Bruynoghe. (London, 1955)

72 Billboard World of Soul now, we have been handling the operation out of our New York offices' at 1650 Broadway, but we are adding more acts, getting more bookings and therefore we want to set up the Ruth Bowen Reflects most modern type of operationto service the buyers of talent." Mrs. Bowen feels the college market has now become a very good one, along withonenighters,auditoriums and club dates. Mrs. Bowen startedinthe show business as a press agent, handling Dinah Washington, Charley Ventura and others,along with some commercial accounts. "Becoming an agent, and ultimatelyafull-fledged book- ingoperation, wasachallengeto me," she said. A partiallistof acts booked by QBC,includingactsinther&b, blues, gospel and jazz fields, include MajorLance,StevieWonder,the Miracles,theGentrys,theStaple Singers,JerryButler,theImpres- sions,Gene Chandler,theMarvel- By Paul Ackerman ettes,HerbieMann,KingCurtis, Lloyd Price, Yusef Lateef and Jimmy McCracklin. "I named Queen Booking Corpora- As a result of this growth, QBC Ruth Bowen,inadditiontoher tion after Dinah Washington- is planning to expand within the next duties as president, handles the club known throughout the music indus- sixmonths. The expansion will be department,and James Arnold the try as 'The Queen.' Dinah and I were both in terms of space and person- one-night field, assisted by Tom Roy, old friends, and years ago, while she nel. Also envisioned is the setting up EddieHarrisand StanSeidenberg was on Mercury and Roulette, I man- of branch offices on the West Coast, handle the cocktail department and the South and the Midwest. "Up to TV department respectively. an agent, and two years agoIex- panded my agency to a full-fledged booking operation." THE BEST IN The speaker is Ruth Bowen, who at the age of 39 is president of the RHYTHM & BLUES-:- SPIRITUALS rapidly growing company. FROM The market for rhythm and blues and rock and rollactsisgrowing continuously, Mrs. Bowen said, add- NASHBORO RECORD COMPANY ing:"The young people todayare NASHBORO >PP CRESCENT veryawaremusically;theyunder- stand the roots of American music; EXCELLO -1111( A -BET and this interest is manifest not only in the United States but also over- JOHNNY TRUITT, SLIM HARPO, LIGHTING SLIM, LAZY seas." LESTER, LONESOME SUNDOWN, THE AVONS, FREDDIE In the United States, Mrs. Bowen said, r&b years ago was strongin NORTH, KATIE WEBSTER, SILAS HOGAN, ARTHUR GUNTER, certain specific markets; but today it isapowerful draw nationally. She TRAVELING NOTES, BRO. JOE MAY, SWANEE QUINTET, added that England, thus far,isthe best of the foreign markets-so much HARMONIZING FIVE, CONSOLERS, SPIRITUAL FIVE AND so that QBC maintains eight repre- sentativestheretopromote QBC MANY OTHER GREAT GROUPS. acts.France and Germany are im- proving as overseas markets. "When we send an act to England, we also MIN seek to book them in France and N-13-ez; Germany, particularly at the military bases and on TV shows. But with regard to locations generally,Mrs.Bowen saiditisno NIIISSOOf longer unusual for class spots to book NASHB0040-RECORO CO., Inc. r&b and rock acts. "Our billings have 1011 WOODLAND ST. NASHVILLE, TENN. grown tremendously in the last two (615) 227-5081 years and itis growing daily."

Billboard World of Soul 73 CREAM OF THE BLUES CATALOG Singles and albums- listed below cover both blues and r&b product. The selections, top -selling catalog product, were fur- nished by the various record labels.Thislistis meant to supplement the R&B Discography, based on chart performance, and compiled by Billboard's Market Research Department. Selections are listed alphabetically by label, with the break- down under the label, alphabetically by artist. The figure at the end of each lineisthe catalog number of the record. SINGLES ARTHUR CONLEY-Sweet Soul Music; 6463 PERCY SLEDGE -Baby, Help Me;2283 ABC KING CURTIS-Pots and Pans, Part I; 6447 -ItTears Me Up; 2358 -Something on Your Mind; 6457 -Out ofLeftField;2396 RAY CHARLES -At the Club/Hide 'Nor Hair;10314 THE IKETTES-I'm Blue;6212 -Warm andTenderLove;2342 -Busted/Making Believe; 10481 BENE, KING -Don't Play ThatSong; 6222 -When a Man Lovesa Woman; 2326 -Don'tSet Me Free/TheBrightestSmile in -1 (Who Have Nothing); 6267 CARLA THOMAS -Gee Whiz; 2086 Town;10405 -SevenLetters; 6328 -1'11BringItHome toYou; 2163 -Georgia on My Mind/Carry Me BacktoOld -SpanishHarlem; 6185 DORIS TROY -Just OneLook;2188 Virginny;10135 - Stand By Me; 6194 JOE TURNER -Shake,RattleandRoll;1026 -Hit the Road, Jack/The Danger Zone; 10244 -Tears, Tears,Tears; 6472 CHUCK WILLIS-Betty and Dupree; 1168 -I Can't Stop Loving You/Born to Lose; 10330 -What IsSoul; 6454 -C. C. Rider;1130 -I've Got News for You/I'm Gonna Move to ROBINS-Smokey Joe'sCafe; 6059 -HangUp My RockandRoll Shoes; 1179 theOutskirtsofTown;202 DEE DEE SHARP -My Best Friend's Man; 6445 -It'sToo Late;1098 -Lucky Old Sun/Old Man Time;10509 THE SH-BOOMS-Sh-Boom; 6213 -Ruby/Hard-HeartedHannah;10164 THE SENSATIONS -Please Me,DiskJockey;6067 -Sticks and Stones/Worried Life Blues;10118 -YesSir,That's My Baby; 6056 BACKBEAT -Take These Chains From My Heart/No Letter SUPERIORS -Lost Love; 6106 Today;10435 MARY WELLS -Set MySoulonFire;6469 ROY HEAD -Treat Her Right;546 -Unchain My Heart/ButontheOtherHand, 0. V. WRIGHT-You're Gonna Make Me Cry; 548 Baby;10266 -You Are My Sunshine/Your CheatingHeart; ATLANTIC 10375 0 BISCAYNE -You Don't Know Me/Careless Love;10345 LaVERN BAKER -1 Cried a Tear;2007 Dandy; 1116 -Without Love(There Is Nothing)/NoOne; -Jim (TALL) -TweedleDee; 1047 PAUL HANKINS-A Touch ofBlues;003 10453 -Turnpike; 001 THE ELEGANTS-Little Dizzy; THE BOBBETTES-Mr. Lee;1144 Star/Getting 25005 PREZ KENNETH -DevilDealing,Part I 8II;011 THE IMPRESSIONS-Amen/Long, LongWinter; SOLOMON BURKE-Got toGetYouOff My Mind; 2276 -I'm Lookingfor My Baby; 005 10602 -If You Need Me; 2185 -YouLeft Me toCry;015 --Gypsy Woman AsLong as YouLove Me; SCOTTY AND THERIB -TIPS -The GreasySpoon, 10241 -Just OutofReach; 2114 THE CARDINALS -Off Shore; 1090 Part I 8,II;016 I'm So Proud/IMade a Mistake; 10544 BILLWATTS -Lover's Lonely Island/Let's Go -It'sAllRight/You'll Want Me Back;10487 -Wheel ofFortune; 958 Steady;008 RAY CHARLES -Hallelujah I Love Her So; 1096 -Keep on Pushing/1Love You (Yeah);10554 SLIM WILLIS-Tighten Up YourGame,Baby/Why -MeetingOverYonder/I've FoundThatI've -I'm Moving On; 2043 Don'tYou Believe; 010 Lost; 10670 -I've Gota Woman;1050 -Minstreland Queen/You've Come Home; -The Right Time; 2010 10357 -Sweet 16 Bars; 2068 BRUNSWICK -NeverCould You Be/I Need You; 10710 -What'd I Say,Parts I 8II;2031 -Never Let Me Go/Little Young Lover;10328 THE CLOVERS -Blue Velvet;1052 THE ARTISTICS-Girl I -Devil or Angel; 1083 Need You, Glad I Met You; -People GetReady/I'veBeen Trying; 10622 55315 -Sad, SadGirland Boy/Twist and Limbo; - Love,Love,Love;1094 DON COVAY-Seesaw; 2301 -I'm Gonna Miss You/Hope We Have;55301 10431 LaVERN BAKER -Batman to theRescue/CallMe -TalkingAbout MyBaby/NeverTooMuch LARRY DALE-Drinkin' Wine Spo Dee 0 Dee; 2133 Darling; 55297 Love; 10511 THE DRIFTERS -Dance WithMe/TrueLove, True BILLY BUTLER -Help Yourself/Sweet Darling; 55306 -Woman's Got Soul/Get Up and Move; 10647 Love;2040 GENE CHANDLER -TheGirlDon'tCare/My Love; -You Must Believe Me/See the Real Me; 10581 -FoolsFallinLoveina Hurry;1123 55312 THE MARVELOWS-1 Do/My Heart;10629 -Honey Love; 1029 THE FOUR PENNIES -You Have No Time toLose/ LLOYD PRICE -Just Because/Why; 9792 - ICount the Tears; 2087 You're a Gas With Your Trash; 55304 -Personality/Have You Ever HadtheBlues?; -Money Honey;1006 THE YOUNG HOLT TRIO -Ain't That Something That 10018 -On Broadway; 2182 Money Can't Buy/Mellow Yellow; 55317 -Stagger Lee/You NeedLove; 9972 -Please Stay; 2105 -Wack Wack/This Little Light of Mine; 55305 THE TAMS -What Kind of Fool/LaughItOff; 10502 -Saturday Nightatthe Movies; 2260 MARVINSMITH -TimeStopped/HaveMoreTime; -Save the Last Dance for Me; 2071 55299 -Some KindofWonderful; 2096 JACKIE WILSON -A11 My Love/A Woman, a Lover, A -BET - Sweets for My Sweet; 2117 aFriend; 55167 -There Goes My Baby; 2025 -Baby Workout/I'm Going Crazy; 55239 THE AVONS-Talk toMe; 9419 -This Magic Moment; 2050 -Big Boss Line/Be My Girl; 55266 JOE JOHNSON -Dirty Woman Blues;9417 -UndertheBoardwalk;2237 -Brand New Thing/SoulGalore;55290 LITTLE JOHNNY TRUITT-There Goes a Girl;9416 -Up on the Roof; 2162 -Come Backto Me/To BeLoved;55052 -What'cha GonnaDo; 1055 -Danny Boy/Soul Time; 55277 ARETHA FRANKLIN -I Never Loved a Man the Way -The Greatest Hurt/There'll Be No Next Time; 55221 ARBET I Love You; 2386 - 1Believe/Be My Love;55294 IVORY JOE HUNTER -Since I Met You, Baby;1111 - I Believe love SHADDEN AND THE KING LEARS-Come Back When I'll On/LonelyTeardrops; JO ANN & TROY -1 Found a Love,Oh What a 55283 You Grow Up;1016 Love; 2256 - IDon't WanttoLove You/Just Be Sincere; BARBARA LEWIS-Baby, I'm Yours; 2283 55309 -Help, Stranger; 2184 -I'll Be Satisfied/Ask; 55136 ATCO -I'll Make HimLove Me; 2400 -LonelyTeardrops/IntheBlueofEvening; 55105 CLYDE McPHATTER-A Lover'sQuestion;1199 DARRELL BANKS -Here CometheTears;6471 -The New Breed/Baby GetIt;55250 THE COASTERS -Along Came Jones;6141 -TreasureofLove;1092 -Night/Doggin' Around; 55166 -CharlieBrown; 6132 WILSON PICKETT-Don't FightIt; 2306 -No Pity/I'm So Lonely; 55280 -Down in Mexico;6064 -Everybody Needs Somebody to Love; 2381 -3 Days, 1 Hour, 30 Minutes/I've Got to Get -LittleEgypt; 6192 -I Found aLove, PartI;2394 Back;55289 - PoisonIvy;6146 -In the MidnightHour; 2289 -Whispers(Gettin'Louder)/TheFairestof -Searchin'; 6084 - Landof1000 Dances; 2348 ThemAll;55300 -Shoppin'forClothes;6178 -Mustang Sally; 2365 JACKIE WILSON & LINDA HOPKINS-Shake a Hand/ -Yakety Yak; 6116 -634-5789; 2320 SayI Do; 55243 74 Billboard World of Soul l CAMEO DADE DUKE CANDY & THE KISSES -The 81; C336 NAT KENDRICKS & THE SWANS -MashedPotatoes, BOBBY BLAND -Sometimes Tomorrow; 170 --Soldier Baby(ofMine);C355 Parts I & II;5004 -I'll Take Care; 314 -Lead Me; 318 BOBBY MARCHAN-Help Yourself; C469 --Don't Cry No More; 340 -Meet Me inChurch; C453 -Turn on Your Love Lite; 344 -Shake YourTambourine;C429 L_ DATE Yield Not; 352 -There's Something About My Baby; C405 PEACHES & HERB -Close YourEyes;2-1549 -That's the Way Love Is; 360 THE ORLONS-Crossfire;C273 -Let'sFallinLove; 2-1523 -Call on Me; 360 -Don't Hang Up;0231 -Blind Man; 386 -Goin' Places; 0332 -U'm Too Far Gone; 393 - SouthStreet; C243 ERNIE K -DOE -Later for Tomorrow; 411 -The Wah-Watusi; C218 DECCA BUDDY ACE -Nothinginthe World; 397 -Hold on to This Old Fool; 414 DEE DEE SHARP -Do The Bird; C244 JIMMY CASTOR & HISQUARTET -In a Boogaloo JUNIOR PARKER -Next Time You See Me; 164 Gravyfor My Mashed Potatoes; C219 Bag,Parts I & II;31963 -Sweet Honee Chi; 301 I Really Love You; C375 SAMMY DAVISJR.-I Got a Woman/Something's -It's aFunny Situation; C382 Gotta Give; 25583 -Annie Get Your Yo Yo; 345 -Mashed Potato Time; 0212 PAUL PERRYMAN-Just to Hold My Hand; 158 EARL GRANT -After Hours/Stand By Me; 25674 TED TAYLOR -Be Ever Wonderful; 304 -NeverPicka Pretty Boy; 0329 -BlackCoffee/I'm Just a Lucky So -and -So; -Ride; C230 25626 To Know HimIsto Love Him; C347 -Caravan/I'llBuild a StairwaytoParadise; 25601 EPIC -EbbTide/DeepPurple;25526 CAPITOL -TheEnd/01'Man River;25647 AUBREY TWINS -Poor Boy; 10135 n BONGI & JUDY -What Should a Young Do?; -I'll Drownin My Tears/ICan't StopLoving Girl 10130 CANNONBALL ADDERLEY QUINTET Mercy, Mercy, You; 31902 -SilverBells/JingleBells;25703 LITTLERICHARD -Don'tDeceive Me;4-7278 Mercy/ Games; 5798 COOKIE JACKSON -Your Girl Gonna Go Bad; 4-7279 --Money in thePocket/Hear Me Talkingto - Sweet Sixteen Bars/Learnin' the Blues; 25574 -Swingin' Gently/Beyond theReef; 25560 WALTER JACKSON -SpeakHer Name;4-7272 You; 5648 SANDY SHELDON-You're Gonna Make Me Love You; The Sticks/Cannon's Theme; 5736 LIONEL HAMPTON -Everybody's Somebody's Fool Gone Again;30412 4.7277 -Why (Am I Treated So Bad)'I'm on My Way; THE VIBRATIONS -Pick Me; 4-7274 5877 --Hamp'sBoogie Woogie/Tempo'sBoogie; 23836 LARRY WILLIAMS & JOHNNY WATSON-Mercy, JULIAN CANNONBALL ADDERLEY-Money in the -Hey!Ba-Ba-Re-Bob/Flying Home; 23837 Mercy;4-7274 Pocket; 5561 SCREAMIN' JAY HAWKINS-All Night/I'mNot - Sticks; 5676 Made of Clay; 32019 Why Am I Treated So Bad?; 5877 I Put a SpellonYou/You're anException EXCELLO Mercy, Mercy, Mercy; 5798 totheRule; 32100 MILT BUCKNER-Mighty Low; 6101 AL HIBBLER-After the Lights Go Down Low/I Was LOUIS BROOKS -It'sLoveBaby; 2056 CHECKMATES -PleaseDon't Take My World Away; TellingHer About You; 29982 GUITAR GABLE -Congo Mombo; 2082 5814 -Unchained Melody/Daybreak; 29441 THE GLADIOLAS -LittleDarlin'; 2101 BILLIE HOLIDAY -LoverMan/That Old Devil ARTHUR GUNTER-BabyLet'sPlayHouse CHUBBY AND THE TURNPIKES -I Know theInside -Workin' for My Baby; 2204 Story; 5840 CalledLove;23391 THE INK SPOTS & ELLA FITZGERALD-I'm Making SLIM HARPO-Baby, I'mYour Bread Maker;2282 PATTI DREW -Tell Him; 5861 Believe 'IntoEachLifeSome Rain MustFall; Baby Scratch My Back; 2273 DOBIE GRAY -River Deep, Mountain High; 5853 23356 -KingBee;2113 -Rainin'in My Heart;2194 THELMA HOUSTON -Don't Cry My Soldier Boy; 5882 LOUIS JORDAN-Caldonia/Somebody Done Changed theLock on My Door; 23932 LAZY LESTER-I'm a Lover,Nota Fighter;2143 THE MAGNIFICENT MEN -Maybe, Maybe, Baby -Let the Good TimesRoll/Ain'tNobody Here They Call Me Lazy; 2107 I've Got News; 5732 LIGHTNIN'SLIM -Don'tMistreat Me ButUs Chickens; 23741 Baby;2240 -PeaceofMind/AllYour Lovin's Gone to -Pinetop's BoogieWoogie'Saxa-Woogie; Mean OldLonesomeTrain;2106 My Head; 5608 25394 --RoosterBlues;2169 ofYour -Tom CatBlues;2173 -Stormy Weather Much Much More LOUIS JORDAN & HIS TYMPANY FIVE -Saturday Love; 5812 LONESOME SUNDOWN -Learn to Treat Me Better; NightFishFry,Parts I &II;24725 LOU RAWLS-Dead End Street 'Yes It Hurts, LITTLE CHARLES AND THE SIDEWINDERS -A Taste 2174 Doesn'tIt;5869 ofthe GoodLife 'Talkin' About You Babe; -My Home Isa Prison; 2102 -PleaseBe OnThat519;2254 -LoveIs a Hurtin' Thing/Memory Lane; 5709 32095 -The Shadow LILLIAN OFFITT-Miss You So;2104 ofYour Smile 'SouthsideBlues; THE MIGHTY HANNIBAL -Jerkin' the Dog' I Found 5655 a Way; 31876 --Three O'Clock in the Morning 'Stormy MILLS BROTHERS -Opus One YesYouAre;29496 Weather;6083 GROVER MITCHELL -Someone's Knockin' at My Door FAIRMOUNT - Tobacco Road/Blues fora String Guitar; I Will Always Have Faithin You; 37147 6096 (1966 release; 5049 released in 1963) -Take Your Time andLove Me There'sOnly DEE DEE SHARP -The Love I Feelfor You; F1004 -TroublesDown Here Below/TheLifeThat One Way; 32015 LONNIE YOUNGBLOOD-Go GoShoes;F1002 Lead; 5824 RAY POLLARD -This Is MySong Lie Lips Lie; -The GrassWillSingforYou;F1016 -You Can Bring Me AllYourHeartaches A 32111 - SoulFood;F1022 Woman Who'sa Woman; 5790 ARTHUR PRYSOCK-Baby,Don'tYou Cry 'I Didn't Shadow of Your Smile; 5655 Sleepa Wink LastNight; 31775 LoveIs a Hurtin' Thing; 5709 --When Day Is Done/What Will I Tell My Heart; FAME Trouble Down Here Below; 5824 25684 Dead -End Street; 5869 QUARTETTE TRES BIEN-Boss Tres Bien 'Days of JIMMY HUGHES -Neighbor, Neighbor;1003 Three o'Clock in the Morning; 6083 Wine and Roses; 31615 -Why NotTonight; 1011 Tobacco Road; 6096 THE SHIRELLES-IMet Him onSunday/My Love

NANCY WILSON -Guess Who I Saw Today; 4647 Is a Charm; 25506 Uptight; 5673 DEBBIE TAYLOR -The Last LaughIs on the House' FONTANA In the Dark; 5841 I Get the Blues; 32090

How Glad I Am; 6100 JACKIE VERDELL-Are You Ready for This, I'm Your GLORIA LYNNE -Watermelon Man; F-1511 Girl;32118 BILLY WARD -St. ThereseoftheRoses,Home Is JAMES PHELPS -Walking the Floor Over You; F-1581 Where You Hang Your Heart; 29933 7COLUMBIA CHICK WEBB WITH ELLAFITZGERALD-A-Tisket-a Tasket /Undecided; 25434 GOOD TIME GEORGE BENSON -The George Benson Cookbook; DANNY WHITE -KissTomorrowGoodbye/You Can CL 2613 CS 9413 Never Keep a Good Man Down; 32105 SOUL CITY -Everybody Dance Now; GT801 It's Uptown George Benson Quartet; CL 2525 -TakingInventory/Cracked Up Over You; CS 9325 32048 SHIRLEY ELLIS-Soul Time; 4-44021 --Sugar,Let'sShing-A-Ling, SoulTime With ! GORDY ShirleyEllis;CL 2679,'CS 9479 DEESU THE CONTOURS -Can You DoIt;7029 ARETHA FRANKLIN -Cry Like a Baby; 4-43827 WILBERT HARRISON-Sentimental Journey;301 --Can You JerkLike Me; 7037 Greatest Hits; CL 2673/CS 9473 Do You Love Me; 7005 Take It Like You Give It; CL 2629 CS 9429 WILLIE WEST -GreatestLove; 306 -Don'tLetHer Be Your Baby; 7016 ROY MERIWETHER TRIO -Popcorn and Soul Groov n' MAURICE WILLIAMS-Baby Baby;302 First I Look atthe Purse; 7044 at the Movies; CL 2498/CS 9298 -Don't Be Half Safe; 311 -It'sSo Hard Being aLoser/Your Love Grows Soup and Onions; CL 2433'CS 9233 THE ZODIACS -MayI;304 More PreciousEvery Day; 7059 THE SPELLBINDERS -The Magic of the Spellbinders; Surely;309 --Just a LittleMisunderstanding;7052 CL 2514/CS 9314 -ShakeSherry;7012 -You GetUgly; 7019 DIAL MARTHA & THE VANDELLAS-Come andGetThese Memories; 7014 1 CORAL JOE TEX-A Woman Can Change a man; 4006 -Dancingin theStreet;7033 - Hold What You've Got; 4001 -Heat Wave; 7022 COZY COLE -01'Man Mose ChristopherColumbus; -IBelieveI'm Gonna Make It;4033 I'llHave toLet Him Go; 7011 62395 - I'veGotto Do a LittleBitBetter;4045 -I'mReadyforLove; 7056 -Topsy, Parts I & II;65584 -The Love YouSave;4026 LiveWire;7027 WILD BILLDAVIS-April in Paris/Manhattan; --Papa Was Too; 4051 -My Baby Loves Me: 7048 65558 Show Me; 4055 --Nowhere toRun; 7039 -Canadian Sunset/Hawaiian War Chant; 65565 S.Y.S.L.J.F.M.; 4028 -Quicksand; 7025 BUDDY HOLLY -Bo Diddley/True Love Ways; 62352 -Wild One/Dancing Slow; 7036 BILLY WILLIAMS,(FATS) HUDSON & ENSEMBLE- ` DOUBLOON - You've BeeninLove Too Long/Love (Makes Nola/He's Got the Whole WorldinHis Hands; Me Do Foolish Things; 7045 65540 FRANKIE FORD -1Can'tFace Tomorrow; 101 (Continued on page 76)

Billboard World of Soul 75 MAYHAMS COLLEGIATE PARLO SINGLES AARON NEVILLE-She Took Youfor a Ride;103 RECORDS ItLikeItIs; 101 Continued from page 75 -Tell THE DEE-CALS-StarsintheBlue WhatShould I Do/A Wonderful Day; 1960 SAN REMO GOLDEN STRINGS -Festival Time/Joy PARKWAY Road; 7060 NORRIS THE TROUBADOUR -My CollegeGirl (She Told Me So);212 CHUBBY CHECKER-Birdland;P873 THE TEMPTATIONS -Ain't Too Proud to Beg; 7054 Around; P822 Only Skin Deep; 7055 -Run Away Heart/Blue AmI;1958 -Dance theMess -Beauty Is -YouLeft Me Honey Honey; 216 -Everything's Wrong; P959 -Farewell My Love; 7020 -The Fly;P830 -Get Ready; 7049 THEPROF. MARCELL COLLEGIANS -Be NoFool, ItCool, StayinSchool/You're My Surfer - Hey, Bobba Needle; P907 -Girl (Why You Wanna Make Me Blue); 7035 Play - Hey You,Little Boo-Ga-Loo; P989 - IWant aLove I CanSee; 7015 GirlForever; 215 PlayIt -The Hucklebuck;P813 -I'llBe inTrouble/TheGirl'sAlrightWith -My CollegeGirl/PlayItHard, Smart; 213 -Karate Monkey; P112 Me; 7032 - LazyElsie Molly; P920 -(1 Know) I'm Losing You; 7057 THE SYMPHONIC .RALTLERS-Casey's Walk; 217 -Let's Limbo Some More; P862 -It'sGrowing; 7040 (1010) -Let's Twist Again; P824 - My Baby/Don't Look Back; 7047 -Mario &JosephineJoe; 218(1010) -Loddy Lo/Hooka Tooka; P890 -My Girl;7038 -PonyTime; P818 -Paradise; 7010 - Popeye (The Hitch -Hiker); P849 -Since I Lost My Baby; 7043 MERCURY -The Way You Do the Things You Do; 7028 -SlowTwistin';P835 --Twist; P811 THE VANDELLAS-Jimmy Mack;7058 JERRY BUTLER -I Dig You Baby;72648 -You Make Me FeelLike Someone; 72625 THE DOVELLS-BettyinBermudas; P882 KIM WESTON-Helpless; 7050 -You Can'tSitDown; P867 -Take MeinYour Arms; 7046 WAYNE COCHRAN-Goin' Back to Miami; 72623 EDDIE HOLMAN-Am I aLoser?; P106 JUNIOR PARKER -JustLikea Fish;72620 Stop Now; P981 76251 -Don't -Ooh Wee Baby; -ReturntoMe;P994 GROOVESVILLE DEE DEE WARWICK -Love Me -Somewhere Waits aLonelyGirl;P133 --When Love Slips Away; 72667 RODDIE JOY -Every Breath I Take; P134 J.J. BARNES -Baby Please Come Back Home; 1006 PATTI LaBELLE AND HERBLUEBELLS -1Believe, STEVE MANCHA-Don'tMake Me a Storyteller; Danny Boy;P935 1005 MINIT P896 -FridayNight;1004 -You'llNever Walk Alone; I Love You/You Won't Get THE LYDELLS-There Goes the Boy; P897 --IDon't Want to Love You; 1002 JIMMY HOLIDAY -Baby, Away; 32002 BUNNY SIGLER-GirlDon't Make Me Wait,P123 -Everybody NeedsHelp/Give Me YourLove; THE TAMS -Memory Lane; P863 32016 THE TWILIGHTS-Shipwreck;P128 HOLLYWOOD -Turning Point/I'm Gonna Move totheCity; THE TYMES-So Much inLove; P781 32011 -Somewhere; P891 CHARLES BROWN -Merry ChristmasBaby; 1021 P933 THE PLAYERS -He'll BeBack/IWanna Be Free; -The TwelfthofNever; I Have the Blues; 1103 LOWELL FULSOM-Everyday 32001 -Wonderful,Wonderful; P884 - Lonesome Christmas;1022 THE VALRAYS-Yo MePregunto(I AskMyself); THE PAC -KEYS -Stone Fox;1108 MOTOWN P904 IMPERIAL THE FOUR TOPS -Ask theLonely;1073 PEACOCK -Baby I Need Your Loving;1062 JUNIOR PARKER --Driving Wheel; 335 CHARLES BROWN -Drifting Blues/Black Night;018 --Bernadette;1104 --ICan'tHelp Myself; 1076 --Man or Mouse; 413 ERNIE K-DOE-Mother-in-law/I Cried My Last Tear; -It's The Same Old Song; 1081 -Get Away Blues; 406 039 -Loving YouIsSweeter Than Ever; 1096 JACKIE VERDELL-You Ought to Know Him; 1905 FATS DOMINO -Blue Monday/I'm in LoveAgain; Reach OutI'llBe There; 1098 WILLIE MAE THORNTON-Hound Dog; 1612 003 -Shake Me, Wake Me;1090 GATEMOUTH BROWN-Okie Dokie Stomp; 1637 -Blueberry Hill/I'm Walkin'; 004 -Something About Him; 1084 JOE HINTON-You KnowItAin't Right; 537 - Bo Weevil/Whole Lotta Lovin'; 007 Standing in the Shadow of Love; 1102 -Funny; 541 -The Fat Man/Goin' Home; 001 Without the One You Love;1069 THE COMMANDS -No Time for You; 570 -Going totheRiver/Ain'tIt a Shame; 002 THE CASUALS -So Tough; 503 MARVIN GAYE & MARY WELLS -Once Upon a Time THE ROB ROYS-Tell Me Why; 501 - IHear You Knocking/I'm Gonna Be a Wheel; What's the Matter With You Baby; 1057 005 -I Want to Walk You Home; 028 EDDIE HOLLAND -Candy to Me; 1063 -Jambalaya/YouAlwaysHurtthe One You --Jamie; 1021 PHILLES Love; 025 -Just Ain't Enough Love; 1058 - Letthe Four Winds Blow/ValleyofTears; --Leaving Here; 1052 THE CRYSTALS -Da Doo Ron Ron; P112 023 BARR McNAIR-HereI Am Baby/My World Is Empty -He's a Rebel; P106 -My Blue Heaven/Country Boy; 024 Without You; 1106 -He's Sure the Boy I Love; P109 -One Night/Isle ofCapri; 026 THE SPINNERS -I'll Always Love You; 1078 -Then He Kissed Me; P115 -Walking to New Orleans/Please Don'tLeave -Truly Yours; 1093 -There's No Other Like My Baby; P100 Me; 006 -Uptown; P102 Nights a Week; THE SUPREMES-Baby Love; 1066 DARLENE LOVE -Wait Till My Bobby Comes Home; -YourCheatin'Heart/Three Back in My Arms Again; 1075 027 P114 -A Breath Taking Guy; 1044 RIGHTEOUS BROTHERS -EbbTide;P130 THE FIVEKEYS -The Gloryoflove/My Saddest Come See About Me; 1068 Hour; 016 -Hung On You; P129 The Happening/All I Know About You; 1107 -Just One in My Life;P127 Is MyStory; GENE & EUNICE-KoKo Mo/This I Hear a Symphony; 1083 -You've LostThatLovin'Feelin';PI24 015 Let Me Go the Right Way; 1034 THE RONETTES-Be My Baby; P116 LLOYD GLEEN-Chica-Boo/Old Time Shuffle; 021 LoveIs Here and Now You're Gone; 1103 -Walkinginthe Rain;P123 Itchingin My Heart;1094 THURSTON HARRIS -Little Bitty Pretty One/Over and -LoveIslike an BOB B. SOXX A THE BLUE JEANS -Why Do Lovers -My WorldIs Empty Without You;1089 Over; 014 Break Each Others Hearts?; P110 --NothingButHeartaches; 1080 -Zip-a-Dee-Doo-Dah; P107 JESSE HILL -Ooh Poo Pa Do, Parts I & 11; 034 --Run,Run,Run;1054 IKE& TINA TURNER -River Deep -Mountain High; 1074 CHRIS KENNER-I Got Loaded/Sick and Tired; 022 -Stop!In the Name ofLove; P131 Shining; 1051 JIMMY McCRACKLIN-EveryNight,EveryDay/ -Whenthe LovelightStarts Beulah; 044 -Where Did Our Love Go; 1060 -Just Gotta Know/I Did Wrong; 042 -You Can't Hurry Love; 1097 -You Keep Me Hangin'On; 1101 I I PRESTIGE AMOS MILBURN-Bewildered/ChickenShack -Your Heart Belongs to Me; 1027 MOSE ALLISON -The Seventh Son/Parchman Farm; Boogie; 017 TAMMI TERRELL-Come On and See Me; 1095 AARON NEVILLE-Over You/How Many Times; 035 45-295 - I Can't Believe You Love Me; 1086 GENE AMMONS-Angel Eyes,Parts I & II;45-371 SHIRLEY 8 LEE -Let the Good TimesRoll/Feel So MARY WELLS -Bye Bye Baby; 1003 -Canadian Sunset/SeedShack; 45390 Good; 013 -LaughingBoy/TwoWrongs Don'tMake a (GROOVE) HOLMES-Misty/Groove's Groove;45-401 BENNY SPELLMAN-LipstickTraces/FortuneTeller; Right;1039 -SoulMessage/Songfor MyFather;45-380 040 IRMA THOMAS -It'sRaining/Rulerof My -My Guy;1056 -What Now My Love/Living Soul;45-427 Heart; 037 -The One Who ReallyLoves You;1024 LIGHTNIN' HOPKINS-Mojo Hand/Automobile Blues; -Wish Someone Would Care/Take a Look; -TwoLovers;1035 45-343 046 -You Beat Me to the Punch; 1032 -Sinner'sPrayer/Gotto Move YourBaby; --You Lost the Sweetest Boy; 1048 45-391 -Your Old Standby;1042 WILLIS JACKSON WITH JACK McDUFF-This'ltGet

to Ya, Parts I & II;45-393 INSTANT ETTA JONES -Don't Go toStrangers/Canadian CHRIS KENNER-Land of1000 Dances; 3252 Sunset; 45-389 NOLA JACK McDUFF-Rock Candy/A real Goodun'; 45-273 ROBERT PARKER-Barefootin'; 721 SONNY STITT-Soul Shack/Shangri-La; 45-304 -Scratch;726 KAREN -SecretService;733 THE CAPITOLS -Cool Jerk; 1524 --TipToe; 729 REVILOT - IGot to HandleIt;1525 - Patty Cake;1534 DARRELL BANKS -OpentheDoortoYourHeart; -We Got a Thing That'sinthe Groove; 1526 201 ORIGINAL SOUND - Somebody, Somewhere; 203 DYKE AND THE BLAZERS -Funky Broadway; OS -64 ROSE BATTISTE-1 Miss My Baby; 204 LUPINE - SoSharp;0S-69 - IStillWait for You; 206 THE JEWELS -HeartsofStone/Oh Yes I Know; THE HOLIDAYS -Love's Creepin'Up on Me; 205 THE FALCONS -IFound a Love; 1003 OS -38 THE PARLIAMENTS -I Wanna Testify; 207

76 Billboard World of Soul ROSEMART DON COVAY-Mercy,Mercy;801 ORDER THE FUNNIEST!!! SHOUT Dooto's Best -Selling Ginnedy Records THE EXCITERS-Number One; 205 BOBBY HARRIS-Sticky Sticky; 203 DONALD HEIGHT-My Baby's Gone; 204 AMERICA'S MADDEST -Three Hundred andSixty -FiveDays;208 -We Got to Make Up; 212 THE LIBERTY BELLES-Shing A -LingTime;209 ALBUM Hail ROY C.-STop What You'reDoin'; 206 FREDDIE SCOTT-Am IGroovin' You; 213 -Are You Lonely for Me, Baby?; 207 YET... Doofo's New Cry to Me; 211 Champion Fl SMASH DTL

THE JAMES BROWN ORCHESTRA-Who'sAfraidof of Fun! VirginiaWoolf;S-1975 839 JIMMY CASTOR-Hey,Leroy,Your Mama'sCalling You;5-2069 -Magic Saxophone;S-2085 THE FESTIVALS-I'll Always Love You; 5-2056 O SOLID HIT "SEX CROCKS" THE DEBONAIRES-1'min LoveAgain;104 Rozelle Gayle Baby; 103 JIMMY GILFORD-I Wanta Be Your Super Sidesplitting Set -Humor Galore! JOHNNY GOODE-Payback;106 A Red -Hot Package of Surefire Salespower! PAT LEWIS-LookatWhat I AlmostMissed; 101 -Warning;105 Another Natural for Moot° Comedy Fans! Stock this Sexational Sexplosive Album for O SOUL Frantic Action at the Cash Register!!!

GLADYS KNIGHT & THEPIPS-Take Me in Your Arms andLove Me/Do YouLove Me Just a Stock these Dooto Little;35033 SHORTY LONG-Devil With the Blue Dress; 35001 best-selling albums -Functionatthe Junction; 35021 JIMMY RUFFIN-As Long As ThereIsLove; 35016 in your inventory!

I Got; -I'm GonnaGiveHerAlltheLove DTL 298 35032 " Dooto's Famous -I'vePassedThisWayBefore;35027 LAFF. ALONE "LIFE of the PARTY" -What BecomesoftheBrokenhearted; 35022 SERIES X THE VELVELETTES-TheseThings Will Keep Me DTL 214. DT. 220, 0 Loving You; 35025 OIL 227, OIL 236 8011245

JR. WALKER & THE ALL STARS-Do the Boomerang

Tune Up; 35012 DTL 838 DTL 2V DTI. 829 - How Sweet ItIs (To Be Loved By You); 35024 14e.VAC E ROM FOR2( Ems --Money(That'sWhat I Want),Part I & I I; IIITPACK 35026 -Pucker Up Buttercup;35030 -(I'm) a Roadrunner; 35015 -Shake andFingerpop/Cleo'sBack;35013 Shotgun 'HotCha; 35008 DTL 809 DTL 2.5 DTL 299 DTI 260 OIL 239 He's Pi SOUND STAGE 7 funny SAM BAKER-Someone (Bigger Than You and Me); that 2586 way SIR LATTIMORE BROWN -11's Such a Sad, Sad World; 2575 OIL 290 OIL 285 ROSCOE SHELTON-Easy Going Fellow; 2555 -Tonight's My Night; 2582 "SONG JOE SIMON-(You Can) Depend on Me; 2583 IITHY FOR -My SpecialPrayer; 2577 ERN FUN! -Teenager's Prayer; 2564 Q HATTIE MOH. Too Many Teardrops;2569 WU, MITNE.l OIL 801 OIL SZ DTL 836 STAX

I a Winner; 212

08 DTI. 279 DTL 249 OTL 232 DTL 8

1.1-&2.7uP 4242ASSVMR

OIL 834 DTL 29 DTL 238 OIL 824 OIL 827 OIL 250

CARLA THOMAS-B-A-B-Y; 195

-When TomorrowComes; 214

RUFUS THOMAS-Can Your Monkey DotheDog?; DOOTO.JRECORDS 144 --TheDog;130 Walking :13440 South Central Avenue Los Aigeles, Califo-nia 90059: theDog; 140

Phone 774-0743 (Continued on page 78)

Billboard World of Soul 77 THE FALCONS -You're So Fine/GoddessofAngels; UA 1624 P.0. Box 9195 SINGLES JIMMY FOREST -Night Train/BoloBlues;UA 1545 Berkeley, Cal. 94719 Continued from page 77 EVELYN FREEMAN -Don't It Rain/WaterBoy; UA 1663 MARV JOHNSON -You Got WhatItTakes 'ILove the THE REAL BLUES ARE OUR TAMLA Way YouLove;UA 1597

SPECIALTY! MARVIN GAYE-Ain't That Peculiar; 54122 NATHANIAL MAYER-Villageof Love I Need a -Baby Don't You DoIt;54101 Woman; UA1625 Can I Get a Witness Crazy'Bout My Baby; GARNET MIMMS & THE ENCHANTERS -Cry Baby/ 54087 Don't Change YourHeart;UA 1643 HitchHike; 54075 -For Your Precious Love/ Don't You Weep; -How Sweet ItIs(To Be Loved by You); 54107 UA 1636 -I'll Be Doggone; 54112 -A QuietPlace; UA 1652 --LittleDarling (I NeedYou);54138 --One More Heartache; 54129 TUNE ROCKERS -The Green Mosquito 'Warm Up; -PrettyLittleBaby;54117 UA 1617 --PrideandJoy;54079 SitDown, Part I &II; -StubbornKindofFellow;54068 PHIL UPCHURCH-You Can't UA 1601 Lightning Hopkins -TakeThisHeartofMine;54132 Big Mama Thornton -TryItBaby;54095 F 1011, 1022 albums F 1028 -You're a WonderfulOne;54093 & 2007 I I VILLA & 1032 MARVIN GAYE & KIM WESTON-It Takes Two/ It's Got toBe a Miracle (This Thing CalledLove); THE MAGICIANS -Why Must You Cry?;V706 These Blues are 54141

I -What Good Am I Without You Want You the soul of 'Round; 54104 [1 V.I.P. America's popular BRENDA HOLLOWAY -Every LittleBitHurts; 54094 music -Just LookWhatYou'veDone/Starting the CHRIS CLARK -I Wantto Go BackThereAgain; Hurt All Over Again; 54148 25041 Mance Lipscomb -Operator;54115 THE ELGINS-Heaven Must HaveSentYou; 25037 -WhenI'mGone; 54111 Fred McDowell - PutYourselfinMy Place; 25029 ISLEY BROTHERS -IGuess I'llAlways LoveYou; Bukka White THE MONITORS -Greetings (This Is Uncle Sam); 54135 25032 Johnny Young -Startingthe HurtAllOverAgain/Gotto Have YouBack;54146 R. DEAN TAYLOR -There's a GhostinMy House/ Big Joe Williams Clifton Chenier -Take Some Time Out forLove; 54133 Don't FoolAround;25042 F 1024 & 1031 -This Old HeartofMine;54128 Lil' Son Jackson THE UNDERDOGS -Love's Gone Bad;25040 tell THE MARVELETTES-As Long As I Know He's Mine; Mercy Dee They 54088 THE VELVELETTES-He WasReallySayin' John Jackson A Isl. -Beechwood4-5789; 54065 Somethin'; 25013 A as -Danger Heartbreak Dead Ahead; 54120 -Lonely, LonelyGirlAm I;25017 Lowell Fulson Bill; 4126 -Needlein a Haystack;25007 Send a 5c stamp for -Don't Mess With -He's aGood Guy (Yes He Is);54091 Joe Turner our complete -The Hunter Gets Captured by the Game; Jesse Fuller LP catalog. 54143 VAPAC - VI Keep HoldingOn;54116 -LockingUp My Heart/Forever;54077 THE ACCENTS -New Girl;7216 -My Daddy 'KnowsBest; 54082 Dealers, send for our list of distributors. HAROLD BURRAGE-Gotto Find a Way;7225 -Playboy; 54060 Ain't What TheyUsedtoBe;7227 Distribution open in some areas. -Please Mr. Postman;54046 --Things --Strange I Know;54072 THE C.O.D.'S -Michael; 1003 --Too ManyFish intheSea;54102 -Twistin'Postman;54054 ALVIN CASH-Alvin's Boo-Ga-Loo; 6014 -You're My Remedy; 54097 -The Barracuda;6005 THE FABULOUS -You'retheOne; 54131 -Doin' theAliShuffle; 6015 VOICE OF -ThePhillyFreeze;6012 THE MIRACLES -Ain'tItBaby;54036 -TwineTime;6002 -Brokenhearted/Mighty Goodlovin';54044 BETTY -Come On, Do the Jerk; 54109 OTIS CLAY -I'mSatisfied;4841 -Everybody GottaPay Some Dues; 54048 THE DU ETTES-Please Forgive Me; 4827 -Going to a Go Go; 54-27 - IGottaDance to Keep From Crying; 54089 BILLY (THE KID) EMERSON -The Whip, Part 1 &II; SWAN -ILikeItLikeThat;54098 7207 -I'llTrySomething New; 54059 Love Is ImportanttoMe; IS EMPLOYED IN -(Come 'Round Here)I'm the One You Need; BETTY EVERETT-Your ITS HIGHEST AND 54140 4806 BEST PERFORMANCE -The Love I Saw inYou Was Justa Mirage; 5 DU TONES -Shake aTailFeather; 4815 IN THIS CHARMING 54145 NEW HIT -A Love She Can Count On; 54078 McKINLEY MITCHELL -A BitofSoul;4817 --(You Can'tLet the Boy Overpower) The Man -The Town I LiveIn;4804 in You; 54092 THE SHARPEES-Do the "45"; 4835 MAKE -Mickey's Monkey;54083 -Tired of Being Lonely; 4839 -My GirlHas Gone; 54123 -OooBaby,Baby;54113 - Shop Around;54034 ME -That's What LoveIs Made Of; 54102 O VOLT -TackofMyTears; 54118 -Way Over There; 54028 OTIS REDOING -ChainedandBound; 121 138 -What's So GoodAboutGood-Bye/I've Been -Fa-Fa-Fa-Fa-Fa; 146 Good to You; 54033 - I Love You More Than Words Can Say; YOURS -Mr.Pitiful;124 -Whole Lotof Shakin'in My Heart(Since I MONEY r.126 Met You)/Oh Be My Love; 54134 -Painin My Heart; 112 -You've Got a Hold on Me; 54073 --Respect; 128 -Satisfaction; 132 BARRETT STRONG -Money (That'sAll I Want); -Security; 117 54027 -That's What My Heart Needs;109 -These ArmsofMine; 103 THE SUPREMES-Buttered Popcorn; 54045 -Try aLittle Tenderness;141 KIM WESTON-Just Loving You; 54085 Love Me Allthe Way; 54076 WHIT STEVIE WONDER-Blowin'inthe Wind; 54136 -Castlesinthe Sand; 54090 BOBBY POWELL-I Care;729 -ContractonLove;54074 -Fingertips,PartII;54080 -Hey Harmonica Man; 54096 P WHITE CLIFFS -High HeelSneakers;54119 THE -Nothing'sTooGood forMy Baby/With a Child's Heart; 54130 JOE HEYWOOD-Hand inHand;248 -Warm and TenderLove;237 -A Placeinthe Sun; 54139 -HeyLove; 54147 RONNIE KOLE-FlightoftheGreen Hornet;240 SWINGING LARKS -Uptight;54124 -Tony's Tune;235 HAVE DONE IT AGAIN, --Workout Stevie Workout; 54086 TOMMY RIDGLEY-Did You Tell Him; 260 COME BACK BABY UNITED ARTISTS WINDY C MONEY =127 THE FIVESTAIRSTEPS-Ain'tGonnaRest;WC605 THE CLOVERS -Love Potion No. 9/StayAwhile; -Come Back; WC603 MONEY RECORDS UA 1618 -Danger! She's a Stranger; WC604 E. VERNON AVE.,LOS ANGELES,CALIF. 1065 Him/He'sGotthePower; UA -Don't Waste Your Time; WC 601 ADams1-9188 THE EXCITERS -Tell 1612 -World ofFantasy; WC602

78 Billboard World of Soul ALBUMS ARHOOLIE BLACK ACE -Black Ace;F1003 CLIFTON CHENIER-Berkeley Blues Festival (with W I ABC Lightnin' Hopkins and Mance Lipscomb); F1030 --BonTon Roulet; F1031 - -Louisiana Blues & Zydeco; F1024 RAT CHARLES -A Man and His Soul; ABC -590X -Crying Time; ABC -544 JESSE FULLER -FriscoBound;R2009 - Dedicated to You; ABC -355 LOWELL FULSON-Early Recordings; R2003 -GeniusHitstheRoad; ABC -335 LIGHTNIN' HOPKINS-Berkeley BluesFestival(with --GreatestHits; ABC -415 CliftonChenier andManceLipscomb);F1030 --Have a SmileWithMe;ABC -495 --Early Recordings; R2007 --Ingredientsina Recipe forSoul; ABC -465 --WithBarbaraDane; F1002 - -Modern Sounds in Country & Western Music; ABC -410 JOHN JACKSON --JohnJackson;F1025 --Modern Sounds in Country & Western LILSON JACKSON -Li I Son Jackson; F1004 Music,VolumeII; ABC -435 MANCE LIPSCOMB-Berkeley Blues Festival (with --RayCharles "Live"inConcert; ABC -500 Lightnin' Hopkins andCliftonChenier); F1030 -Ray'sMoods; ABC -550 -Mance Lipscomb,Vol. 1; F1001 --Sweet and SourTears; ABC -480 --Mance Lipscomb, Vol. 2; F1023 - -TogetherAgain; ABC -520 --ManceLipscomb, Vol,3; F1026 RAY CHARLES & BETTY CARTER -Ray Charlesand FRED McDOWELL-Mississippi Delta Blues; F1021 Betty Carter; ABC -450 --Mississippi DeltaBlues, C Vol.2;F1027 I THE DIXIE CUPS -Riding High; ABC -525 MERCY DEE-MercyDee; F1007 ALEX MOORE-Alex Moore; F1008 BILL DOGGETT-Wow!; ABC -507 ROBERT SHAW -Texas Barrelhouse Piano; F1010 FATS DOMINO -Fats onFire; ABC -479 BIG MAMA THORNTON-Big Mama Thornton and RECORDS --GetawayWith Fats Domino; ABC -510 TheChicagoBlues Band;F1032 --Here Comes Fats Domino; ABC -455 --In Europe; F1028 THE IMPRESSIONS -GreatestHits;ABC -515 JOE TURNER -Joe Turner With Pete Johnson; R2004 - -The Impressions; ABC -450 BUKKA WHITE --Sky Songs, Vol. 1; F1019 Home of the --Keep on Pushing; ABC -493 --Sky Songs, Vol. 2; F1020 BIG --The Never -Ending Impressions; ABC -468 JOE WILLIAMS-ToughTimes; F1002 Memphis Sound - -Oneby One; ABC -523 JOHNNY YOUNG -JohnnyYoungand HisChicago - -PeopleGet Ready; ABC -505 BlursBand;F1029 --Ridin' High; ABC -545 B. B. KING --B. B. King"Live"atTheRegal; ABC -509 ; I ASCOT --Confessin'theBlues;ABC -528 LONG JOHN BALDRY--Long John'sBlues;13022 --Mr.Blues;ABC -456 16022 BILL BLACK'S LLOYD PRICE-Cuokin';ABC -382 - -TheExciting Lloyd Price; ABC -277 - -TheFantastic Lloyd Price; ABC -346 COMBO --Lloyd Price Sings the Million Sellers; IIATCO ABC -366 --Mr. Personality; ABC -297 THE CAPITOLS -Dance the Cool JerkWith the --Mr.PersonalitySingstheBlues;ABC -315 -pitols;33-190 --Mr. Personality's15 Hits; ABC -324 --WeGot a Thing; 33-201 BETTY WILLIE MITCHELL DELLA REESE--C'mon and Hear; ABC -524 CARTER -'RoundMidnight; 33-152 THE COASTERS -Coast --I LikeItLike Dat; ABC -540 Along WiththeCoasters; --"Live"; ABC -569 33-135 --OneMoreTime!; ABC -589 --The Coasters; 33-101 THE TAMS -HeyGirlDon'tBotherMe; ABC -499 --TheCoasters'GreatestHits; 33-111 DON BRYANT --Presenting the Tams; ABC -481 --One By One; 33-123 -Time for the Tams; ABC -596 (Continued on page 80) NORM WEST

ACE CANNON JERRY JAYE NARVEL FELTS

CHARLIE RICH

1r HI RECORDS "A LITTLE TASTE OF SOUL FROM NASHVILLE" Distributed by London Records New York City

These artists booked through: NationalArtists Attractions Russell -Cason 6 So. Danny Thomas Blvd. Productions DISTRIBUTED BY Memphis, Tennessee 812 17th Ave. So. AMY Eill RECORDS INC. Nashville, Tenn. 1776 BROADWAY N.Y.C. (615) 255-0624

,F A

Billboard World of Soul 79 --How Glad I Am; (S)T-2155

BACKBEAT --Today-My Way; (S)T-2321 ALBUMS --Gentle Is My Love; (S)T-2351 JOE HINTON-Funny; 60 --From Broadway With Love; (S)T-2433 Continued from page 79 0. V. WRIGHT-Eight Men Four Women; 66 --A Touch of Today; (S)T-2495 --Tender Loving Care; (S)T-2555 KING CURTIS-Have Tenor Sax, Will Blow; 33-113 --Nancy-Naturally; (S)T-2634 --KingCurtis Live at Small's Paradise; BLUESWAY --Just for Now; (S)T-2712 33-198 JOHN LEEHOOKER-LiveatCafe Au -Go -Go; DL - --King Curtis Plays the Great Memphis Hits; 6002 33-211 CHECKER B. B.KING-Blues Is King; BL -6001 --ThatLovin'Feeling;33-189 JIMMY REED-The New JimmyReed Album; BI - 101111 LEE HOOKER-John LeeHookerSingsHis BO DIDDLEY-Surfin'; 2987 Blues/Don't Turn Me From Your Door; 33-151 6004 --16 All Time Greatest Hits; 2989 JIMMY HUGHES-Why Not Tonight;33-209 OTIS SPANN-The BluesIs WhereIt'sAt; BL -6003 --Bossman; 3007 ARETHA FRANKLIN-Songs of Faith; 10009 BEN E. KING-Ben E. King Sings forSoulful Lovers; LITTLE MILTON-Little Milton Sings Big Blues; 3002 33-137 LITTLE WALTER-The Best of Little Walter; 3004 --Ben E.King'sGreatestHits;33-165 BROOK-LYN --Don'tPlayThatSong;33-142 THE SOUL STIRRERS-The Best of the Soul Stirrers; MURRAY THE K-Murray theK'sGreatestHoliday 10015 -SevenLetters -33-174 Show/Live From the Brooklyn Fox; 301 --SpanishHarlem;33-133 --Resting Easy; 10021 OTIS REDDING-Pain in My Heart; 33-161 THE VIOLINAIRES-Stand By Me; 10011 MARY WELLS-The Two Sides of Mary Wells; 33-199 --The Fantastic Violinaires; 10017 VARIOUS ARTISTS-ApolloSaturdayNight;33-159 BRUNSWICK --I'm Going to Serve the Lord; 10020 --The GreatGroupGoodies; 33-143 COUNT BASIE B ORCH.-CountBasie; BL 54012 SIDNEY BECHET WITH SAMMY PRICE BLUEICIANS- CHESS Sidney Bechet;BL 54037 ATLANTIC THE YOUNG HOLT TRIO-Wack Wack; BL 54121 CHUCK BERRY-Chuck Berry's Greatest Hits;1485 JACKIE WILSON-Baby Workout; BL 54110 --Chuck Berry's Golden Decade; 1514D LA VERN BAKER-The Best of La Vern Baker; 8078 --Body andSoul; BL 54105 REV. C. L.FRANKLIN-Nothing ShallSeparate Me --La Vern;8002 --By SpecialRequest; BL 54101 From the Love of God; 16 --LaVern Baker;8007 --Jackie SingstheBlues; BL54055 --The Twenty -Third Psalm; 20 --Precious Memories;8036 --Jackie Wilsonat theCopa; BL 54108 --The Eagle Stirreth Her Nest; 21 --See SeeRider; 8071 --Jackie Wilson SingstheWorld'sGreatest - -The Prodigal Son; 23 RUTH BROWN-The Best of Ruth Brown; 8080 Melodies; BL 54106 --Give Me This Mountain; 27 --Ruth Brown;8004 --Lonely Teardrops;BL 54045 - -Rev. C.L.Franklin Sings; 33 SOLOMON BURKE-The Bestof Solomon Burke; --My Golden Favorites;BL 54058 --How Long Halt Ye Between Two Opinions; 63 8109 Little Farther; 64 --My GoldenFavorites,Vol.2; BL 54115 --And He Went a --If You Need Me; 8085 --Shake a Hand; BL 54113 HOWLIN' WOLF-Howlin' Wolf; 1469 --Rock 'nSoul;8096 --The Real Folk Blues; 1502 --Solomon --So Much;BL 54050 MOMS MABLEY-The Funniest Woman in the World; Burke'sGreatest Hits;8067 --Somethin'Else;BL 54117 RAY CHARLES-The GeniusSingstheBlues;8052 1447 --Soul Galore; BL 54120 --Moms Mabley at the U.N.; 1452 --The GreatHits ofRayCharles; SD7171 Time; BL 54118 SD7101 --Soul - -Moms Mabley at the Playboy Club; 1460 --SoulTime; BL54118 Convention; --The Greatest Ray Charles; 8054 --Spotlight onJackie;BL 54119 --Moms MableyattheGeneva --Halleluiah I LoveHerSo;8006 --Whispers; BL 54122 1463 --Ray Charles in Person; 8039 --A Woman, a Lover, a Friend; BL 54059 - -Moms Mabley BreaksItUp; 1472 --The RayCharles Story; --Young Men, Si;Old Men, No; 1477 2-900 --You Ain'tHeardNothin'Yet; BL54100 --The Ray Charles Story, Vol. I; 8063 --I've Got Something to Tell You; 1479 --The Ray Charles Story, Vol.II; 8064 --The Funny Sides of Moms Mabley; 1482 --The Ray Charles Story, Vol. II; 8083 --Mom Wows; 1486 --The RayCharles Story, Vol. IV; 8094 CAMEO --Best of Moms & Pigmeat Markham; 1487 -What'd I Say; 8029 DEE DEE SHARP -18 GoldenHits; Cameo 2002 --One More Time(withPigmeat Markham); --YesIndeedl;8025 1504 THE CLOVERS-The Clovers; 8009 PIGMEAT MARKHAM-The Trial;1451 DON COVAY-Mercyl; 8104 --Pigmeat Markham at the Party; 1462 --See-saw; 8120 CAPITOL --Anything Goes; 1467 THE DRIFTERS-TheDrifters'GreatestHits;8041 CANNONBALL ADDERLEY-Cannonball AdderleyLive; --The World's Greatest Clown;1475 --The Good Life With the Drifters; 8103 (S)T 2399 --Open the Door, Richard; 1484 --I'll Take You Where the Music'sPlaying; --Domination; (S)T2203 --Mr. Funnyman; 1493 8113 --Mercy, Mercy,Mercy; (S)T 2663 --This'll Kill Ya; 1500 --Rockin'andDriftin';8022 CANNONBALL ADDERLEY & ERNIE ANDREWS-Live --If You Can't Be Good, Be Careful; 1505 --Save theLastDanceforMe;8059 Sessionl;(S)T 2284 --Mr. Vaudeville;1515 --Under the Boardwalk; 8099 BEN BENAY-TheBig Blues Harmonicaof Ben BILLY STEWART-Summertime; 1499 --Up ontheRoof;8073 Benay; (S) T 2484 --Old Standards, New Tricks; 1513 CHAMPION JACK DUPREE-Blues From theGutter; KING CURTIS-Soul Serenade; (S)T 2273 MUDDY WATERS-The Best of Muddy Waters; 1427 8019 JAY McSHANN-McShann's Piano;(S)T 2645 --Folk Singer; 1483 --ChampionoftheBlues;8056 HORACE OTT & SONNY SANDERS-The Magnificent - -The Real Folk Blues;1501 --NaturalandSoulfulBlues;8045 Men;(S)T 2678 --More Real Folk Blues; 1511 ARETHA FRANKLIN-I Never Loved a Man the LOU RAWLS & LES McCANN-StormyMonday; SONNY BOY WILLIAMSON-The Real Folk Blues; 1503 Way I Love You; 8139 (S)T 1714 CHRIS KENNER-Land of1000 Dances;8117 JULIAN CANNONBALL ADDERLEY-Domination;(S)T- PATTI COLUMBIA LABELLE I, THE BLUEBELLES-Over the 2203 Rainbow; 8119 --Fiddler ontheRoof;(S)T-2216 Benton; HL B ARBARA LEWIS-Baby BROOK BENTON-The SoulofBrook I'mYours;8110 --Live Session! (with Ernie Andrews); (S)T-2284 7346 --HelloStranger;8086 --Cannonball AdderleyLive; (S)T-2399 LEROY CARR-Blues BeforeSunrise;CL 1799 --It'sMagic;8118 --Great Love Themes; (S)T-2531 ARETHA FRANKLIN-Runnin' Out of Fools; CL 2281 --SnapYourFingers;8090 - -Mercy, Mercy, Mercy; (S)T-2663 CS 9081 THE MAR-KEYS-Do The Pop -eye WithThe Mar - --Why (Am I Treated So Bad); (S)T-2617 --Soul Sister;CL 2521/CS 9321 Keys;8062 KING CURTIS-Soul Serenade; (S)T-2095 --TaitIt LikeYou Give It; CL 2629/CS --Last Night; 8055 --King Curtis Plays the Hits Made Famous by 9429 CLYDE FAcPHATTER-The BestofClyde McPhatter; Sam Cooke; (S)T-2341 --The Tender,the Moving, the Swinging 8077 ELLA FITZGERALD-Brighten the Corner; (S)T-2685 Aretha Franklin; CL 1876/CS 8676 --Clyde; 8031 LOU RAWLS-Stormy Monday; (S)T-1714 --Unforgettable-A Tribute to Dinah Wash --Clyde McPhatter andtheDrifters; 8003 --Carryin'On; (S)T 2632 ington;CL 2163/CS8963 --LoveBallads;8024 --LouRawls "Live"; (S)T 2459 SON HOUSE-Father of the Folk Blues, the Legend- WILSON PICKETT-The Exciting Wilson Pickett; --Nobody ButLou; (S)T2273 ary SonHouse;CL 2417/CS 9217 8129 --ThePilgrimTravelers; (S)T2485 ROBERT JOHNSON-ThesaurusofClassicJazz; Ro- --In the MidnightHour;8114 --Soulin'; (S)T2566 bert Johnson, King of the Delta Blues Singers; --TheWickedPickett; 8138 --Tobacco Road; (S)T 2042 CL 1654 ESTHER PHILLIPS-And I Love Him;8102 --Black and Blue; (S)T-1824 THE SPELLBINDERS-The Magic of the Spellbinders; --The FabulousEstherPhillips --Tobacco Road; (S)T-2042 CL 2514/CS 9314 PERCY SLEDGE-Warm and Tender Soul; 8132 --Nobody But Lou; (S)T-2273 LOUIS ARMSTRONG-Plays W. C. Handy; CL 951 --When a Man Loves a Woman; 8125 --Lou Rawls and Strings;(S)T-2401 MILDRED BAILEY-Her Greatest Performances; C3L 22 JOE TEX-Hold WhatYou'veGot;8106 --Lou Rawls "Live"; (S)T-2459 DUKE ELLINGTON-TheEllington Era (1927-1940), --I've Got to Do a Little Bit Better; 8133 --The Pilgrim Travelers; (S)T-2485 Vol. 2;at39 --The Love You Save;8124 --Soulin'; (S)T-2566 BILLIE HOLIDAY-The Golden Years; C3L 21 --The NewBoss;8115 --Carryin' On!; (S)T-2632 --The Golden Years, Vol. 2; C3L 40 CARLA THOMAS-Gee Whiz;8057 --Too Muchl; (S)T-2713 --Lady Day; CL 637 DORIS TROY-Just One Look; 8088 ART REYNOLDS SINGERS-Tellin'ItLikeItIs!; (SIT - ROBERT JOHNSON-Thesaurus of Classic Jazz;.CL 1654 JOE TURNER-The Bestof JoeTurner;8081 2534 BESSIE SMITH-The Bessie Smith Story, Vol. 1 (with --8ig JoeIs Here;8033 VERDELLE SMITH-(Alone) In My Room; (S)T-2476 Louis Armstrong); CL 855 --Joe Turner; 8005 THE VOICES OF HOPE-The Voices of Hope; (S)T-1526 ---The BessieSmithStory,Vol.2(Bluesto --Rockin' the Blues; 8023 --Walk On By Faith; (5)T-2480 Barrelhouse); CL 856 T-BONE WALKER-T-BoneBlues; 8020 NANCY WILSON-Like inLove; (S)T-1319 --The BessieSmithStory,Vol. 3 (withJoe CHUCK WILLIS-IRemember ChuckWillis; 8079 --Something Wonderful; (S)T-1440 Smith & Fletcher Henderson's Hot Six); CL 857 --The King of the Stroll; 8018 --The Swingin's Mutual (with George Shearing --The Bessie Smith Story, Vol. 4 (with James VARIOUS ARTISTS-Dance theRock &Roll;8013 Quintet); (S)T-1524 P. Johnson & Charlie Green); CL 858 --TheGreatest Rock & Roll; 8001 --Nancy Wilson/Cannonball Adderley; (S)T-2657 VARIOUS ARTISTS-Jazz Odyssey, Vol. 1-The Sound --Rock & Roll Forever; 8010 --Hello Young Lovers; (S)T-1767 of New Orleans (1917-1947); C3L 30 --Rock & Roll Memory Time/HoundDog's --Broadway-My Way; (S)T-1828 --Jazz Odyssey, Vol. 2-The Sound of Chicago OldGold;8068 --Hollywood-My Way; (S)T-1934 (1923-1940); C3L 32 --Saturday Night at the Uptown; 8101 --Yesterday's Love Songs . . . Today's Blues; --Jazz Odyssey, Vol. 3-The Sound of Harlem; --The Solid GoldGroups;8065 (SIT -2102 C3L 33 --SolidGoldSoul,Vol.I;8116 --Today, Tomorrow, Forever; (5)T-2082 --The Original Sound of the Twenties; C3L 35 --Solid GoldSoul,Vol. II;8137 --The Nancy Wilson Show; (S)KA0-2136 --What Is Jazz?; CL 919

80 Billboard World of Soul DEE DEE WARWICK -I Want toBe With You/I'm Gonna Make You Love Me; MG21100/SR61100 CORAL DUKE DINAH WASHINGTON -Dinah Discovered; MG21119/ CAB CALLOWAY-Blues Makes Me Happy; CRL BOBBY BLAND -Soul of a Man; 79 SR61119 57408 --Call on Me; 77 SONNY BOY WILLIAMSON & THE YARDBIRDS- WILDBILLDAVIS-One MoreTime; CRL 57417 --Two Steps From the Blues; 74 Sonny Boy Williamson & The Yardbirds; MG- PETE FOUNTAIN -TheBlues; CRL 57284 --Here's the Man; 75 21071/SR61071 LITTLE RICHARD -ComingHome; CRL 57446 BILLY WILLIAMS-Billy Williams; CRL 57184 ELEKTRA 1 MINIT DATE BUTTERFIELD BLUES BAND -East-West; EKL-315 ERNIE K -DOE -Mother -in -Law;0002 --The PaulButterfieldBluesBand;EKL-294 JIMMY HOLIDAY -Turning Point; 40005/24005 PEACHES & HERB -Let'sFall inLove; TEM 3004, BUTTERFIELD BLUES BAND, LOVIN' SPOONFUL, JIMMY McCRACKLIN-The Best of Jimmy McCrackl in; TES 4004 AL KOOPER, ERIC CLAPTON AND THE POWER- 40009/24009 HOUSE -What's Shakin';EKL-4002 AARON NEVILLE-LikeIt'Tis;40007/24007 KOERNER, RAY & GLOVER -Blues, Rags &Hollers; THE O'JAYS-Soul Sounds;40008/24008 THE PLAYERS -He'll Be Back;40006/24006 I DECCA EKL-240 --Lets More Blues,Rags & Hollers;EKL-267 VARIOUS ARTISTS -NewOrleans: HomeofBlues- LOUIS ARMSTRONG -The BestofLouisArmstrong; DAVE RAY,ERIC VON SCHMIDT, JOHN KOERNER, t; 0001 BX DXB-183 GEOFF MULDAUR, DAN VAN RONK, IAN --New Orleans: Home of Blues -2; 0004 --Satchmo; DXM-155 BUCHANAN, DANNY KALB, MARK SPOELSTRA- --We Sing The Blues; 0003 --Satchom at Symphony Hall; DXB-195 TheBlues Project;EKL-264 LOUIS ARMSTRONG WITH THE SY OLIVER CHOIR Good AND THE ALL -STARS -Louis and the I I MOTOWN

Book; DL 8741 I I EPIC ASSORTED ARTISTS -Kansas City Jazz; DL 8044 THE FOUR TOPS -Four Tops; MLP 622 (S-622) --TheOriginal HitsPerformances! Rhythm, THE ARTISTICS-Get My Handson Some Lovin'; --Four Topson Broadway; MLP 657(S-657) BluesandBoogieWoogie; DL 4011 OKM 12119 --TheFourTopsSecond Album;MLP 634 --Out Camethe Blues; DL 4434 WALTER JACKSON -SpeakHerName; OKM 12120 (S-634) COUNT BASIE-Best of Count Basie; DXB-170 LITTLE RICHARD -Explosive Little Richard; 0KM --Live; MLP 654(5-654) J. ROBERT BRADLEY -God's Amazing Grace; DI 12117 --On Top; MLP 647 (S-647) 4043 STAPLE SINGERS -Why;24237 BILLY ECKSTINE-Prime of My Life; MLP 632(5- NAT KING COLE TRIO -Nat King Cole; DL 8260 JOHNNY WATSON-Bad; 0KM 12118 632) AL COOPER'S SAVOY SULTANS-Jumpin' at the MARVIN GAYE & MARY WELLS -Together; MLP Savoy; DL 4444 613 SAMMY DAVIS, JR.-The Best of Sammy Davis,Jr.; I FONTANA BARBARA McNAIR Here I Am; MLP 644(S-644) DXB-192 (S.623) ELLA FITZGERALD-BestofElla;DX8-156 GLORIA LYNNE -IntimateMoments; MGF 27528, THE SUPREMES-A Bitof Liverpool;MLP 623 --EarlyElla; DL 4447 SRF 67528 --I Hear a Symphony; MLP 643 (S-643) --Ella andHerFeI las;DL 8477 --Love and a Woman; MGF 27546/ SRF --Meet the Supremes-MLP 606 (S-606) --Ella'sGoldenFavorites; DL4129 67546 --More Hits; MLP 627 (S-627) --The First LadyofSong; DL 8695 --Soul Serenade; MGF 27541/SRF 67541 --The Supremes a Go Go; MLP 649 (S-649) --ForSentimental Reasons; DL 8832 --WhereIt'sAt; MGF 27555/SRF67555 ---The Supremes at The Copa; MLP 636 --Lullabies ofBirdland; DL 8149 (S-636) --StairwaytotheStars; DL 4446 --TheSupremes SingHolland,Dozier,Hol- --Sweet andHot; DL 8155 GORDY land; MLP 650 (S-650) ELLIS LARKIN, PIANO -Ella; DL 8068 -We Remember Sam Cooke; MLP 629 (S-629) THE CONTOURS -Do YouLove Me; GOR 901 --Where DidourLove Go; MLP 621(S-621) SONNY FORRIEST-TuffPick in'; DL 4716 MARTHA & THE VANDELLAS-Come and Get These EARL VAN DYKE -That MotownSound;MLP 631 EARL GRANT -BaliHa'i;DL 4806 Memories; GOR 902 (S-631) --A Closer Walk WithThee; DL 4811 --DanceParty;GOR 915(S-915) VARIOUS ARTISTS -Collectionof 16OriginalHits, --Earl AfterDark; DL 4188 - -GreatestHits;GOR 917 (S-917) Vol.I II;MLP 624 --Earl GrantatBasinStreetEast;DL 4299 -- -HeatWave; GOR 907 --Collectionof 16 OriginalHits,Vol. IV; --Earl GrantMidnight Sun; DL 4338 --Watchout;GOR 920(S-920) MLP 633 --Earl GrantSings andPlays SongsMade THE TEMPTATIONS-Gettin' Ready; GOR 918 (S- --Collection of 16 Original Hits,Vol.V; Famous by NatCole;DL 4729 918) MLP 651 (S-651) --Earl Grant. Yes Sirree!; DL 4405 --Greatest Hits;GOR 919(S-919) (Continued on page 82) --EbbTide; DL 4165 --Meet TheTemptations;GOR 911 --The End;DL 8830 -The Temptations Live; GOR 921 (S-921) --Fly Me totheMoon; DL 4454 --The Temptations SingSmokey;GOR 912 --Grant Takes Rhythm; DL 8905 (S-912) --Justfor a Thrill; DL 4506 --TheTemptin'Temptations; GOR 914 (S SAM COPLIN --Just One MoreTime;DL 4576 914) --The MagicofEarlGrant;DL 4044 --Nothin' But the Blues; DL 8916 --Spotlight on Earl Grant; DL 4624 O HOLLYWOOD THEATRICAL --Stand By Me; DL 4738 --TheVersatile EarlGrant; DL 8672 CHARLES BROWN -Merry Christmas Baby;H LP501 CHICO HAMILTON QUINTET -Sweet Smellof Suc- ENTERPRISES cess; DL 8614 1] IMPERIAL LIONEL HAMPTON ALL STARS -Gene Norman Pre- One Lee Park West 3303 Lee Parkway sents the FATS DOMINO -The FabulousMr."D"; 9055 "Original" StarDust; DL 4194 Dallas, Texas 75219 LA 2-1011, A.C. 214 LIONEL HAMPTON & ORCH.-Al IAmericanAward --FatsDominoSwings;9062/12091 Concert;DL 8088 --Here He ComesAgain; 9248 --Hamp's Golden Favorites; DL 4296 - -HereStands Fats Domino;9038 -I Miss YouSo; 9138 A Partial Listing LIONEL HAMPTON & SEXTET-Moonglow; DL 8230 -Let's Dance With Domino;9239 COLEMAN HAWKINS-The "Hawk" Talks;DL 8127 --Let'sPlayFats Domino;9065 of Talent AL NIBBLER -Al Hibbler Remembers theBigSongs --A Lotof Dominos;9127/12066 ofthe BigBands; DL 8862 --MillionRecord Hits;9103/12103 --Here's Hibbler; DL 8420 --Million Sellers by Fats; 9195 Freddie King --Hits by Hibbler; DL 8757 --Rock andRollin';9004 --StarringAl Hibbler; DL8328 --RockandRollin';9009 - -This IsFats;9040 American Blues BILLIE HOLIDAY -The Billie Holiday Store; DXB-161 --This Is Fats Domino;9028 --The BluesAreBrewin'; DL 8701 --Walkingto New Orleans;9227 King Curtis --The LadySings; DL 8215 --Lover Man; DL 8702 LIGHTNIN' HOPKINS-And theBlues;9211 JIMMY McCRACKLIN-Every Night, Every Day; Eddy Giles THE INK SPOTS -The BestoftheInkSpots; DXB- 9285/12285 182 --I JustGotta Know; 9219 Festivals --Time OutforTears;DL 8232 --Think; 9297/12297 LOUIS JORDAN TYMPANY FIVE -Letthe Good IRMATHOMAS -Take a Look;9302/12302 TimesRoll;DL 8551 - -WishSomeone Would Care;9266 Masqueraders T-BONE WALKER -Singing TheBlues; 9116 JIMMY LUNCEFORD & ORCH.-Jimmy Lunceford; DL 8050 --T-Bone Walker Sings the Blues; 9098 Lord August & the Visions of Lite VARIOUS ARTISTS -Best of the Blues, Vols. I & II; CARMEN McRAE-After Glow; DL 8583 9257 & 9259 Finneymore --By SpecialRequest;DL 8173 ---NewOrleans: OurHomeTown; 9260 --CarmenforCool Ones; DL 8738 --Torchy!;DL 8276 Little Harry THE MILLS BROTHERS -The Best of the Mills IMPULSE Brothers;DXB-193 Mystics --Singin' and Swingin'; DL 8209 JOHN LEE HOOKER -It Serve You RighttoSuffer; A-9103 Brimstones ARTHUR PRYSOCK-StrictlySentimental; DL 4581 BEVERLY JENKINS-Gordon ARTHUR PRYSOCK WITH BUDDY JOHNSON & ORCH.- Jenkins Presents, My Wife theBluesSinger; A-44 Standells ArthurPrysockShowcase; DL 4628 QUARTETTE TRES BIEN-Boss TresBien;DL 4547 --"In" Motion;DL 4791 Ray Peterson --Kilimanjaro; DL O MERCURY 4548 Miss La Vell --Sky High;DL 4715 CHUCK BERRY -Chuck Berry'sGolden Hits; MG- --SteppingOut I; DL 4675 21103/SR61103 --WhereIt'sAt I;DL 4822 TERRY BUTLER -LikeItIs; MG21101/SR61101 Jimmy Gilmer & the Fireballs SISTER ROSETTA THARPE WITH THE SAM PRICE --SoulArtistry;MG21105/SR61105 TRIO -Gospel Train; DL 8782 THE SHANGRI-LA's-GoldenHitsofThe Shangri- And Many Others . . . JOSH WHITE -Josh White;DL 8665 La's;MG21099/SR61099 a

Billboard World of Soul 81 ALBUMS 0 ORIGINAL SOUND 0 PHILIPS DYKE AND THE BLAZERS-Funky Broadway;OSR- THE FLAMINGOS-Their Hits, Then and Now; 200/ Continued from page 81 LPM 5017 600-206 VARIOUS ARTISTS-Oldies But Goodies, 9 volumes; NINA SIMONE-High Priestees of Soul; 200/600-219 a onYou;200/600-172 --Collection16 OriginalHits,Vol.VI; MLP Vol.1: OSR-LPM 5001, Vol. 2: OSR-LPM 5003, --IPut Spell 655(S-655) --LetItAll Out; 200/600-202 Vol. 3: OSR-LPM 5004, Vol.4: OSR-LPM 5005, --Motortown Revue,Vol. I;MLP 609 --Nina SimoneinConcert; 200/600-135 Vol. 5: OSR-LPM 5007, Vol.6: OSR-LPM 5011, --Wild Is the Wind; 200/600-207 --MotortownRevue,Vol.II; MLP 615 Vol. 7: OSR-LPM 5012, Vol.8: OSR-LPM 5014, --A PackageofHits;MLP 614 Vol. 9: OSR-LPM 5016 MARY WELLS-Mary Wells' Greatest Hits; MLP 616 (S-616) PHILLES

--VintageStock;MLP 653(5-653) i PARKWAY THE CRYSTALS-He's a Rebel;PHLP 4001 CHUBBY CHECKER-Chubby Checker's Discoteque; THE CRYSTALS, BOB B. SOXX 8 THE BLUE JEANS, Parkway 7045 THE RONETTES, DARLENELOVE, THE ALLEY NASHVILLE --18 Golden Hits;Parkway 7048 CATS-Today'sHits;PHLP 4004 SOUNDS ORCHESTRAL-Soul ofSoundsOrchestral; RIGHTEOUS BROTHERS-BacktoBack;PHLP 4009 LOWELL FULSOM-Everyday I Have the Blues;NLP Parkway 7047 --Just Oncein MyLife;PHLP 4008 2030 Lovin' PHLP THE TYMES-So Much in Love; Parkway7049 --You've Lost That Feelin'; 4007 BOB B.SOXX 8 THE BLUE JEANS -Zip-A-Dee-Doo- NOLA PARLO Dab; PHLP 4002

ROBERT PARKER-Barefootin'; 1001 AARON NEVILLE-TellItLikeItIs; LP 1 1-1 PRESTIGE

MOSE ALLISON-Seventh Son;M/S-PR7279 GENE AMMONS-Angel Eyes; M/S-PR7369 BILLY BOY ARNOLD-More Blues on the South Side; "SIDUI_ MUSIC" M-PR7389 MILES DAVIS-GreatestHits;M/S-PR7457 JESSE E FULLER-San Francisco Bay Blues; M-1406 .. IS EUROPE'S BEST SELLING SOUL MAGAZINE STAN GETZ-GreatestHits;M/S-PR7337 BYRDIE GREEN-The GoldenThrushStrikes;M/S- Therefore, if you don't want monster sales in Europe, P R7503 you had better not mail us all your new releases "GROVE"HOLMES-Living Soul; M/S-PR7468 --Misty; M/S-PR7485 to review in "SOUL MUSIC," the most --Soul Message; M/S-PR7435 influential publication on Europe's newsstands. LIGHTNIN' HOPKINS-My LifeintheBlues; M -PR - On other hand, if you think you can handle all the extra sales 7370 --SoulBlues; M-PR7377 we are certain to put your way, our address is: WILLISJACKSON-TogetherAgain;M/S-PR7364 HOMESICK JAMES-Blues on the SouthSide; M -PR - 13, Milestone Road 7388 London S.E. 19 England ROLAND KIRK WITH JACK McDUFF-FunkUnder- neath; M/S-PR7450 P. S. They tell us our advertising rates are ridiculously low. ERIC KLOSS-Love andAllThat Jazz; M/S-PR7469 JACK McDUFF-Greatest Hits; M/S-PR7481 HOUSTON PERSON-UndergroundSoul;M/S-PR7491

' FREDDIE ROACH-Soul Book;M/S-PR7490 " \ TOM RUSH-Got a Mind to Ramble;M-14003 Las Vegas has the A. K. SALIM-Afro-SoulDrumOrgy;M/S-PR7379 JOHNNY "HAMMOND" SMITH WITH BYRDIE GREEN -The Stinger Meets the Golden Thrush; M/S-PR7464 OTIS SPAN-The BluesNeverDie;M-PR7391 SONNY STITT-Night Crawler; M/S-PR7436 SPIRISOR SOUND BOBBY TIMMONS-Soul Man; M/S-PR7465 DAVE VAN RONK-FolkSinger;M-14012 ARTIST L. J. MITCHELL P1 RCA VICTOR HARRY BELAFONTE -Ballads, Blues andBoasters; LPM/LSP-2953 --BelafonteSingstheBlues;LPM/LSP-1972 SAM COOKE-The Bestof Sam Cooke;LPM/LSP- INSIGHT RECORDS 2625 --Sam CookeattheCopa: LPM/LSP-2970 3135 Industrial Road, Las Vegas, Nevada --Shake; LPM/LSP-3367 LEADBELLY-The Midnight Special; LPV-505 Area Code702 734-1750 NORMAN LUBOFF-Blues Right Now; LPM/LSP- 3312 HENRY MANCINI-The BluesandtheBeat;IPM/ LSP-2147 ODETTA-Odetta Sings FolkSongs; LPM/LSP-2643 --Sometimes I Feel LikeCryin';LPM/LSP- 2573 America's Newest Song Stylist JIMMIE RODGERS-The Best of the Legendary JimmieRodgers, LPM/LSP-3315(e) --My Rough and Rowdy Days; IPM -2112 --TrainWhistle Blues; LPM-1640 JOE WILLIAMS-Me and theBlues;LPM/LSP-2879 SPECIALCOLLECTION-BluebirdBlues;LPV-518 TOUSSAINT McCALL --WomenoftheBlues;LPV-534 exclusively on Ronn Records PISHOUT * * * * * * * * * * * * * FREDDIE SCOTT-Are YouLonelyfor Me; SLP 501 NOTHING TAKES THE tAyt PLACE OF YOU eoei...civtu-t) I I SMASH JAMES BROWN-Presenting the James Brown Show I'LL DO IT FOR YOU elRECORDS E. (Recorded Live on Stage); MGS 27087/SRS New 67087 728 TEXAS ST.,SHREVEPORT,LA. !A\k Ronn 9 Phone:(318)422-7182 (Continued on inside back cover)

Billboard World of Soul 82 RHYTHM and BLUES DISCOGRAPHY Listed below are all the singles that made the Top 10 of marked with an asterisk (*) indicate that the recordmade Billboard's bestselling rhythm & blues chart from the the No. 1position on the chart. While some of the artists beginning of 1950 through the end of1966, with the and records may sound strange in an r&bdiscography, thechartselections were made on thebasisof r&b exception of the period from November 30, 1963, to Janu- do not ary23.1965. when no rhythm & bluescharts were retail and airplay figures. Hence some artists who published. The LP discography contains all the LP's that fallin the accepted r&b category will be listedin the made the Top 10 of Billboard's best selling rhythm & discography. The list was compiled by Billboard's Record blues chart from its inception at the beginning of 1965 Market Research Division under the direction of Andy through the end of 1966. All records, albums and singles. Tomko.

TITLE-Artist, Label TITLE-Artist,Label MISTRUSTIN' BLUES-LittleEsther &theRobins, *FOOL FOOL FOOL-The Clovers, Atlantic BABY-J. Otis -M.Walker,Savoy Singles Savoy GEE, Trio,Capitol *GLORY OF LOVE-Five Keys,Aladdin MONA LISA-King Cole Ford,Capitol MY BABY'S GONE-C.Brown,Aladdin HOW HIGH THE MOON-L.Paul -M. 1950 MY IFOOLISH HEART-G. Ammons, Chess HOW MANY MORE YEARS-Howling Wolf, Chess MY MOTHER TOLD ME-King ColeTrio,Capitol AM WITH YOU-Dominoes, Federal Modern APOLOGIZE-B.Eckstine, MGM 1966TITLE-Artist, Label NO ROLLIN'BLUES-JimmyWitherspoon, Chile Robinson,Capitol GOT LOADED-PeppermintHarris,Aladdin NUMBERS BOOGIE-Sugar Atlantic AFTER HOURSSESSION-J.Culley,Atlantic OH BABE-L.Darnell,Regal KNOW-Ruth Brown, *ANYTIME, ANYPLACE, ANYWHERE-J. Morris - WILL WAIT-Four Buddies, Savoy OH BABE-R. Milton,Specialty Mercury L.Tate,Atlantic OH BABE-J. Preston -B.Evans, Derby WON'T CRY ANYMORE-D. Washington, BAD, BAD WHISKEY-A. Milburn, Aladdin OLD TIME SHUFFLE BLUES-L. Glen -L. Fulson, I'M A NIGHT OWL-L. Fulson, Swingtime BALD HEAD-R.Byrd,Mercury Swingtime 'M GONNA DIG MYSELF A HOLE-A. Crudup, Victor BECAUSE-Buddy Johnson, Decca OUR FATHER-Five Blind Boys, Peacock 'MIN THE MOOD-J. L. Hooker, Modern SESAME MUCHO-Ray-O-Vacs, Decca Specialty 'M WAITING JUST FOR YOU-Lucky Milinder, King PINK CHAMPGNE-J.Liggins, 'LL NEVER BE FREE-Lucky Millinder,Victor BIG FINE GIRL-Jimmy Witherspoon,Modern *PLEASE SEND ME SOMEONE TO LOVE-Percy *BLUE LIGHT BOOGIE-L. Jordan, Decca Mayfield,Specialty 'LL WAIT FOR YOU-Ruth Brown, Atlantic Capitol *BLUE SHADOWS-L. Fulson,Swingtime RAG MOP-L.Hampton,Decca JET-Nat KingCole, Red,Victor BON TON ROULA-C.Garlow,Macy's RAG MOP -1.Liggins,Specialty JUST RIGHT BOUNCE-Piano Red, Victor BOOGIE AT MIDNIGHT-R.Brown,DeLuxe RAG MOP-D. Sausage,Regal LAYINGTHE BOOGIE-Piano CADILLAC BABY-R. Brown, DeLuxe Harris, LEMONADE-L.Jordan, Decca RAININGIN MY HEART-Peppermint Aladdin CRY, CRY BABY-Ed Wiley,SittinIn In LET'S- ROCK AWHILE-A.Milburn, Sittin Brothers,Dot CUPID BOOGIE-Little Esther, Savoy ROCKIN' BLUES -1.Otis -M.Walker,Savoy LITTLE RED ROOSTER-M. Day -Griffin DECEIVIN' BLUES-J.Otis -LittleEsther -M.Walker, SAFRONIA-B-C. Boze,Aladdin LITTLE SIDE CAR-Larks,Apollo Fulson,Swingtime Savoy *SATURDAY NIGHTFISH FRY-L.Jordan, Decca LONESOME CHRISTMAS-L. DOUBLE CROSSING BLUES-Little Esther & the SCHOOL DAYS-L. Jordan,Decca LONG DISTANCE CALL-M. Waters, Chess Robins, Savoy SHOTGUN BLUES-Lightnin'Hopkins,Aladdin LOST LOVE-P. Mayfield,Specialty DOUBLE CROSSING BLUES-J.Otis,Savoy SILENT NIGHT-SisterRosetta TharpeGospel LOUISIANA BLUES-Muddy Waters,Chess DREAMIN' BLUES-J. Otis -M. Walker, Savoy Singers,Decca MAMBO BOOGIE-J. Otis -M. Walker, Savoy EVERY NIGHTABOUT THIS TIME-FatsDomino, SITTING BY THE WINDOW-B. Eckstine-R. Case Ork, MONEY BLUES-C.Howard,Specialty Imperial OH BABE-W.Harris -L.Millinder,King M -G -M Brothers, Dot EVERYDAY I HAVE THE BLUES-L. Fulson,Swing - SITIN' ONITALL THE TIME-W.Harris,King PRETTY BABY-M. Day -Griffin time SNEAKIN' AROUND-R. Render,London RED'S BOOGIE-Piano Red, Victor FAR AWAY PLACES-Little Ester -J.Otis, Savoy STAKA'LEE-Archibald Ork,Imperial *ROCKET 88-J.Breston, Chess FAT MAN, THE-Fats Domino, Imperial STREET WALKING DADDY-M. Day, Dot ROCKIN' CHAIR-Fats Domino, Imperial FOR YOU, MY LOVE-L. Darnell, Regal TAMBURITZA BOOGIE-L. Jordon, Decca ROCKING WITH RED-Piano Red,Victor FORGIVE AND FORGET-TheOrioles, Jubilee *TEARDROPS FROM MY EYES-R. Brown, Atlantic SEVEN LONG DAYS-CharlesBrown,Aladdin GUESS WNW-Ivory Joe Hunter, King TENDERLY-Lynn HopeQuintet,Premium SHOULDN'T I KNOW-Cardinals, Atlantic *HARD LUCK BLUES-Roy Brown, DeLuxe TIME OUT FOR TEARS-Dinah Washington, Mercury *60 MINUTE MAN-Dominoes,Federal HOMESICK BLUES-C.Brown,Aladdin WALKING BLUES-A. Milburn,Aladdin SMOOTH SAILING-E.Fitzgerald,Decca I ALMOST LOST MY MIND-King Cole Trio,Capitol WAkKIN' BLUES-J.Moore'sThreeBlazers,Victor "T" 99 BLUES-J.Nelson, RPM *1 ALMOST LOST MY MIND-Ivory Joe Hunter, WEDDING BOOGIE-LittleEsther -M.Walker -J.Otis, T -TOWN JUMP-R.Milton,Specialty M -G -M TEARDROPS FROM MY EYES-L. Jordan, Decca Savoy TEARS,, TEARS, TEARS --A. Milburn, Aladdin DON'T HAVE TORIDE NO MORE-The Ravens, WELL, OH WELL-Tiny Bradshaw, Kinq National WHAT ARE YOU DOING NEW YEARS?-Orioles, TELEPHONE BLUES-F.Dixon,Aladdin LIKE MY BABY'S PUDDING-W. Harris, King Jubilee TEND TO YOUR BUSINESS-J. Wayne, SittinIn McGhee,Atlantic LOVE MY BABY-L. Darnell,Regal WHY DO THINGSHAPPEN TO ME-R.Hawkins, TENNESSEE WALTZ BLUES-S. NEED YOU SO-Ivory JoeHunter, M -G -M Modern THRILL IS GONE-R. Hawkins, Modern ONLY KNOW-Dinah Washington,Mercury YOU SATISFY-B. Wright, Savoy TOO YOUNG-Nat KingCole,Capitol QUIT MY PRETTY MAMA-Ivory Joe Hunter, King TRA LALA-GriffinBrothers -T.Brown, Dot WANNA BELOVED-Dinah Washington, Mercury WEAK MINDED BLUES-L. Jordan, Decca 'M GOING TO HAVE MYSELF A BALL-T. Bradshaw, 1951 WEEPING &CRYING-Griffin Brothers,Dot King WHAT A FOOL I WAS-P. Mayfield, Specialty M YOURS TO KEEP-H. Foster, Modern ALL NITE LONG-J.Otis -M.Walker,Savoy WILL YOU BE MINE-Swallows, King VE BEEN A FOOL-The Shadows, Lee ALL OVER AGAIN-T. Edwards, MGM WRONG YO YO-Piano Red, Victor LL GET ALONG SOMEHOW-L. Darnell, Regal BABY LET ME HOLD YOUR HAND-R. Charles, LL NEVER BEFREE-P. Gayten & AnnieLaurie, Swingtime Regal *BECAUSE OF YOU-Tab Smith,United 1952 LL NEVER BEFREE-Dinah Washington, Mercury BEST WISHES-R. Milton,Specialty NFORMATION BLUES-R.Milton- His Solid BIG TOWN-Roy Brown, DeLuxe BABY PLEASE DON'T GO-Orioles, Jubilee Senders,Specialty *BLACKNIGHT-C. Brown,Aladdin BE ANYTHING (But Be Mine)-W. Brown, T ISN'TFAIR-DinahWashington, Mercury BLOODSHOT EYES-W. Harris,King Mercury LANDLORD BLUES-Ivory Joe Hunter, King CASTLE ROCK-J.Hodges, Mercury BELLS ARE RINKING-SmileyLewis, Imperial LET'S MAKE CHRISTMAS MERRY, BABY-A. CHAINS OF LOVE-J. Turner, Atlantic BESIDE YOU-Swallows,King Milburn,Aladdin CHICA BOO-L. Glen, Swingtime BIG QUESTION-P.Mayfield,Specialty LITTLE SCHOOL GIRL-SmokeyHogg,Modern COLD COLD HEART-D. Washington,Mercury *BOOTED-R.Gordon,Chess LONESOME CABIN BLUES-Mercy Dee,Spire CRY-J.Ray, Okeh CALL OPERATOR 210-F. Dixon, Aladdin LONG ABOUT SUNDOWN-R. Brown, DeLuxe DO SOMETHING FOR ME-Dominoes, Federal CRY BABY-P.Mayfield,Specialty LOVE DON'T LOVE NOBODY-R. Brown, Deluxe DON'T TAKE YOUR LOVE FROM ME-.1.Morris, DADDY, DADDY-Ruth Brown,Atlantic LOVE FOR CHRISTMAS-F. Grass Ork., Savoy Atlantic DUST MY BROOM-E. James, Trumpet LOW SOCIETY BLUES-L. Fulson, Swingtime *DON'T YOU KNOW I LOVE YOU-The Clovers, EASY,EASY, BABY-V.Dillard,Savoy MERRY CHRISTMAS, BABY-J. Moore's Three Blazer's, Atlantic *FIVE LONG YEARS-Eddie Boyd,Job Exclusive EYESIGHT TO THE BLIND-TheLarks,Apollo MILLION DOLLAR SECRET-H. Humes, Modern FLAMINGO-E.Bostic,King (Continued on page 84) 83 Billboard World of Soul TITLE-Artist,Label TITLE-Artist, Label Rhythm & Blues Discography ONE SCOTCH, ONE BOURBON, ONE BEER-A. CAN SEE EVERYBODY'S BABY-R. Brown, Atlantic Milburn,Aladdin CAN'T GO ON-F. Domino,Imperial Imperial Continued from page 83 PLEASE DON'T LEAVE ME-FatsDomino,Imperial HEAR YOU KNOCKING-S.Lewis, PLEASE HURRY HOME-B. B. King, RPM 'M A MAN-B. Diddley,Checker 'VE GOT A WOMAN-R. Charles, Atlantic TITLE-Artist, Label PLEASE LOVE ME-B. B. King, RPM PRETEND-NatKingCole,Capitol T'S LOVE BABY-L. Brooks, Excel lo 5.10-15 HOURS-Ruth Brown, Atlantic RAGS TO RICHES-Dominoes,King T'S LOVE BABY-Midnighters, Federal GOIN' HOME-Fats Domino,Imperial RED TOP-King Pleasure, Prestige OHNNY HAS GONE-V.Dillard, Savoy GOODBYE, BABY-Little Caesar,RI H ROSEMARY-Fats Domino, Imperial KO KO MO-Gene & Eunice, Combo GOT YOU ON MY MIND -1.Greer,Victor 'SHAKE A HAND BABY-F. Adams, Herald LING, TING, TONG-Charms, DeLuxe HARD TIMES-Charles Brown,Aladdin SOFT-Tiny Bradshaw,King LING,TING,TONG-FiveKeys,Capitol HAVE MERCY,BABY-Dominoes, Federal SOMETHINGS' WRONG --Fats Domino, Imperial LONELY NIGHTS-Hearts, Baton HEAVENLY FATHER-E. McGriff-B. Lucas, Jubilee THESEFOOLISH THINGS-Dominoes,Federal MANISH BOY-M. Waters, Chess HEY, MISS FANNIE-Clovers,Atlantic THIRDDEGREE-E. Boyd,Chess MAYBELLENE-C.Berry, Chess HEY, MRS. JONES -1.Forrest,United TOO MUCH LOVIN'-Five Royals, Apollo 'MY BABE-Little Walter,Checker HOW LONG-FatsDomino,Imperial TV IS THE THING-D. Washington, Mercury ONLY YOU-Platters,Mercury I DIDN'T SLEEP A WINK LAST NIGHT-A. Prysock, 24 HOURS-E.Boyd, Chess PIDDILY PATTER PATTERN-N. Brown,Savoy Decca WAY BACK HOME-Big Maybelle,Okeh PLAYITFAIR-L.Baler,Atlantic IDON'T KNOW-W. Mabon, Chess WOKE UP THIS MORNING-B.B. King, RPM PLEDGING MY LOVE-J. Ace,Duke I PLAYED THE FOOL-Clover,Atlantic WILD, WILD YOUNG MEN-R. Brown, Atlantic POOR ME-F. Domino, Imperial I'M GONE-Shirley &Lee, Aladdin Decca YES I KNOW-Linda Hayes, RI H ROCK AROJND THE CLOCK-B.Bailey, I'M GONNA PLAY THE HONKY TONKS-M. Adams, SEVENTEEN-B,Bennett,King Peacock SOLDIER BOY-Four Fellows, Glory I'LL DROWN IN MY TEARS-Sonny Thompson, King 1954 STEAMBOAT-Drifters,Atlantic JUKE-Litt leWalker,Checker STORY UNTOLD-Nutmegs, Herald KISS ME BABY-R.Charles,Swingtime ANNIES' AUNT FAMILY-Midn ighters, Federal THAT'S ALL I NEED-L.Baker,Atlantic Price,Specialty LAWDY MISS CLAWDEY-L. ANNIE HAD A BABY-Midn ighters, Federal THAT'S ALL I WANT FROM YOU-D.Washington, LETS CALL IT A DAY-J. Thompson, King BIP BAM-Drifters,Atlantic Mercury LOVIN' MACHINE-W. Harris,King DARLING DEAR-Counts,Dot THIRTY DAYS-C. Berry, Chess Blazer,United MARY JO-Four DON'T YOU KNOW-R.Charles,Atlantic THISLITTLEGIRL OF MINE-R.Charles,Atlantic King MELLOW BLUES-Sonny Thompson, DREAM-D. Washington, Mercury TUTTI FRUTTI-Little Richard, Specialty Atlantic MIDDLE OF THENIGHT-Clovers, EBB TIDE-R.Hamilton,Epic TWEEDLE DEE-L,Baker,Atlantic Pleasure, MOODY MOOD FOR LOVE-King Prestige 'EARTH TWO HEARTS-Charms, Deluxe MY HEART'S DESIRE-Jimmy Lee, Modern ANGEL-Penguins,Dootone EARTH ANGEL-Penguins,Dootone 'UNCHAINED MELODY-R. Hamilton,Epic *MY SONG-J. Ace,Duke GEE-Crows,Rama UNCHAINED MELODY-A.Hibbler,Decca Okeh MY STORY-Chuck Willis, GOODNIGHT SWEETHEART-Spaniels, WALKING THE BLUES-J. Du Pree, King NEW BLOWTOP BLUES-D.Washington,Mercury Vee-Jay HEARTS OF STONE-Charms, DeLuxe WALLFLOWER-E. James, Modern NIGHT & DAY-R. Milton,Specialty WHY DON'T YOU WRITE ME-Jacks, RPM *NIGHT TRAIN-J.Forest,United 'HONEY LOVE-C. McPhatter, Atlantic NO MORE DOGGIN'-R. Gordon, RPM HURT-R. Hamilton, Epic WHAT'CHA GONNA D0?-Drifters,Atlantic ONE MINT JULEP-Clovers,Atlantic 'HURTS ME TO MY HEART-F. Adams, Herald WITCHCRAFT-Spiders,Imperial 000H, 0000H, 000H-LloydPrice,Specialty DIDN'T WANT TO DO IT-Spiders,Imperial YOU DON'T HAVE TO GO-J. Reed, Vee-Jay PORTO OF RICO-I. Jacquet, Mercury DON'T HURT ANYMORE-D. Washington, Mercury FEEL RESTLESS NIGHTS-Lloyd Price,Specialty SO BAD-C.Willis, Okeh RING-A-DING-D0O-Litt leEsther,Federal GOT MY EYES ON YOU-Clovers,Atlantic 1956 ROCK ME ALL NIGHT LONG-Ravens, Mercury UNDERSTAND JUST HOW YOU FEEL-Four Tunes, SAD HOURS-Little Jubilee AIN'T GOT NO HOME-C. Henry, Argo Walter,Checker AIN'T THAT LOVIN' YOU, BABY?-J. Reed, Vee-Jay SHE MOVES ME-Muddy Waters, Chess 'M JUST YOUR FOOL-B. Johnson, Mercury SLEEP-E.Bostic,King M READY-M.Waters, Chess BAD LUCK-B. B.King, RPM SO TIRED-R. Milton,Specialty M YOUR HOOTCHY KOOTCHY MAN-Muddy BLUE SUEDE SHOES-C. Perkins,Sun STORY FROM MY HEART & SOUL-B. B.King, RPM Waters, Chess `BLUEBERRYHILL-F.Domino,Imperial SUNSET TO DAWN-M. Walker -J.Otis, Savoy F I LOVED YOU-R. Hamilton,Epic BO WEEVIL-F. Domino,Imperial SWEETSIXTEEN-J. Turner,Atlantic T SHOULD'VE BEEN ME-R. Charles,Atlantic BROWN EYED HANDSOME MAN-C. Berry, Chess THATS WHAT YOU'RE DOING TO ME-Dominoes, JUST MAKE LOVE TO ME-Muddy Waters,Chess CANADIAN SUNSET-E. Heywood -H. Winterhalter, Federal LITTLE MAMA-Clovers, Atlantic Victor THINKIN' & DRINKIN'-A.Milburn,Aladdin LOVEY DOVEY-Clovers, Atlantic CASUAL LOOK-Six Teens,Flip-SixTeens,Flip THREE O'CLOCK BLUES-B. B. King, RPM LUCILLE-C.McPhatter,Atlantic COME HOME-B. Johnson,King TING-A-LING-Clovers,Atlantic 'MAMBO BABY-R. Brown, Atlantic CORRINE, CORRINA-J. Turner, Atlantic TROUBLEIN MIND-D. Washington, Mercury OOP SHOOP-S. Gunther,Flair DEVIL OR ANGEL-Clovers, Atlantic WHEEL OF FORTUNE-Cardinals,Atlantic PLEASE FORGIVE ME-J. Ace,Duke 'DON'T BE CRUEL-E.Presley,Victor WHEEL OF FORTUNE-Sunny Gate -E. Wilcox, Derby POISON IVY-W. Mabon, Chess DON'T BLAME IT ON ME-F. Domino, Imperial WHEEL OF FORTUNE-D.Washington,Mercury RECONSIDER BABY-L. Fulson, Checker DOWN IN MEXICO-Coasters, Atco WHERE ARE YOUT-Mellow Moods,Robin SAVING MY LOVE FOR YOU-J. Ace, Duke DROWN IN MY OWN TEARS-R.Charles,Atlantic WIND IS BLOWING-J. Witherspoon, Modern SEXY WAYS-Midnighters,Federal EDDIE MY LOVE-TeenQueens, RPM YOU KNOW ILOVE YOU-B. B. King, Modern SH-BOOM-Chords, Cat FEVER-Little WillieJohn,King SHAKE, RATTLE & ROLL-J.Turner,Atlantic FLYING SAUCER-Buchanan & Goodman, Luniverse SINCERELY-Moonglows, Chess GOODNIGHT, MY LOVE -1.Belvin, Modern 1953 SUCH A NIGHT-C.McPhatter,Atlantic GREEN DOOR-J. Lowe, Dot TEACH ME TONIGHT-D. Washington, Mercury HALLELUJAH,I LOVE HER SO-R. Charles, Atlantic IT AIN'T A SHAME-L.Price,Specialty THINGS I USED TO DO-Guitar Slim, Specialty HEARTBREAK HOTEL-ElvisPresley,Victor 'BABY DON'T DO IT-FiveRoyals,Apollo TICK, TOCK-Marvin & Johnny, Modern HEY, DOLL BABY-Clovers, Atlantic BABY,I'M DOING IT-Annis teenAllen,King TV MAMA-J.Turner,Atlantic HONEY CHILE-F. Domino, Imperial BABYIT'SYOU-Spaniels, Chance 'WHAT A DREAM-R. Brown,Atlantic HONKY TONK-(Parts I & II)-B. Doggett, King BEAR CAT-R. ThomasJr., Sun WHITECHRISTMAS-Drifters,Atlantic 'HOUND DOG-ElvisPresley,Victor BELLS,THE-Dominoes, Federal WHOLE LOTTA LOVE-B.B. King, RPM CAN'T LOVE YOU ENOUGH-L. Baker, Atlantic BLUES WITH A FEELING-Little Walter, Checker 'WORK WITH ME, ANNIE-Midnighters, Federal CAN'T QUIT YOU NOW -0.Rush,Cobra 'CLOCK-J. Ace, Duke YOU DONE ME WRONG-Fats Domino,Imperial FEEL GOOD-Shirley & Lee, Aladdin CRAWL IN'-Th eClovers,Atlantic YOU UPSET ME BABY-B. B.King, RPM GOTTA GET MYSELF A WOMAN-Drifters, Atlantic CRAZY, CRAZY, CRAZY-FiveRoyals,Apollo YOU BETTER WATCH YOURSELF-Little Walter, PROMISE TO REMEMBER-Teen Agers, Gee CROSS MY HEART -1. Ace, Duke Checker WANT YOU, I NEED YOU-E.Presley,Victor CRYINGIN THE CHAPEL-Orioles,Jubilee YOU'RE SO FINE-LittleWalter, Checker WANT YOU TO BE MY GIRL-Teen Agers, Gee (Daughter) THAT'S YOUR RED WAGON-S. Kari-G. YOU'RE STILL MY BABY-C.Willis,Okeh 'I'M IN LOVE AGAIN-F. Domino, Imperial Irving,States YOU'RE THE ONE-Spiders,Imperial I'MNOT AKNOW-IT-ALL-Teen Agers, Gee DON'T DECEIVE ME-C. Willis, Okeh 'YOU'LL NEVER WALK ALONE-R.Hamilton,Epic I'LL BE HOME-Flamingos,Checker DREAM GIRL-Jesse & Marvin, Specialty YOUR CASH AIN'T NOTHIN' BUT TRASH-Clovers, IN THE STILL OF THE NIGHT-Satins, Ember DRUNK-J.Ligg ins,Specialty Atlantic IT'STOO LATE-C.Willis,Atlantic FAT DADDY-D. Washington,Mercury IT ISN'TRIGHT-Platters,Mercury FEEL IN'GOOD-LittleJunior'sBlueFlames,Sun IVORY TOWER -0.Williams,Deluxe GET IT-Royals,Federal 1955 JIVIN' AROUND-E. Freeman, Cash GOIN' TO THERIVER-FatsDomino,Imperial LET THE GOOD TIMES ROLL-Shirley & Lee, Aladdin GOING TO THE RIVER-C.Willis,Okeh ADORABLE-Drifters,Atlantic LITTLE GIRL OF MINE-Cleftones, Gee GOOD LOVIN'-Clovers,Atlantic AIN'T IT A SHAME-F. Domino, Imperial LONELY AVENUE-R.Charles,Atlantic GRABB IN' BLUES-Big Maybelle, Okeh ALL AROUND THE WORLD-Little Willie John, King LONG TALL SALLY-LittleRichard, Specialty 'HELP ME, SOMEBODY-Five Royals, Apollo ALL BY MYSELF-F. Domino,Imperial LOVE, LOVE,LOVE-Clovers,Atlantic HITTIN' ON ME-B. Johnson, Mercury ANYMORE-J.Ace,Duke LOVE ME TENDER-ElvisPresley,Victor HONEY HUSH-J. Turner, Atlantic AS LONG AS I'M MOVING-R. Brown, Atlantic MAGIC TOUCH-Platters, Mercury 'HOUND DOG-W. M.Thornton,Peacock AT MY FRONT DOOR-ElDorados,Vee-Jay MARY ANN-R. Charles, Atlantic I BELIEVE-E. James, Meteor BLACKJACK-R.Charles,Atlantic MY BABY LEFT ME-E. Presley,Victor I FOUND OUT-Du Droppers,Victor BO DIDDLEY-B.Diddley,Checker MY BLUE HEAVEN-F.Domino,Imperial I HAD A NOTION-J. Morris, Herald BOP TING A LING-L. Baker,Atlantic MY PRAYER-Platters, Mercury I WANNA KNOW-Du Droppers, Victor CLOSE YOUR EYES-Five Keys,Capitol NEED YOUR LOVE SO BAD-littleWillieJohn, ' I'M MAD-W. Mabon, Chess COME BACK-R.Charles,Atlantic King `I'LL BE TRUE-F. Adams,Herald DIM, DIM THE LIGHTS-B.Haley,Decca OH, WHAT A NIGHT-Dels, Vee Jay I'D BE SATISFIED-Dominoes, Federal DON'T BE ANGRY-N. Brown, Savoy PLEASE, PLEASE, PLEASE-J. Brown, Federal IS IT A DREAM?-Vocaleers, Robin DON'T START ME TALKIN'-Sonny Boy Williamson, READYTEDDY-LittleRichard, Specialty LET ME GO HOME WHISKEY-A. Milburn, Aladdin Checker RIP ITUP-Little Richard,Specialty MAD LOVE-M. Waters, Chess DOORIS STILLOPEN-Cardinals,Atlantic ROLL OVER BEETHOVEN-C.Berry,Chess *(Mama) HE TREATS YOUR DAUGHTER MEAN-Ruth EVERYDAY-CountBasie,Clef SEVEN DAYS-C.McPhatter,Atlantic Brown, Atlantic EVERYDAY I HAVE THE BLUES-B. B. King, RPM SINCE I MET YOU, BABY-I. J. Hunter,Atlantic MARIE-Four Tunes,Jubilee FEEL SO GOOD-Shirley & Lee, Aladdin SINGING THEBLUES-G.Mitchell,Columbia MEAN OLD WORLD-LittleWalter,Checker FLIP,FLOP AND FLY -1.Turner,Atlantic SLIPPIN'& SLIDIN'-LittleRichard,Specialty MERCY, MR. PERCY-V. Dillard, Savoy FOOL FOR YOU-R.Charles,Atlantic SLOW WALK-S. Austin,Mercury 'MONEY MONEY-C. McPhatter,Atlantic 'GREAT PRETENDER-Platters, Mercury SLOW WALK-B.Doggett,King MY COUNTRY MAN-Big Maybelle, Okeh GREENBACKS-R. Charles, Atlantic SO LONG-F. Domino,Imperial MY KIND OF WOMAN-Emitt Slay, Savoy HANDS OFF-J. McShann, Vee-Jay SOLDIER OF FORTUNE-Drifters,Atlantic

84 Billboard World of Soul TITLE -Artist, Label TITLE -Artist, Label TITLEArtist, Label Atco BIG MAN -Four Preps,Capitol DREAM LOVER -BobbyDarin, SPEEDO-Cadillacs,Josie ENCHANTED -Platters, Mercury STILL -L.Baker,Atlantic BIRD DOG-Everly Brothers, Cadence BOOK OF LOVE-Monatones, Argo ENDLESSLY -BrookBenton,Mercury STRANDEDINTHE JUNGLE -Cadets, Modern EVERYBODY LIKES TO CHA CHA-Sam Cooke, Keen Flash BREATHLESS -Jerry LeeLewis,Sun STRANDED IN THE JUNGLE-Jayhawks, Victor CHANTILLYLACE -BigBopper, Mercury GUESS WHO -Jesse Belvin, SWEET LITTLE ANGEL -B. B.King, RPM Clock CHIPMUNK SONG -DavidSeville,Liberty HAPPY ORGAN -Dave (Baby)Cortez, THOUSAND MILES AWAY -Heartbeats, Rama HEY, LITTLE GIRL -Dee Clark, Abner TOO MUCH MONKEYBUSINESS -C. Berry, Chess CLOSE TO YOU -MuddyWaters, Chess I Baker,Atlantic TREASURE OF LOVE -C. McPhatter,Atlantic DEVOTED TO YOU-Everly Brothers,Cadence CRIED A TEAR -La Vern I DON'T KNOW -RuthBrown,Atlantic WHAT WOULD I DO WITHOUT YOU --R.Charles, DO YOU WANT TO DANCE? -Bobby Freeman, Josie I LOVE YOU PORGY -Nina Simone, Bethlehem Atlantic DON'T -E.Presley, Victor EYESFOR YOU -Flamingos, End WHEN MY DREAMBOAT COMES HOME -F.Domino, DON'T ASK ME WHY? -E.Presley,Victor I ONLY HAVE DON'T LET GO -Roy Hamilton, Epic I WAITED TOO LONG -La Vern Baker, Atlantic Imperial Domino, WHO CAN EXPLAIN? -Teen Agers, Gee DON'T YOU JUST KNOW IT -Huey Smith, Ace 'I WANT TO WALK YOU HOME -F. Imperial WHY DO FOOLS FALL IN LOVE -Teen Agers,Gee DOWN THE AISLE OF LOVE -Quin -Tones, Hunt GONNA GET MARRIED -Lloyd Price, ABC YOU GOT ME DIZZY -J.Reed,Vee Jay ENDLESS SLEEP -Jody Reynolds, Liberty *I'M YOU'LL NEVER, NEVER KNOW -Platters, Mercury FOR YOUR LOVE -Ed Townsend,Capitol Paramount I'M READY -F. Domino,Imperial FOR YOUR PRECIOUS LOVE -Jerry Butler & the Brunswick Abner I'LLBE SATISFIED -Jackie Wilson, Impressions, I'LL TAKE CARE OF YOU -Bobby (Blue) Band, Duke 'GET A JOB -Silhouettes,Ember 1957 Richard, Duke GOOD GOLLY,MISS MOLLY -Little LOVE -Drifters, Specialty (IfYouCry) TRUE LOVE, TRUE 'ALLSHOOK UP -E. Presley,Victor HANK UP MY ROCK & ROLL SHOES -Chuck Willis, Atlantic 'ATAT THE HOP -Danny & theJuniors, ABC - Alantic IN THE MOOD --ErnieFields, Rendezvous OF TIME -BrookBenton, Paramount HARD HEADED WOMAN -E.Presley,Victor 'ITS JUST A MATTER BACON FAT -A.Williams,Epic HE'SGOT THE WHOLE WORLD INHISHANDS - Mercury BANANA BOAT(Day -0)--H. Belafonte,Victor LaurieLondon,Capitol JUST KEEPIT UP -Dee Clark, Abner *KANSASCITY -WilbertHarrison, Fury BE -BOP BABY --Ricky Nelson, Imperial HOLD IT -BillDoggett,King LIPSTICK ON YOUR COLLAR -ConnieFrancis, MGM 'BLUE MONDAY -F. Domino,Imperial I BEG OF YOU -E.Presley,Victor BONY MARONIE-LarryWilliams,Specialty I'M GONNA GET MY BABY -Jimmy Reed, Vee Jay LONEY BOY -Paul Anka, ABC Paramount KNIFE -BobbyDarin,Atco BUTTERFLY -C.Gracie,Cameo IT DON'THURT ANYMORE -NappyBrown, Savoy MACK THE Hawkins,Roulette BYE BYE LOVE -Every Brothers,Cadence "IT'S ALL INTHE GAME -Tommy Edwards, MGM MARY LOU-Ronnie Dolton C. C. RIDER -C.Willis,Atlantic JENNIELEE -Jan &Arnie,Arwin MR.BLUE-Fleetwoods, MISTY -Johnny Mathis,Columbia COME GO WITH ME -Del -Vikings, Dot JOHNNY B. GOODE-ChuckBerry, Chess DADDY COOL -TheRays,Cameo 'JUST A DREAM -Jimmy Clanton, Ace ONE NIGHT -E.Presley,Victor 'DIANA -Paul Anka, ABC Paramount *PERSONALITY -Lloyd Price, ABC Paramount KEY TO THE HIGHWAY -Little Walker, Checker Crystalette EMPTY ARMS -I.J. Hunter,Atlantic LA DEE DAH-Billy &Lillie,Swan PINK SHOE LACES-Dodie Stevens, Atco FARTHER UP THE ROAD -Bobby (Blue) Bland, Duke LEROY-JackScott,Carlton 'POISONIVY -Coasters, GREAT BALLS OF FIRE --Jerry Lee Lewis, Sun RED RIVER ROCK -Hurricanes, Warwick 'LITTLESTAR-Elegants, APT Atlantic HAPPY BIRTHDAY BABY -Tune Weavers, Checker LOLLIPOP-Chordettes, Cadence RIGHT TIME -Ray Charles, HIGH SCHOOL DANCE -LarryWilliams,Specialty *LONELY TEARDROPS -Jackie Wilson, Brunswick SAY MAN -Bo Diddley, Checker 'SEA OF LOVE -Phillips, Mercury HONEST 1 DO -Jimmy Reed,VeeJay LOOKING BACK -Nat KingCole, Capitol SINCE I DON'T HAVE YOU-Skyliners,Calico 'HONEYCOMB -Jimmy Rodgers,Roulette 'LOVERS QUESTION, A -C.McPhatter, Atlantic Coed `I'M WALKIN'- F.Domino,Imperial MAYBE-Chantels, End 16 CANDLES -Crests, I'LL COMING RUNNING BACK TO YOU -Sam Cooke, MAYBE BABY -Crickets, Brunswick SLEEP WALK -Santo & Johnny, Canadian - Specialty MY BUCKETS GOT A WHOLE INIT --RickyNelson, American I & I Black Combo, Hi TI HURTS TO BE IN LOVE -A. Laurie, DeLuxe Imperial 'SMOKE (Part I I) -B il SMOOTH OPERATOR -Sarah Vaughan, Mercury IT'S YOU I LOVE -F. Domino, Imperial MY TRUELOVE -JackScott,Carlton 'JAILHOUSE ROCK -E. Presley,Victor NOBODY BUT YOU -DeeClark, Abner SO CLOSE -Brook Benton, Mercury JENNY,JENNY -LittleRichard,Specialty OH. JULIE -Crescendos, Nasco SO FINE -Fiestas, Old Town 'SO MANY WAYS -BrookBenton,Mercury JimDandy -L.Baker,Atlantic OVER & OVER -Bobby Day,Chess Brunswick JUST BECAUSE --L.Price, ABC Paramount *PATRICIA-PerezPrado, Victor TALK THAT TALK -Jackie Wilson, TEARDROPS ON YOUR LETTER -Hank Ballard & the JUST HOLD MY HAND -C.McPhatter, Atlantic PLEASE ACCEPT MY LOVE -B. B. King,Kent KEEP A KNOCKIN'-- LittleRichard,Specialty POOR LITTLE FOOL -RickyNelson,Imperial Midnighters, King *THANK YOU PRETTY BABY -Brook Benton, Mercury KISSES SWEETER THAN WINE --Jimmy Rodgers, PRETTY GIRLS EVERYWHERE -Eugene Church,Class Roulette THAT'S WHY -Jackie Wilson, Brunswick QI1EEN OF THE HOP -Bobby Darin, Atco Atlantic LITTLE BITTY PRETTY ONEThurston Harris, Aladdin REPEL -ROUSER -Duane Eddy, Jamie 'THERE GOES MY BABY -Drifters, THERE IS SOMETHING ON YOUR MIND -BigJay Aladdin 'ROCK -INROBIN -BobbyDay,Class LITTLE DARLIN'-Diamonds,Mercury SECRETLY -JimmyRodgers, Roulette McNeely,Swingin' LONG LONELY NIGHTS -C.McPhatter,Atlantic SHORT SHORTS -Royal Teens, ABC Paramount THREE BELLS, THE -Browns, Victor LOTTA LOVIN'- Gene Vincent, Capitol SMOKE GETS IN YOUR EYES -Platters, Mercury UN! OH! -Nutty Squirrels, Hanover Chancellor LOVES A HURTIN' GAME -I. J. Hunter,Atlantic SPLISN SPLASH -BobbyDarin,Atco VENUS-Frankie Avalon, LOVE IS STRANGE -Mickey &Sylvia,Groove 'STAGGER LEE -Lloyd Price, ABC Paramount WHAT ADIFFERENCE A DAY MAKES -Dinah 'LOVIN' YOU -E.Presley,Victor STOOK UP -RickyNelson,Imperial Washington, Mercury LUCILLE-LittleRichard,Specialty STROLL, THE -Diamonds, Mercury 'WHAT'D I SAY -RayCharles,Atlantic MAMA LOOK A BOOBOO -H. Belafonte, Victor SUSIE DARLIN'-Robin Luke,Dot WHERE WERE YOU (On Our Wedding Day)? -Lloyd MISS ANN -LittleRichard,Specialty 'SWEET LITTLE SIXTEEN -ChuckBerry,Chess Price, ABC Paramount *YOU BETTER KNOW IT -Jackie Wilson,Brunswick MR. LEE - Bobbettes, Atlantic TALK TO ME,TALKTO ME -LittleWillieJohn, MY PERSONAL POSSESSION -NatKingCole, King YOU GOT WHAT ITTAKES -Mare Johnson,United Capitol TEARS ON MY PILLOW - Little Anthony & Imperials, Artists Unart MY SPECIAL ANGEL -Bobby Helms, Decca End YOU'RE SO FINE -Falcons, NEXT TIME YOU SEE ME -LittleJr. Parker,Duke TEN COMMANDMENTS OF LOVE, THE -Harvey & OVER THE MOUNTAIN -Johnnie & Joe, .1 & S the Moonglows, Chess PARTY DOLL B.Knox, Roulette *TEQUILA -The Champs, Challenge PEGGY SUE -Buddy Holly,Coral TO KNOW HIM IS TO LOVE HIM -Teddy Bears, Dore 1960 RAINBOW -R.Hamilton,Kapp TOM DOOLEY-KingstonTrio,Capitol RAM -BUNK -SHUSH -B. Doggett,King 'TOPSYII -Cozy Cole,Love ALLI COULD DO WAS CRY -Etta James, Argo RAUNCHY -ErnieFreeman,Imperial 'TRY ME -James Brown,Federal ALLEY -00P -Hollywood Argyles,Lute RAUNCHY -BillJustis,PhilipsInternational TWENTY-SIX MILES -Four Preps, Capitol AM I THE MAN -Jackie Wilson, Brunswick ROCK & ROLL MUSIC -ChuckBerry,Chess *TWILIGHT TIME -Platters,Mercury AMONG MY SOUVENIRS -Connie Francis, MGM ROCKIN' PNEUMONIA AND THEBOOGIE WOOGIE VOLARE (Nel Blu Di Pinto Di Blue)- Domenico ARE YOU LONESOME TONIGHT -E.Presley,Victor FLU -Huey Smith, Modugno, Decca BABY, WHAT DO YOU WANT ME TO DO -Jimmy 'SCHOOL DAYS -C.Berry,Chess WAITfN' INSCHOOL -Ricky Nelson,Imperial Reed, Vee Jay *SEARCHINGCoasters, Atco WALK, THE -Jimmie McCrackl in,Checker "BABY (YouGot WhatItTakes) -Brook Benton & SEND FOR ME -NatKingCole,Capitol WEAR MY RING AROUND YOUR NECK -E.Presley, Dinah Washington, Mercury SEND ME SOME LOVIN'- Little Richard, Specialty Victor BIGBOY PETE -Olympics,Arvee SHORT FATFANNIE-LarryWilliams,Specialty WESTERN MOVIES -Olympics, Demon BURNING BRIDGES -JackScott,TopRank SILHOUETTES -The Rays,Cameo Bros. WHAT AM I LIVING FOR?- ChuckWillis,Atlantic *CATCHY'S CLOWN -EveryBrothers,Warner SO RARE -JimmyDorsey,Fraternity WHEN -Ka linTwins,Decca CHAIN GANG -Sam Cooke,Victor STARDUST -Billy Ward,Liberty WHO'S SORRY NOW? -ConnieFrancis, MGM CRY, CRY, CRY -Bobby(Blue)Bland,Duke *TEDDY BEAR -E.Presley,Victor WHOLE LOTTA LOVING -F.Domino,Imperial (DoThe) MASHED POTATOES -Nat Kendrick, Dade THAT'LL BE THE DAY -Crickets, Brunswick WILLIE & THE HAND JIVE -JohnnieOtis Show, 'DOGGIN' AROUND -JackieWilson,Brunswick THINK -FiveRoyals, King Capitol DON'T BE CRUEL -Bill Black's Combo, Hi TO THEAISLE -FiveSatins, Ember WIN YOUR LOVE FOR ME -Sam Cooke, Keen DON'T DECEIVE ME -Ruth Brown,Atlantic TOO MUCH -E.Presley,Victor WITCH DOCTOR -David Seville,Liberty DON'T GO TO STRANGERS -Etta Jones, Prestige 'TREAT ME NICE -E.Presley,Victor 'YAKETY YAK -Coasters, Atco EASY LOVIN'-Wade Flemons, VeeJay UNITED -Otis Williams &HisCharms, DeLuxe EVERYBODY'SSOMEBODY'S FOOL -ConnieFrancis, VALLEY OF TEARS -F.Domino,Imperial MGM WAKE UP LITTLE SUSIE-Every Brothers, Cadence 'FANNIE MAE-Buster Brown,Fire 'WHAT'S THE REASON(I'mNotPleasingYou) - 1959 FINGERPOPPIN'TIME -HankBallard & the F. Domino,Imperial Midnighters, King WHISPERING BELLS -DelVikings,Dot ALMOST GROWN -ChuckBerry,Chess FOOL IN LOVE -Ike & Tina Turner, Sue 'WHOLE LOTTASHAKIN' GOIN' ON -Jerry Lee ALWAYS -Sammy Turner,BigTop FOOLS RUSH IN -BrookBenton,Mercury Lewis, Sun BATTLE OF NEW ORLEANS -Johnny Horton, GEORGIA ON MY MIND -Ray Charles,ABC WITHOUT LOVE -C.McPhatter,Atlantic Columbia Paramount 'YOU SEND ME -Sam Cooke, Keen BE MY GUEST -FatsDomino,Imperial GONZO-JamesBooker,Peacock 'YOUNG BLOOD -Coasters, Atco BIG HUNK OF LOVE, A -E. Presley, Victor GOOD TIMIN'-Jimmie Jones, Cub YOUNG LOVE -Tab Hunter,Dot BROKEN-HEARTED MELODY -Sarah Vaughan, Mercury HANDY MAN -Jimmy Jones, Cub CHARLIE BROWN -Coasters,Atco 'HE WILL BREAK YOUR HEART -JerryButler. CLOUDS,THE -Spacemen,Alton Vee Jay 1958 COME INTO MY HEART -Lloyd Price, ABC Paramount HEARTBREAK(It'sHurtin'Me). -JonThomas, ABC COME SOFTLYTO ME-Fleetwoods,Dolphin Paramount 'ALL I HAVE TO DOIS DREAM -Ever lyBrothers, COME TO ME -Mary Johnson, United Artists HOW ABOUT THAT -Dee Clark,Abner Cadence DANCE WITH ME -Drifters,Atlantic BELIEVE WHAT YOU SAY -RickyNelson,Imperial 'DON'T YOU KNOW- DellaReese,Victor (Continued on page 86) 85 Billboard World of Soul Rhythm & Blues Discography TITLE-Artist, Label TITLE-Artist, Label HOOCHIE COOCHIE COO-Hank Ballard& the Mid- I NEED YOUR LOVING-Don Gardner & Dee Dee nighters, King Ford,Fire Continued from page 85 HUMAN-Tommy Hunt,Scepter I'M BLUE-I kettes,Atco I COUNT THE TEARS-Drifters,Atlantic I'VEGOT A WOMAN-Jimmy McGriff, Sue TITLE-Artist,Label I DON'T MIND-JamesBrown,King I'LL BRINGIT HOME TO YOU-Carla Thomas,At- I DON'T WANT TOCRY-ChuckJackson, Wand lantic I LOVE THE WAY YOU LOVE-Mary Johnson, I DON'T WANT TO TAKE A CHANCE-Mary Wells, IF YOU GOTTA MAKE AFOOL OF SOMEBODY- UnitedArtists Motown James Ray, Caprice Decca I WANT TO BE WANTED-Brenda Lee, I IDOLIZE YOU-Ike & TinaTurner, Sue ITKEEPS RIGHT ON A -HURT IN'-Johnny Tillotson, I WANT TO KNOW-Sugar PieDeSanto,Checker *IKNOW-BarbaraGeorge,AFO Cadence Decca I'M SORRY-BrendaLee, I LIKE IT LIKE THAT-Chris Kenner, Instant JAMIE-EddieHolland,Motown I'VE GOT A RIGHT TO LOVE MY BABY-B. B. King, I LOVE YOU, YES I DO-Bu I lmoose Jackson, Seven KEEP YOUR HANDS OFF MYBABY-Little Eva, Kent Arts Dimension IF I CAN'T HAVE YOU-Etta & Harvey, Chess *1 PITY THE FOOL-BobbyBland,Duke LET ME IN-Sensations, Argo IT'S NOW OR NEVER-E. Presley, Victor I'M A -TELLING YOU-Jerry Butler, Vee Jay LETTER FULL OF TEARS-Gladys Knight & the ITSY BITSY TEEN I EWEENIE YELLOW POLKA DOT I'M COMIN' BACK TO YOU-Jackie Wilson,Bruns- Pips, Fury BIKINI-Brian Hyland, Leader wick LIE TO ME-Brook Benton,Mercury JUST A LITTLE BIT-Roscoe Gordon, Vee Jay I'M TORE DOWN-Freddy King, Federal LIMBO ROCK-ChubbyChecker,Parkway *K IDDIO-B rookBenton,Mercury I'VEGOT NEWS FOR YOU-Ray Charles,Impulse LION SLEEPSTONIGHT, THE-Tokens,Victor LADY LUCK-LloydPrice, ABCParamount IN THE DARK-LittleJr.Parker, Duke *LOCO -MOT ION-LittleEva,Dimension LAST DATE-Floyd Cramer, Victor IT'S GONNA WORK OUT FINE-Ike & TinaTurner, LOOK I N' FOR A LOVE-Valentines, Sar LEAD ME ON-Bobby Bland, Duke Sue LOVE LETTERS-KettyLester, Era *LET'S GO, LET'S GO, LET'S GO-Hank Ballard & the JUST GOT TO KNOW-Jimmy McCrackl in, Art -Tone *MASHED POTATO TIME-Dee DeeSharp, Cameo Midnighters,King JUST OUT OF REACH (OF MY TWO OPEN ARMS)- MONSTER MASH-Bobby (Boris) Pickett & the Crypt LONELY IN INDS-Drif ters,Atlantic Solomon Burke, Atlantic Kickers,Garpax Fitzgerald,Verve MACK THE KNIFE-Ella LAST NIGHT-Mar-Keys, Satellite MY MAN-HE'S A LOVIN' MAN-BettyLavett, MADISON TIME-Roy Bryant, Columbia LET THE FOUR WINDSBLOW-Domino,Imperial Promo Atlantic MILLION TO ONE, A-1 immy Charles, LITTLE BITOF SOAP,A-Jarmels,Laurie NIGHT TRAIN-James Brown,King MR. CUSTER-Larry Verne, Era LONESOME WHISTLE BLUES-Freddie King,Federal NOTHING CAN CHANGE THIS LOVE-Sam Cooke, RCA MONEY-Barrett Strong, Ana LOOK IN MY EYES-Chantels,Carlton Victor MOUNTAINS OFLOVE-HaroldDorman,Rita LOST SOMEONE-James Brown& Famous Flames, Argo ONE WHO REALLY LOVES YOU, THE-Mary Wells, MY DEAREST DARLING-Etta James, King Motown JOSEPHINE-F.Domino, Imperial MY GIRL MAMA SAID-Shirelles, Scepter OUR ANN IVERSARY-Shep & theLimelites,Hull NEW ORLEANS-Gary (U. S.)Bonds,Legrand *MOTHER-IN-LAW-E rnie K -Doe, Minit PARTY LIGHTS-Claudine Clark, Chancellor Wilson,Brunswick Five, NIGHT-Jackie *MY TRUE STORY-Jive Beltone PATCHES-Dickey Lee, Smash OOH P00 PAH DOO (PartII)-JessieHill,Minit NO, NO, NO-Chanters,Deluxe B. King Kent PEPPERMINT TWIST-Joey Dee & Starliters, Roulette PARTIN' TIME-B. NORTH TO ALASKA-Johnny Horton, Columbia PLAYBOY-Marvelettes, Tamla QUESTION-Lloyd Price, ABC Paramount NOTHING BUT GOOD-HankBallard & the Mid- POOR FOOL-Ike & Tina Turner, Sue *ROCKIN' GOOD WAY, A-D inahWashington & nighters,King R AMBL I N' ROSE-NatKing Cole,Capitol Brook Benton, Mercury *ONE MINT JULEP-RayCharles,Impulse RUNNING BEAR-JohnnyPreston,Mercury *RELEASEME-Little EstherPhillips, Lenox ONE TRACK MIND-BobbyLewis,Beltone RETURN TO SENDER-E. *SAVE THE LAST DANCE FOR ME-Drifters, Atlantic OPERATION HEARTBRE AK -Aretha Franklin, Columbia Presley,RCA Victor RIDE-Dee Dee Sharp, Cameo 'SHOPAROUND-Miracles,Tamla PEACE OF MIND-B. B. King, Kent R INKY D I NK -Dave (Baby)Cortez,Chess SIXTEENREASONS-ConnieStevens,Warner Bros. *PLEASE MR.POSTMAN-Marvelettes,Tamla SLEEP-LittleWillieJohn,King *PONY TIME-Chubby Checker, Parkway ROSES ARE RED-Bobby Vintor, ,Epic SHEILA-Tommy Roe, ABC Paramount STAY-MauriceWilliams,Herald QUARTER TO THREE-U. S. Bonds, Legrand STICKS & STONES-RayCharles,ABC Paramount RAINDROPS-DeeClark, Vee Jay *SHERRY-Four Seasons, Vee Jay STUCK ON YOU-E.Presley,Victor RUBY-RayCharles,ABC Paramount SLOW TW I ST IN'-Chubby Checker, Parkway SWEET SIXTEEN-B. B.King, Kent RUNAROUND SUE-Dion, Laurie SMOKY PLACES-Corsairs,Tuff TA-TA-ClydeMcPhatter,Mercury RUNAWAY-Del Shannon, Big ,Top SNAP YOUR FINGERS-JoeHenderson, Todd TEEN ANGEL-MarkDinning, MGM SAN-HO-ZAY-Freddy King, Federal SOLDIER BOY-Sh irel les,Scepter THEME FROM A SUMMER PLACE-Percy Faith, SEPTEMBER IN THE RAIN-Dinah Washington, Mer- SOMEBODY HAVE MERCY-Sam Cooke, RCAVictor Columbia cury SOMEDAY SOMEWAY-Marvelette,, Tamla *THERE'S SOMETHING ON YOUR MIND-Bobby SOME KIND OF WONDERFUL-Drifters, Atlantic SOMETHING'S GOT AHOLD ON ME-EttaJames, Marchan, Fire SOOTHE ME-SimsTwins, Sar Argo THINK-James Brown & Famous Flames,Federal *STAND BY ME-Ben E. King, Atco *SOUL TWIST-KingCurtis,Enjoy *THISBITTER EARTH-Dinah Washington, Mercury SWEETS FOR MY SWEET-Drifters, Atlantic STOP THE WEDDING-Etta James,Argo THIS MAGIC MOMENT-Drifters, Atlantic SWITCH-A-ROO, THE-Hank Ballard & the Midnight- STORMY MONDAY-Bobby Bland, Duke THREE NIGHTS A WEEK-F. Domino,Imperial ers,King STRANGER ON THE SHORE-Mr. AckerBilk,Atco TODAY I SING THE BLUES-Aretha Franklin, TAKE MY LOVE-LittleWillieJohn,King STUBBORN KIND OF ELLOW-Marvin Gaye,Tamla Columbia TEAR OF THE YEAR-JackieWilson, Brunswick SWEET SIXTEENBARS-EarlGrant,Decca TWIST, THE-Hank Ballard & the Midnighters, King THAT'S WHAT GIRLSARE MADEFOR-Spinners, TELLHIM-Excitors,UnitedArtists TWIST, THE-ChubbyChecker,Parkway Tri-Phi TOWN I LIVE IN,THE-McKinleyMitchell,One- VOLARE (NeiBluDiPinto DiBlu)-Bobby Rydell, THEM THAT GOT-Ray Charles, ABC Paramount Derf u I Cameo THERE'S NO OTHER-Crystals, Philles TRA LA LA LA LA-Ike & Tina Turner, Sue WALKING TO NEW ORLEANS-F. Domino,Imperial THINK TWICE-Brook Benton,Mercury TUFF-Ace Cannon,Hi WHATIN THE WORLD'S COME OVER YOU-Jack THOUSAND STARS, A-Kathy Young,Indigo TWIST, THE-ChubbyChecker,Parkway Scott,Top Rank *TOSSIN'& TURNIN'-BobbyLewis, Beltone TWIST & SHOUT-Is ley Brothers, Wand *WHITE SILVER SANDS-Bill Black's Combo, Hi TOWER OF STRENGTH-Gene McDaniels, Liberty *TWISTIN' THE NIGHT AWAY-Sam Cooke,Victor WHY-Frankie Avalon,Chancellor TRUST IN ME-Etta James, Argo *TWO LOVERS-MaryWells,Motown WILD ONE-BobbyRydell,Cameo TURN ON YOUR LOVE LIGHT-Bobby Bland,Duke WAH-WATUS I,THE -Orl ons,Cameo *WOMAN, A LOVER, A FRIEND, A-J ackie Wilson, *UNCHAIN MY HEART-Ray Charles, ABC Paramount WALK ON THE WILD SIDE-Jimmy Smith, Verve Brunswick WHAT A PRICE-FatsDomino, Imperial YIELD NOT TO TEMPTATION-BobbyBland, Duke WONDERFUL WORLD-Sam Cooke, Keen (Will You Love Me) TOMORROW-Sh irel les,Scepter *YOU ARE MY SUNSHINE-Ray Charles, ABCPara- WONDERLAND BY NIGHT-Bert Kaempfert, Decca WON'T BELONG-ArethaFranklin,Columbia mount WON'T CNA COME HOME -Llyod Price, ABC "TA YA-Lee Dorsey, Fur *YOU BEAT ME TO THE PUNCH-Mary Wells, Paramount YOU CAN HAVE HER-Roy Hamilton,Epic Motown YOU TALK TOO MUCH-Joe Jones,Roulette YOU DON'T KNOW ME-Ray Charles, ABC Para- mount *YOU'LL LOSE A GOOD THING-Barbara Lynn, 1962 Jamie 1961 AHAB THE ARAB-Ray Stevens,Mercury ALL IN MY MIND-Maxine Brown, Nomar AIN'T THAT LOVING YOU-Bobby Bland, Duke 1963 AMOR-Ben E. King,Atco ANNA-ArthurAlexander, Dot ANGEL BABY-Rosie &Originals,Highland ANNIE GET YOUR YO-YO-LittleJr. Parker,Duke APACHE-Jorgen I ngman,Atco ANY DAY NOW-ChuckJackson,Wand *ANOTHER SATURDAY NIGHT-SamCooke,Victor AT LAST-Etta James, Argo AT THE CLUB-Ray Charles & HisOrk, ABC Para *BABYWORKOUT-JackieWilson, Brunswick BABY YOU'RE RIGHT-James Brown, King mont BE MY BABY-Ronettes,Philles BARBARA ANN-Regents, Gee BABY DON'T LEAVE ME-Joe Henderson, Todd BUSTED-Ray Charles, ABC Paramount BEWILDERED-James Brown, King BABY IT'S YOU-Shirelles, Scepter CALL ONE ME-BobbyBland,Duke BIG JOHN-Sh irel les,Scepter B E ECHWOOD 4-5789-Ma ry el ett es , Tamla CAN'T GET USED TO LOSING YOU-Andy Williams *BLUE MOON-Marcels,Colpix *BIGGIRLS DON'T CRY-FourSeasons, VeeJay Columbia BOLL WEEVIL SONG-Brook Benton,Mercury BRINGIT ON HOME TO ME-Sam Cooke,Victor CHAINS-Cookies,Dimension BRIGHT LIGHTS,BIG CITY-Jimmy Reed,Vee Jay BUT ON THE OTHER HAND BABY-RayCharles, COME & GET THESEMEMORIES-Martha & the BRISTOL STOMP-Dovel Is,Parkway ABC Paramount Vandellas, Gordy BUT I DO-Clarence (Frog Man) Henry, Argo CRY TO ME-SolomonBurke,Atlantic *CRY BABY-Garnet Mimms & the Enchanters, BYE BYE BABY-Mary Wells, Motown CUTTIN' IN-Johnny (Guitar) Watson, King UnitedArtists CALCUTTA-LawrenceWelk,Dot DEAR LADY TWIST-Gary (U.S.) Bonds, LeGrand CRY TO ME-BettyHarris,Jubilee DADDY'S HOME-Shep &theLimelites,Hull *DO YOU LOVE ME-Controus, Gordy DA DOO RON RON-Crystals,Philles DEDICATED TO THE ONE I LOVE-Shirelles, Scepter DON'T HANG UP-Orlons, Cameo DEEP PURPLE-Nino Tempo & AprilStevens,Atco DON'T CRY NO MORE-Bobby (Blue) Bland, Duke DON'T PLAY THAT SONG-Ben E. King, Atco DO THE BIRD-Dee Dee Sharp, Cameo DRIVING WHEEL-Little Jr. Parker, Duke DON'T YOU WORRY-Don Gardner & Dee Dee Ford, DON'T MAKE ME OVER-Dionne Warwick,Scepter *EVERY BEAT OF MY HEART-Pips, Vee Jay Fire DON'T SAY NOTHIN' BAD ABOUT MY BABY-Cookies, EXODUS-Ferrante & Teicher,UnitedArtists *DUKE OF EARL-GeneChandler, Vee Jay Dimension FIND ANOTHER GIRL-JerryButler,Vee Jay *GREEN ONIONS-Booker T. & theMG's, Stax DON'T SET ME FREE-Ray Charles, ABC Paramount FLOAT, THE-Hank Ballard & the Midnighters, King HAVING A PARTY-Sam Cooke,Victor *EASIER SAID THAN DONE-Essex, Roulette FOR MY BABY-Brook Benton,Mercury HE'S AREBEL-Crystals, Ph iI Is END OF THEWORLD-SkeeterDavis,Victor FUNNY-MaxineBrown, Norriar HEY!BABY-Bruce Channel, Smash *FINGERTIPS (PartI I)-L ittle Stevie Wonder, Tamla GEE WHIZ (Look at His Eyes)-Carla Thomas, Atlanta HIDE NOR HAIR-RayCharles & His Ork, ABC FOOLISH LITTLE GIRL-Sh irel les,Scepter GYPSY WOMAN -1 mpress ions, ABCParamount Paramount FRANK IE & JOHNNY-SamCooke, Victor HAPPY DAYS-Mary Johnson,UnitedArtists HOTEL HAPPINESS-Brook Benton, Mercury *HE'S SO FINE-Ch if f ons, Laurie HEART & SOUL-Cleftones,Gee *1 CAN'T STOP LOVING YOU-RayCharles, ABC *HEAT WAVE-Martha & the Vandellas, Gordy HIDEAWAY-FreddieKing, Federal Paramount *HELLO STRANGER-BarbaraLewis,Atlantic *HIT THE ROAD JACK-Ray Charles, ABC Paramount I FOUND A LOVE-TheFalcons & Band, LuPine HEY GIRL-FreddieScott,Colpix 86 Billboard World of Soul TITLE-Artist, Label TITLE Artist, Label TITLE-Artist, Label GONE (To Turn Around)-Bobby Philips `ICAN'T HELP MYSELF-FourTops,Motown I'M TOO FAR *HEYPAULA-Paul & Paula, Bland,Duke Everest I CAN'T WORK NO LONGER-Billy Butler, Okeh HOW CAN I FORGET --Jimmy Holiday, I'M YOUR PUPPET-James & BobbyPurify,Bell I Benton,Mercury I DO-Marvelows, ABC Paramount I GOT WHAT WANTED-Brook I'LLLOVE YOU FOREVER-Holidays, GoldenWorld I DO LOVE YOU-Billy Stewart, Chess *IWILL FOLLOW HIM-Little Peggy March,Victor Sledge,Atlantic *IGOT YOU (I Feel Good)-JamesBrown, King ITTEARS ME UP-Percy I'M LEAVING IT UP TO YOU-Dale & Grace, *IT'SA MAN'S MAN'S WORLD-James Brown & Monte) -Michelle I HEAR A SYMPHONY-Supremes, Motown Dial Famous Flames, King IF YOU NEED ME-SolomonBurke,Atlantic I WANT TO (Do Everything for You)-Joe Tex, I'VE BEEN LOVING YOU TOO LONG-Otis Redding, KNOCK ON WOOD-EddieFloyd, Stax IF YOU WANNA BE HAPPY-Jimmy Soul,S.P.Q.R. *LAND OF 1,000 DANCES-WilsonPickett, Atlantic IT'S ALL RIGHT-Impressions, ABC Paramount Volt Charles, ABC I'LL ALWAYS LOVE YOU-Spinners, Motown 'LET'S GO GET STONED-Ray IT'S MY PARTY-Lesley Gore, Mercury Paramount BE DOGGONE-Marvin Gaye,Tamla IT'S TOO LATE-Wilson Pickett, Double L 'I'LL LITTLE DARLING(INeedYou)-MarvinGaye, JUDY'S TURN TO CRY-LesleyGore,Mercury "IN" CROWD, THE-Ramsey LewisTrip,Argo 'IN THE MIDNIGHT HOUR-Wilson Pickett,Atlantic Tam la JUST ONE LOOK-Doris Troy,Atlantic 'LOVE ISA HURTIN' THING-LouRawls,Capitol L. Crockett, LAUGHING BOY-MaryWells, Motown IT'S A MAN DOWN THERE-G. LOVE IS LIKE A ITCHING IN MY HEART-Supremes, LITTLE RED ROOSTER-SamCooke, Victor a Brothers Motown LOOP DE LOOP-Johnny Thunder,Diamond IT'SGROWING-Temptations, Gordy WORLD GO ROUND-Deon THE SAME OLD SONG-Four Tops, Motown LOVE MAKES THE LOVE OF MY MAN-TheolaKilgore, Serock IT'S Jackson, Cara MAMA DIDN'T LIE-Jan Bradley, Chess JERK, THE-Larks, Money Dial Nash, LOVE YOU SAVE, THE-Joe Tex, MEAN WOMAN BLUES-Roy Orbison, Monument LET'S MOVE & GROOVE (Together)-Johnny MESSAGE TO MICHAEL-Dionne Warwick, Scepter MEMPHIS-Lonnie Mack,Fraternity MICHAEL-C.O.D.'s,Kellmac MONKEY-Miracles,Tamla LOVER'S'thcia CONCERTO, A-Toys,DynoVoice Gordy MICKEY'S Atlantic MY BABY LOVES ME-Martha & Vandellas, MOCKINGBIRD-Inez Foss,Symbol MAKE ME YOUR BABY-BarbaraLewis, MY LOVER'S PRAYER-Otis Redding,Volt MR. PITIFUL-Otis Redding, Volt MONKEY TIME, THE-Major Lance, Okeh MY WORLD IS EMPTY WITHOUT YOU-Supremes, MY BOYFIREND'SBACK-Angels, Smash MY BABY-Temptations, Gordy Motown MY TRUE CONFESSION-Brook Benton, Mercury *MY GIRL-Temptations, Gordy NEIGHBOR, NEIGHBOR-Jimmy Hughes,Fame NIGHT HAS A THOUSAND EYES, THE-Bobby Vee, MY GIRL HAS GONE-Miracles,Tamla NOTHING'S TOO GOOD FOR MY BABY-Stevie Liberty NAME GAME, THE-ShirleyEllis,Congress Wonder, Tamla NOTHING BUT HEARTACHES-Supremes, Motown NO ONE-Ray Charles, ABC Paramount ONE MORE HEARTACHE-Marvin Gaye, Tam la NOTHING CAN STOP ME-Gene Chandler, NOT ME-Orlons, Cameo OPEN THE DOOR TO YOUR HEART-DarrellBanks, Constellation ON BROADWAY-Drifters, Atlantic Rev ilot 00 WEE BABY, ILOVE YOU-Fred Hughes, Vee Jay ONE FINEDAY-Chiffons,Laurie PLACE IN THE SUN, A-Stevie Wonder, Tamla 000 BABY BABY-Miracles,Tamla 'OUR DAYWILL COME-Ruby & theRomantics, *PAPA'S GOT A BRAND NEW BAG-James Brown, POVERTY-BobbyBland,Duke Kapp 'REACH OUTI'LLBE THERE-Four Tops,Motown PART TIMELOVE-LittleJohnnyTaylor, Galaxy King S.Y.S.L.J.F.M.(TheLetter Song)-Joe Tex,Dial PEOPLEGET READY-Impressions, ABC Paramount SAID I WASN'T GONNA TELL NOBODY-Sam & PRIDE& JOY-Marvin Gaye,Tamla Constellation Famous RAINBOW '65-GeneChandler, Dave,Stax PRISONER OFLOVE-James Brown & the RESCUE ME-Fontel laBass, Checker Flames,King SATISFACTION-OtisRedding,Volt RESPECT-OtisRedding,Volt SEARCHING FOR MY LOVE-BobbyMoore & the PUFF(theMagicDragon)-Peter,Paul & Mary, RIDE YOUR PONY-Lee Dorsey, Amy Warner Bros. Rhythm Aces,Checker SEE SAW-Don Covay,Atlantic SHAKE ME, WAKE ME (When It'sOver)-Four PUSHOVER-Etta James, Argo SHAKE-Sam Cooke,Victor RAIN-Cascades,Valiant Tops, Motown RHYTHM OF THE SHAKE AND FINGERPOP-Jr.Walker & the All SHARING YOU-WittyCollier, Chess RUBY BABY-Dion, Columbia Stars, Soul SHE BLEW A GOOD THING-Poets,Symbol SALLY, GO' ROUND THE ROSES-Jaynetts, Tuff 'SHOTGUN-Jr. Walker & the AllStars, Soul SEE SEE RIDER-LaVernBaker,Atlantic '634-5789-WilsonPickett,Atlantic SINCE I LOST MY BABY-Temptations, Gordy STOP HER ON SIGHT (S.O.S.)-EdwinStarr,Ric -Tic SEND ME SOME LOVIN'-SamCooke, Victor SITTING INTHE PARK-Billy Stewart,Chess SO MUCH INLOVE-Tymes, Parkway SUMMERTIME-BillyStewart, Chess SOMETHING ABOUT YOU-Four Tops,Motown SUNNY-Bobby Hebb,Phi lips SOUTH STREET-Orions,Cameo SOMETHING YOU GOT-ChuckJackson & Maxine STRANGE I KNOW-Marvelettes, Tamla *SWEET WOMAN LIKE YOU, A-Joe Tex, Dial Brown, Wand TELL ITLIKEITIS-AaronNeville,Parlo *SUGAR SHACK-Jimmy Gilmer & the Fireballs, Dot SOUL HEAVEN-DixieDrifter,Roulette SURF CITY-Jan & Dean,Liberty THAT'SENOUGH-Roscoe Tobinson,Wand STOP!IN THE NAME OF LOVE-Supremes, Motown THIS OLD HEART OF MINE- Isley Brothers, Tamla TAKE THESE CHAINS FROM MY HEART-Ray Charles, TAKE ME IN YOUR ARMS-Kim Weston, Gordy ABC Paramount TOGETHER AGAIN-RayCharles, ABC Paramount THESE HANDS(SmallButMighty)-BobbyBland, TRY A LITTLE TENDERNESS-Otis Redding, Volt TELSTAR-Tornadoes, London Duke THAT'S HOW HEARTACHES ARE MADE-Baby Wash- 'UPTIGHT-StevieWonder,Tamla THINK-Jimmy McCrackhr,, Imperial WADE IN THE WATER-Ramsey Lewis, ington,Sue TONIGHT'S THE NIGHT-Solomon Burke, Atlantic Cadet *THAT'S THE WAY LOVEIS-BobbyBland,Duke WANG DANG DOODLE-Ko Ko Taylor, Checker TRACKS OF MY TEARS, THE-Miracles, Tamla WARM & TENDER LOVE-Percy Sledge,Atlantic THEN HE KISSEDME-Crystals,Philles TREAT HER RIGHT-RoyHead,BackBeat UP ON THE ROOF-Drifters,Atlantic WHAT BECOMES OF THE BROKEN HEARTED-Jimmy TWIN TIME-Alvin Cash & the Crawlers, Mar-V-Lus Ruffin,Soul WALK LIKE A MAN-Four Seasons, Vee Jay UNCHAINED MELODY-Righteous Brothers, Philles WALK RIGHT IN-RooftopSingers,Vanguard *WHEN A MAN LOVES A WOMAN-PercySledge, WATEWELON MAN-Gloria Lynne,Fontana Atlantic WALKING THE DOG-RufusThomas, Stax *WE'R IGONNA MAKEIT-LittleMilton,Checker WATERMELON MAN-Mon go Santamarie, Battle WHISPERS-JackieWilson, Brunswick WHO'S CHEATINGWHIP-LittleMilton, Checker WITH A CHILD'SHEART-Stevie Wonder, WHAT'S EASY FOR TWOIS SO HARD FOR ONE- WOMA V'S GOT SOUL-Impressions, ABC Paramount Tamla WORKING INTHE COAL MINE-LeeDorsey,Amy Mary Wells, Motown YES, 'MREADY-BarbaraMason,Arctic 'YOU CAN'T HURRY LOVE-Supremes, Motown WIPE OUT-Surfaris, Dot YOU COT WHAT IT TAKES-Joe Tex,Dial YOU CAN'T SIT DOWN-Dovells, Parkway YOU DON'T KNOW LIKEI KNOW-Sam & Dave, Stax YOU'RE GONNA MAKE ME CRY -0. V. Wright, Back YOU KEEP ME HANGIN' ON-Suoremes, Motown YOU LOST THE SWEETEST BOY-Mary Wells, Motown Beat YOU'VE GOT MY MIND MESSED UP-JamesCarr, tOU'KE GOOD FORME-SolomonBurke,Atlantic YOU'VEGOT THAT LOVING FEELING-Righteous Goldwax YOU'RE THE(DevilinDisguise)-E.Presley,Victor Brothers,Philles YOUR GOOD THING (Is About to End)-Mabel John, YOU'RE THE REASON Darin, I'MLIVING-Bobby Stan Capitol YOU'VE REALLY GOT A HOLD ON ME-Miracles, Tamla 1966 YOUR OLD STANDBY-MaryWells,Motown ZIPADEE-D0O-DAH-Bob B. Soxx & the Blue AIN'T THAT A GROOVE-James Brown & the Jeans,Philles FamousFlames,King Albums 'AIN'T TOO PROUD TO BEG-Temptations, Gordy B-A-B-Y-CarlaThomas,Stax 1964 BABYSCRATCH MY BACK-SlimHarpo,Excel lo 1965 BAREFOOTIN'-RobertParker, Nola No R&B Singleschart was published during1964. BEAUTY IS ONLY SKIN DEEP-Temptations, Gordy B ABY I'M YOURS-Barbara Lewis, Atlantic 'BLOWIIN'IN THE WIND-Stevie Wonder, Tamla B EST OF SOLOMON BURKE, THE-Atlantic BUT IT'S ALRIGHT-J.J. Jackson, Calla BEST OF SAM COOKE, THE-RCAVictor 1965 (Come'RoundHere)I'MTHE ONE YOU NEED- BEST OFSAM COOKE VOL. 2,THE-RCAVictor Miracles, Tamla BEST OF RAMSEY LEWIS TRIO, THE-Cadet AGENT 00-SOUL-EdwinStarr, Ric -Tic COOL JERK-Capitols,Karen BIT OF LIVERPOOL, A-Supremes, Motown AIN'T THAT PECULIAR-Marvin Gaye, Tamla CRYING TIME-RayCharles, ABC Paramount JAMES BROWN PLAYS JAMES BROWN TODAY& ASK THE LONELY-Four Tops, Motown DARLING BABY-Elgins,V.I.P. YESTERDAY-Smash ATTHE CLUB-Drifters,Atlantic DAY TRIPPER-Vontastics, St. Lawrence GENE CHANDLERLIVE ON STAGE IN '65-Con- BABY I'M YOURS-Barbara Lewis,Atlantic DEAR LOVER-MaryWells,Atco stellation *BACK INMY ARMS AGAIN-Supremes, Motown DON'T ANSWER THE DOOR-B. B.King, ABC RAY CHARLESLIVE INCONCERT-ABC Paramount BOOT-LEG-Booker T & the MG's,Stan DON'T BE A DROP OUT-James Brown & Famous 'SAM COOKE AT THE COPA-RCA Victor BOY FROM NEW YORK CITY, THE-AdLibs, Flames,King DOUBLE HEADER WITH ARTHUR PRYSOCK, A-Old Blue Cat DON'T MESS WITH BILL-Marvelettes,Tamla Town CHANGE IS GOING TOCOME, A-Sam Cooke, DUCK, THE-Jackie Lee,Mirwood FOUR TOPS, THE-Motown Victor GET OUT OF MY LIFE, WOMAN-Lee Dorsey, Amy FOUR TOPS SECOND ALBUM, THE-Motown CLEO'S BACK-Jr. Walker & theAllStars,Soul GOING TO A GO-GO-Miracles,Tamla ARETHA FRANKLIN/YEAH-Columbia COME SEE ABOUT ME-Supremes, Motown GOOD TIME CHARLIE-Bobby Bland, Duke GENTLE IS MY LOVE-NancyWilson, Capitol DO THE BOOMERANG-Jr. Walker & the AllStars, HEAVEN MUST HAVE SENT YOU-Elgins, V.I.P. GOIN' OUT OF MY HEAD-Little Anthony& the Soul 'HOLD ON I'M COMING-Sam & Dave,Stax Imperials, DCP DON'T FIGHT- IT-Wilson Pickett, Atlantic HOLY COW-Lee Dorsey, Amy GREAT OTIS REDDING SINGS SOUL BALLADS, THE- DON'T MESS UP A GOOD THING-Fontel laBass & HOW SWEETIT IS (ToBe Loved ByYou)-Jr. Volt BobbyMcClure,Checker Walker & AllStars,Soul GRITS AND SOUL-James Brown, Smash ENTERTAINER, THE-Tony Clark, Chess I BELIEVEI'M GONNA MAKEIT-JoeTex,Dial HOLD WHAT YOU'VE GOT-JoeTex,Atlantic GOT TO GET YOU OFF MY MIND-Solomon Burke, I FOOLED YOU THIS TIME-Gene Chandler, Checker HOW SWEET ITIS TO BE LOVED BY YOU-Marvin Atlantic (IKnow) I'M LOSING YOU-Temptations,Gordy Gaye,Tamla HANG ON SLOOPY-Ramsey Lewis Trio, Cadet I LOVE YOU 1,000 TIMES-Platters, Mus icor I DO LOVE YOU-Billy Stewart, Chess HOLD ON BABY-Sam Hawkins,BlueCat I WANT SOMEONE-Mad Lads,Volt (IfItIs) ONLY FOR TONIGHT-O. V. Wright, Back HOLD WHAT YOU'VE GOT-JoeTex,Dial I WANT TO BE WITH YOU-Dee Dee Warwick, Beat HOLE IN THE WALL-Packers, Pure Soul Warwick IMPRESSIONS GREATEST HITS-ABC-Paramount HOW SWEET ITIS(ToBe Loved by You)-Marvin (I'ma)ROAD RUNNER-Jr.Walker & all Stars, IMPRESSIONS KEEP ON PUSHING, THE-ABC-Para- Gaye, Tamla Soul mount HURT SOBAD-LittleAnthony & the Imperials, I'M GONNA MISS YOU-Artistics,Brunswick DCP I'M READY FOR LOVE-Martha & Vandellas, Gordy (Continued on page 88)

Billboard World of Soul 87 Rhythm & Blues Discography Continued from page 87 ARTIST DISCOGRAPHY 1965TITLE-Artist, Label SINGLES IMPRESSIONS -ONE BY ONE-ABC-Paramount *"IN" CROWD, THE-Ramsey Lewis Trio, Cadet IN THE MIDNIGHT HOUR-WilsonPickett,Atlantic JUST ONCE IN MY LIFE-Righteous Brothers, Below is an up-to-date tabulation, by artists, of all the records appearing in Ph ill es B. B.KING:LIVE AT THE REGAL-ABC-Paramount the Top 10 of the rhythm and blues singles chart from the beginning of 1950 L-O-V-E-NatKingCole,Capitol through the end of 1966, with the exception of the period from Nov. 30, MAKE WAY FOR DIONNE WARWICK-Scepter *MIRACLES GOING TO A GO-GO-Tamla 1963, to Jan. 23,1965, when no chart was published in Billboard. Artists MIRACLES GREATEST HITS FROM THE BEGINNING- are ranked in order according to the greatest number of records making the Top Tamla MONSTER, THE-Jimmy Smith,Verve 10. The number of records making the Top 10 are listed along with the number MORE HITSBY THE SUPREMES-Motown MOST EXCITING ORGAN EVER, THE-Billy Preston, of No. 1 chart singles. NEW BOSS, THE-Joe Tex, Atlantic ORGAN GRINDER SWING-JimmySmith,Verve NOTE: In cases where a record was recorded by two or more artists, each OTIS BLUE/OTIS REDDING SINGS SOUL-Volt known in his own right, each was given credit for the record. PAPA'S GOT A BRAND NEW BAG-JamesBrown, King PASTEL BLUES-Nina Simone,Philips No. 1 PEOPLE GET READY-Impressions, ABC -Paramount No. 1 Artist Records Records Artist RIGHT NOW-Righteous Brothers,Moonglow Records Records RUNNIN' OUT OF FOOLS-Aretha Franklin, Columbia Ray Charles 38 7 Faye Adams 3 3 *SHAKE-Sam Cooke, RCA Victor Fats Domino 36 9 BillBlack Combo 3 2 SIDEWINDER,THE-Lee Morgan, Blue Note ElvisPresley 24 7 Four Seasons 3 2 SONG FOR MY FATHER-Horace Silver Quintet, Blue Dinah Washington 21 3 Willie Mabon 3 2 Note Drifters 19 2 Eddie Boyd 3 SOUL SAUCE-CalTjader,Verve Sam Cooke 17 3 Charms 3 SOUL SERENADE-Gloria Lynne, Fontana B.B. King 17 2 FiveKeys 3 SUPREMES LIVE AT THE COPA, THE-Motown Brook Benton 16 6 Roscoe Gordon 3 *TEMPTATIONS SING SMOKEY, THE-ABC-Paramount Bobby Bland 16 2 Ben E. King 3 *TEMPTIN'TEMPTATIONS-ABC-Paramount Clovers, The 16 2 Barbara Lewis 3 TODAY -MY WAY-Nancy Wilson,Capitol James Brown & Famous Flames 14 4 Jerry Lee Lewis 3 IKE & TINA TURNER SHOW . . . LIVE, THE-Warner RuthBrown 13 5 Jimmie Rodgers 3 Bros. Jackie Wilson 13 5 Sam & Dave 3 *JR. WALKER & THE ALL STARS PLAY SHOTGUN- LloydPrice 13 4 Dee Dee Sharp 3 Soul LittleRichard 11 4 Percy Sledge 3 WE REMEMBER SAM COOKE - Supremes, Motown Clyde McPhatter 11 3 Big Maybelle 3 0 WE'RE GONNA MAKEIT-LittleMilton, Checker J. Otis 11 2 Gary (U.S.) Bonds 3 0 *WHERE DID OUR LOVE GO-Supremes,Motown EttaJames 11 O Tiny Bradshaw 3 0

NANCY WILSON SHOW,THE-Capitol Chuck Berry 1 3 Maxine Brown 3 0

YOU'VE LOST THAT LOVIN' FEELIN'-Righteous Platters 1 3 Nappy Brown 3 0

Brothers,Philles Mary Wells 1 2 Cardinals 3 0 LaVern Baker 1 o King Cole Trio 3 0 Supremes 3 M.Day 3 0 1966 Dominoes 2 Bo Diddley 3 0 M. Walker 1 VarettaDillard 3 0 Muddy Waters o ArethaFranklin 3 0 AWAY WEA'GO-GO-Smokey Robinson & the Chuck Willis O Ronnie Hawkins 3 0 Miracles, Tamla Temptations 5 Chuck Jackson 3 0 BEST OF LITTLEANTHONY & THE IMPERIALS, Litte Esther Phillips 3 Larks,The 3 0 THE-DCP Little Walter 2 Ramsey Lewis 3 0 CARLA-Carla Thomas,Stan Miracles 2 JoeLiggins 3 0 CHANGE IS GONNA COME, A-BrotherJack Mc- Hank Ballard & the Midnighters 1 Lucky Millinder 3 0 Duff,Atlantic Ivory Joe Hunter 1 J.Morris 3 0 CRYING TIME-RayCharles, ABC -Paramount Amos Milburn 1 Jimmy McCracklin 3 0 DANCE THECOOL JERK WITH THECAPITOLS- JohnnyAce 3 Spiders 3 0 Atco Marvin Gaye 2 Billy Stewart 3 0 DUCK, THE-Jackie Lee, Mirwood Roy Hamilton 2 Carla Thomas 3 0 L. Jordan EXCITING WILSON PICKETT-Atlantic 2 Larry Williams 3 0 Joe Tex 2 Jimmy Witherspoon FOUR' TOPS LIVE-Motown 3 0 LowellFulsom 1 Robins, The 2 2 .*GOITIN'READY-Temptations,Gordy Nat(King)Cole o Paul Anka 2 GOOF OUT OF MY HEAD-Wes Montgomery, Verve Jimmy Reed o Fontel laBass 2 GOT MY MOJO WORKING-Jimmy Smit)s, Verve Sh i relies o Booker T & the MG's 2 GOTTA TRAVEL ON-Ray Bryant Trio, Cadet J.Turner o EarlBostic 2 H ANG ON RAMSEYI-Ramsey Lewis Trio, Cadet Coasters 4 Chiffons 2 HERE I AM-DionneWarwick, Scepter Stevie Wonder 3 Bobby Day 2 HOLD ON! I'M COMIN'-Sam & Dave, Stax Everly Brothers 2 Tommy Edwards 2 HOLE IN THE WALL-Packers,PureSoul Four Tops 2 J.Forest 2 HOOCHIE COOCHE MAN-Jimmy Smith,Verve Roy Brown 1 LesleyGore 2 Solomon Burke 1 Bobby Lewis 2 I GOT YOU (I Feel Good)-JamesBrown,King Little Willie John 1 IHEAR A SYMPHONY-Supremes, Motown LittleEva 2 Marvelettes 1 Little Milton 2 LIVINGSOUL-Richard (Groove) Holmes,Prestige Jr.Walker & the AllStars 1 FrankieAvalon 2 0 LOVE YOU SAVE, THE-JoeTex,Atlantic Roy Milton O H.Belafonte 2 0 MARVELETTES GREATEST HITS, THE-Tamla Ricky Nelson O JesseBelvin 2 0 MARTHA & THE VANDELLAS GREATEST HITS-Gordy Otis Redding O Chantels 2 0 MOODS OF MARVIN GAYE-Tamla WilsonPickett 3 Cleftones 2 0 "NEW" LOOK,THE-Fontella Bass, Checker Five Royals 2 Cookies 2 0 ON TOP-FourTops,Motown Midnighters 2 Dave (Baby) Cortez 2 0

PRIME OF MY LIFE, THE-Billy Eckstine, Motown CharlesBrown 1 Cricket, n

LOU RAWLS LIVE!-Capitol Lee Dorsey 1 ^ *LOU RAWLS SOULIN'-Capitol Impressions RAY'S MOODS - Ray Charles,HisOrk & Chorus, Martha & Vandellas ABC -Paramount P. Mayfi.., OTIS REDDING DICTIONARY OF SOUL,THE-Volt RIDIN' HIGH-Impressions, ABC -Paramount ROAD RUNNER-Jr. Walker & the All Stars, Sr SOLID GOLD SOUL-VariousArtists,Atlanti- SOUL ALBUM-OtisRedding, Volt SOUL MESSAGE-Richard (Groove) Holmes,Prestige SOUL SESSION-Jr. Walker & the AllStars,Soul SOUL SISTER-Aretha Franklin,Columbia Gene *SUPREMES A GO GO-Motown Chubby *TEMPTATIONS GREATESTHITS,THE-Gordy L. Darned. TENDER LOVING CARE-Nancy Wilson,Capitol BillDoggett TEQUILA-WesMontgomery,Verve Orioles TOUCH OF TODAY, A-Nancy Wilson, Capitol Crystals TOYS SING "A LOVER'S CONCERTO" AND "ATTACK" ConnieFrancis 4 -DynoVoice GriffenBrothers 4 0 UNBELIEVABLE-BillyStewart, Chess Buddy Johnson 4 0 JoeHenderson 2 0 UP-TIGHT-Stevie Wonder, Tamla MaryJohnson 4 0 Clarence (Frog Man) Henry 2 0 WADE IN THE WATER-Ramsey LewisTrio,Cadet FreddyKing 4 0 Johnny Horton 2 0 DIONNE WARWICK IN PARIS-Scepter Orions 4 0 Isley Brothers 2 0 WHEN A MAN LOVES A WOMAN-PercySledge, LittleJr.Parker 4 0 Jimmy Jones 2 0 Atlantic Jack Scott 4 0 King Pleasure 2 0 WILDEST ORGAN IN TOWN-BillyPreston,Capitol Shirley & Lee 4 0 Annie Laurie 2 0

88 Billboard World of Soul 1 No. 1 No. No. 1 Records Artist Records Records Artist Records Records Artist Records O Big Jay McNeely 0 Brenda Lee 2 0 Dale & Grace O LonnieMack 0 SmileyLewis 2 0 Joey Dee & Starliters MadLads 0 Little Anthony & Imperials 2 0 Mercy Dee O Mar -Keys 0 J. Morre's Three Blazers 2 0 Dels O O Marvelows 0 Olympics 2 0 Sugarpie DeSanto O Marvin & Johnny 0 JohnnyPreston 2 0 Mark Dinning DixieDrifter O BarbaraMason 0 Ravens 2 0 0 Harold Dorman O JohnnyMath is Rays, The 2 0 0 2 0 JimmyDorsey O Mellow Moods Righteous Brothers 0 2 0 Jack Du Pree O Mickey &Sylvia BobbyRydel I 0 0 DuaneEddy O GuyMitchell David Seville 2 McKinley Mitchell 0 Shep & the Limelites 2 0 El Dorados 0 Domenico Modugno 0 Huey Smith 2 0 ShirleyEllis 0 O Monotones 0 Spaniels 2 0 Etta & Harvey O Moong lows 0 Spinners 2 0 B.Evans Bobby Moore & the Rythm Aces . . 0 EdwinStarr 2 0 Excitors O O Johnny Nash 0 Swallows 2 0 Ferrante & Teicher 0 J. Nelson 0 SonnyThompson 2 0 ErnieFields O AaronNeville 0 a 0 Fiestas Sarah Vaughan 2 0 Dionne Warwick 2 0 H.Fisher O Nutmegs O NuttySquirrels 0 Baby Washington 2 0 FiveBlind Boys Roy Orb ison 0 2 0 Five Satins O Otis Williams & His Charms 0 JackieBrenston Wade Flemons O Johnny Otis Show EddieFloyd O Packers 0 Buster Brown 0 Champs, The Four Blazers 0 Robert Parker Jimmy Clanton Four Buddies O Les Paul & Mary Ford 0 Four Fellows O Carl Perkins 0 CozyCole 0 Contours InezFoxx O Peter, Paul & Mary BobbyFreeman O Bobby (Boris)Pickett 8 the King Curtis 0 Danny & theJuniors SunnyGale O CryptKickers Poets 0 K. C. Gar low O Ernie Doe 0 P. Gayten O Arthur Prysock Elegants 0 Gene & Eunice O James 8 Bobby Purify Essex 0 Barbara George Charlie Gracie O Quin -Tones 0 JamesRay 0 Jimmy Gilmer & the Fireballs . Earl Grant F.Grass Ork O Ray -O -Vacs 0 Guitar Slim 0 SlimHarpo J. Greer 0 Regents 0 Wilbert Harrison S. Gunter O R. Render 0 JiveFive Russ Hamilton O JodyReynolds 0 BarbaraLynn LionelHampton O Roscoe Robinson Jay McShann BettyHarris O Sugar Chile Robinson 0 0 Marcels ThurstonHarris O Tommy Roe Little Peggy March Harvey & the Moon Glows O Ronettes 0 Bobby Marchan Sam Hawkins O RooftopSingers 0 Garnett Mims & Enchanters LindaHayes 0 Rosie & Originals 0 0 Paul & Paula Roy Head O RoyalTeen Penguins Heartbeats O Royals 0 0 Phil Phillips Hearts 0 Jimmy Ruff in 0 Pips Bobby Hebb 0 Otis Rush Perez Prado BobbyHelms O MongoSantamaria 0 Lou Rawls AlH ibbler O Santo & Johnny 0 Johnny Ray JessieHill O Satins 0 0 DellaReese Johnny Hodges 0 D. Sausage Ruby &Romantics Smokey Hogg O FreddieScott 0 0 Silhouettes Jimmy Holiday O Sensations Tab Smith Holidays O Shadows, The 0 0 Jimmy Soul Eddie Holland O Del Shannon 0 Spacemen Buddy Holly O Nina Simone Little Johnny Taylor Hollywood Argyles 0 Sims Twins 0 Willie Mae Thornton JohnLee Hooker 0 SixTeens 0 0 AdLibs LynnHope Quartet 0 Skyliners 0 Marie Adams Lightn in'Hopkins O Emitt Slay 0 Arthur Alexander 0 C. Howard O JimmySmith . 0 Ann isteen Allen O FredHughes O Bob B. Soxx & the Blue Jeans 0 Gene Ammons O Jimmy Hughes 0 Connie Stevens 0 Angels O HelenHumes O DodieStevens ArchibaldOrk O Tommy Hunt 0 RayStevens 0 0 Artist ics 0 TabHunter O BarrettStrong 0 SilAustin O Hurricanes 0 Surfaris 0 DarrellBanks 0 I kettes O L.Tate 0 CountBasie O Jorgen I ngman 0 Ko Ko Taylor 0 Boyd Bennett O G. Irving 0 Teddy Bears BigBopper 0 Jacks 0 Teen Queens 0 Mr. Acker Bilk 0 BullmooseJackson 0 Nino Tempo 8 April Stevels 0 Billy & Lillie 0 Deon Jackson 0 Sister Rosetta Thorpe 8 0 Bobbettes O J. J.Jackson 0 GospelSingers 0 James Booker O IllinoisJacquet 0 JonThomas 0 C. Boze O Jan &Arnie 0 Rufus Thomas 0 Ian Bradley O Jan & Dean 0 R. ThomasJr. 0 Louis Brooks O Jarme s 0 J.Thompson T.Brown 0 Jayhawks O Johnny Thunder 0 0 W. Brown O Jaynetts O Johnny Tillotson Browns O Jesse & Marvin O Tokens 0 Ray Bryant O MabelJohn 0 Tornadoes 0 ... 0 Buchanan & Goodman O Johnnie & Joe 0 Ed Townsend 0 BillyButler O Etta Jones 0 Toys R. Byrd 0 JoeJones 0 Doris Troy 0 0 C. O. D.'s O BillJust is 0 Tune Weavers 0 Cadets O Ka I in Twins 0 Sammy Turner 0 Cadi I lacs O S. Kari 0 Tymes Ace Cannon 0 Nat Kendrick Valentines 0 Capitols O Chris Kenner 0 Bobby Vee 0 James Carr O TheolaKilgore 0 Larry Verne 0 Cascades 0 KingstonTrio 0 GeneVincent 0 0 Alvin Cash & the Crawlers O Gladys Knight & thePips 0 Bobby Vinton Bruce Channel 0 BuddyKnox 0 Vocaleers 0 Chanters O MajorLance 0 Vontastics 0 0 Jimmy Charles O BettyLovett 0 Billy Ward Chordettes 0 Dickey Lee 0 Dee Dee Warwick 0 0 Chords O Jackie Lee O Johnny (Guitar) Watson Eugene Church 0 Jimmy Lee 0 J. Waynes 0 0 Claudine Clarke O Ketty Lester 0 Lawrence Welk TonyClarke 0 LittleCaesar O Kim Weston 0 MittyCollier 0 Little Junior's Blue Flames 0 Ed Wiley 0 Corsairs 0 Laurie London O A. Williams 0 0 Counts O B. Lucas 0 Andy Williams Don Covay 0 RobinLuke 0 Maurice Williams 0 Crescendos 0 Gloria Lynne 0 Sonny Boy Williamson 0 0 Crests O Bobby McClure 0 H. Winterha Iter 0 G.L.Crockett 0 Gene McDaniels O Howling Wolf Crows 0 Sticks McGhee 0 B.Wright - 0 A.Crudup O E. McGriff 0 0.V.Wright 0 J. Cul ley 0 Jimmy McGriff 0 Kathy Young 0 89 Billboard World of Soul ARTIST DISCOGRAPHY-ALBUMS

Top 10 No. 1 Top 10 No. 1 Top 10 No. 1 Artist LP's LP's Artist LP's LP's Artist LP's LP's Supremes 7 3 Marvin Gaye 2 Little Milton Impressions 5 1 Richard (Groove) Holmes 2 Gloria Lynne Nancy Wilson 5 - Little Anthony & the Imperials 2 Brother Jack McDuff Temptations 4 4 Wes Montgomery 2 Martha & the Vandellas Sam Cooke 4 2 Wilson Pickett 2 Marvelettes Four Tops 4 1 Billy Preston 2 - Lee Morgan Ramsey Lewis Trio ...... 4 1 Billy Stewart 2 - Packers Otis Redding 4 1 Sam & Dave 1 1 Arthur Prysock Jimmy Smith 4 1 Fontella Bass 1 Horace Silver Quintet James Brown 4 - Ray Bryant Trio 1 Nina Simone RayCharles 3 1 Solomon Burke 1 Percy Sledge Smokey Robinson & the Miracles 3 1 Capitols 1 Carla Thomas Jr. Walker & the All Stars 3 1 Gene Chandler 1 CalTjader Aretha Franklin 3 Nat King Cole 1 - Toys RighteousBrothers 3 - Billy Eckstine 1 - Ike & Tina Turner Joe Tex 3 - B.B. King 1 VariousArtists Dionne Warwick 3 Jackie Lee 1 Stevie Wonder Lou Rawls 2 2 Barbara Lewis 1 0.V. Wright

LABEL DISCOGRAPHY SINGLES Below is an up-to-date tabulation, by label, of all of the Billboard. Labels are ranked in order according to the records appearing in the Top 10 of the rhythm and blues greatest number of records making the Top 10. The num- singles chart from the beginning of 1950 through 1966, ber of records making the Top 10 are listed along with the with the exception of the period from November 30, 1963, number of No. 1 chart singles. to January 23,1965, when no chart was published in

Top 10 No. 1 Top 10 No. 1 Top 10 No. 1 Label Records Records Label Records Records Label Records Records

Atlantic 126 19 Warner Bros. 3 1 Diamond Mercury 64 12 Smash 3 Dolphin RCA Victor 58 12 Ace 2 Dolton King 54 7 Colpix 2 Dore Imperial 50 9 Excel lo 2 DoubleL ABC -Paramount 40 11 Impulse 2 DynoVoice Chess 38 7 Jamie 2 Enjoy Specialty 36 8 Minit 2 Everest Tamla 28 8 Back Beat 2 Exclusive Duke 27 5 Big Top 2 Fame Motown 26 7 Blue Cat 2 Flair Checker 24 4 Cadet 2 Flash Aladdin 24 3 Constellation 2 Flip Vee Jay 23 6 Cub 2 Fontana Decca 23 2 Derby 2 4 Brothers Capitol 23 1 Era 2 Garpax Federal 22 5 Fraternity 2 Glory Savoy 22 3 Hull 2 Goldwax Atco 18 5 Josie 2 Golden World Brunswick 16 5 London 2 Groove Gordy 15 7 Nomar 2 Hanover Dot 15 1 RIH 2 Highland Modern 15 1 Rama 2 Hunt

RPM 14 1 Ric -Tic 2 Indigo DeLuxe 13 2 Robin 2 Instant Argo 13 Sar 2 J & S

Cameo 12 1 Symbol 2 Joda United Artists 11 3 Todd 2 Karen M -G -M 11 2 Top Rank 2 Kellmac

Okeh 11 1 Tuff 2 Leader Columbia 11 - V.I.P. 2 Lee Scepter 1 - Verve 2 Lu Pine Epic 2 AFO Luniverse Roulette 2 Alton Lute Stax 2 Apt Macy's Swingtime 1 Challenge Mar-V-Lus Gee 1 Dootone Meteor Jubilee 1 Galaxy Michelle Parkway 1 Job Mirwood Philles Kapp Money Sue - Lenox Monte! Dial 2 Love Monument

Cadence 1 S.P.Q.R. Musicor

Soul 1 Anna Nasco Liberty - Arctic National Volt _ Art -Tone Nola Herald 3 Arvee Old Town Apollo 2 Arwin One-Derful Regal 1 Baton Parlo

Sun 1 Battle Premium Abner - Bell Promo Kent - Bethlehem Pure Soul Wand Calico Regent Fire 2 Calla Rendezvous Hi 2 Canadian -American Revilot Dimension 1 Caprice Rita Keen 1 Carla St.Lawrence Laurie 1 Cash Satellite Peacock 1 Cat Serock Amy - Chance SevenArts Bettone 2 Clef Spire Fury Clock 2 States Class 1 Cobra Swan Ember 1 Coed Swingin' Philips 1 Combo Carlton Conoress Tri-Phi Chancellor Coral Trumpet End Crvoalette Unart I eGrand DCP Valiant 1 Prestige Dade Vanguard 1 Sittin In Demon Warwick 1

90 Billboard World of Soul THE ISLEY BROTHERS-The FamousIsleyBrothers; TAMLA 3313/6313 ALBUMS THE JIVE FIVE-I'm a HappyMan;3455/6455 MARVIN GAYE-How SweetItIs;TM 258 (S-258) GARNET MIMMS-As Long As I Have You; 3396/ Continued from page 82 --Marvin Gaye's Greatest Hits; TM 252 6396 (S-252) --Cry Baby and 11 OtherHits;3305/6305 THE JAMES BROWN ORCHESTRA-GritsandSoul; --MoodsofMarvinGaye; TM 266(S-266) --I'llTake GoodCareofYou; 3498/6498 MGS 27057/SRS 67057 --That Stubborn Kinda Fellow; TM 239 --HandfulofSoul;MGS 27084/SRS 67084 MARVIN GAYE& KIM WESTON-Take Two; TM --James Brown Plays James Brown Today and - 270(S-270) VEEP Yesterday; MGS 27072/SRS 67072 THE ISLEYBROTHERS-ThisOld HeartofMine; 67080 --The NewBreed;MGS 27080/SRS TM 269 (S-269) ANTHONY & THEIMPERIALS-The BestofLittle JOE Hunter's Golden IVORY HUNTER-Ivory Joe THE MARVELETTES-The Marvelettes;TM 274(S- Anthony;13512/16512 Hits; MGS 27037/SRS 67037 274) --Goin' Out ofMy Head; 13511/16511 --The Marvelettes' Greatest Hits; TM 253 (S- --I'm On theOutside (LookingIn);13510/ 253) 16510 SOLID STATE --The MarvelousMarvelettes;TM 237 --Payin' Our Dues; 13513/16513 --Playboy; TM 231 MANNY ALBAM-The Soul of the City; 17009/18009 THE MIRACLES-Away We A -Go -Go- TM 271 (5- JIMMY McGRIFF-A Bag Full of Soul; 17002/18002 271) V. I. P. --Cherry; 17006/18006 --Cookin' WithThe Miracles; TM 223 JOE WILLIAMS, THAD JONES, MEL LEWIS-Pre- --TheFabulous Miracles;TM 238 ABBEY TAVERN SINGERS-We're OfftoDublin in senting Joe Williams and Thad Jones/Mel --Goingto A -Go -Go;TM 267 (S-267) theGreen; VIP402(S-402) Lewis -The JazzOrchestra; 17008/18008 --Greatest Hits From theBeginning; TM THE ELGINS-Darling Baby;VIP 400 (S-400) 2-254 --Hi,We're TheMiracles;TM 220 --I'llTrySomethingNew; TM 230 SOUL --The MiraclesDoin'Mickey'sMonkey;TM VOLT 245 SOU 704 JS -704) JIMMY RUFFIN-TopTen; --The Miracles Live on Stage; TM 241 THE MAD LADS-The Mad Lads in Action;414 JR. WALKER & THE ALL STARS-Roadrunner; VARIOUS ARTISTS-ACollectionof 16 Original OTIS REDDING-The Great Otis Redding Sings SOU 703(S-703) Big Hits,Vol.II;TM 256 SoulBallads; 411 --Shotgun; SOU 701 (S-701) --The Motortown Revuein Paris;TM 264 --The OtisRedding Dictionary ofSoul; 415 Session; SOU 702 (S-702) Soul/OtisBlue;412 --Soul STEVIE WONDER-Down to Earth; TM 272 (S-272) --Otis Redding Sings --The SoulAlbum;413 STAX --Uptight; TM 268 (S-268) I-1TANGERINE WARNER BROS. BOOKERT. & THE MG'S-AndNow!; 711 --Green Onions;701 LORRAINE ELLISON-Heart andSoul; W/WS 1674 713 LOUIS JORDAN-Hallelujah,LouisJordan Is Back; --In the Christmas Spirit; GROOVE HOLMES-ABowlof Soul;L/LS5902 Dressing;705 TRC-1503 --Soul IKE & TINA TURNER-Ike &TinaTurnerShow EDDIEFLOYD-Knock onWood;714 PERCY MAYFIELD-My Jugand I;TRC-1505 (Vol.I): W/WS 1579 THE MAR-KEYS-TheGreatMemphis Sound;707 --Ike & TinaTurnerShow(Vol.2);L/LS OTIS REDDING & CARLA THOMAS-King and Queen; 5904 TUBA 716 SAM & DAVE-Double Dynamite;712 JOHNNY LYTLE-Newand Groovy;5002 WHITE CLIFFS --Hold On, I'mComin'; 708 JUNIOR MANCE TRIO-The GoodLife;5003 CARLA THOMAS-CarlaThomas;709 RONNIE KOLE-The Ronnie Kole Trio; 1001 --ComfortMe;706 RUFUS THOMAS-Walking TheDog; 704 UNITED ARTISTS JOHNNIE TAYLOR-Wanted, OneSoulSinger;715 WINDY C VARIOUS ARTISTS-Memphis Gold; 710 SPENCER DAVIS GROUP-Gimme Some Lovin'; 3578/ --The TreasureChestofGoldies;703 6578 FIVESTAIRSTEPS-FiveStairsteps;Windy C 6000

THE From Out of the South MS The Campus Favorites!

BEST SELLING RHYTHM BEST SELLING RHYTHM AND BLUES ALBUMS AND BLUES ARTISTS 1. TEMPTATIONS GREATEST 1. TEMPTATIONS (Gordy) HITS (Gordy) 2. Lou Rawls (Capitol) 2. SUPREMES A' GO GO 3. Supremes (Motown) (Motown) 4. Wilson Pickett (Atlantic) 3. FOUR TOPS LIVE! 5. Four Tops (Motown) (Motown) 6. Miracles (Tamla) 4. LOU RAWLS SOULIN' 7. Ramsey Lewis Trio (Capitol) (Cadet) 5. LOU RAWLS LIVE! 8. Otis Redding olt) (Capitol) 157. Tams (ABC) 6. EXCITING WILSON 1U. Percy sledge (At antic) PICKETT (Atlantic) 11. James Brown (King, 7. A COLLECTION OF 16 BIG Smash) HITS, VOL. 5-Various Artists (Motown) 8. AWAY WE A' GO GO- Miracles (Tamla) 9. GETTIN' READY- BILLBOARD'S ns (Gordy) 10. PRESENTING THE TAMS, "MUSIC ON (ABC) 11. WADE IN THE WATER- CAMPUS" Ramsey Lewis Trio (Cadet) 12. OTIS REDDING DICTION- APRIL 8 ARY OF SOUL (Volt) 13. WARM AND TENDER SOUL 1967 -Percy Sledge (Atlantic) 14. WICKED PICKETT- Wilson Pickett (Atlantic) 15. HERE WHERE THERE IS LOVE-Dionne Warwick Exclusive Representation: BILL LOWERY TALENT, INC. (Scepter) abc P.O. BOX 9687, ATLANTA, GA. 30319(404) 237-6317/233-6703 RECORDS

1 ' -WOLFE DONNIE KES BILLY BUTLER BOBBY CALLENDER STE CARPENTER JAY CARTER JIMMY CASTOR GENE CHANDLER THE COO'

ERETTES *IPS & KELLEY FOUR PENNIES EARL GRANT LINDA HOPKIN LEROY & TR DRIVERS LITTLE CHARLES & THE SIDEWINDERS RAY POLLAR CONNIE QUESTELL JACKIE ROSS SAM & BILL RAY SCOTT MARVIN SMIT JIMMY STEWARD THE SYM,131E TAYLOR GLADYS TYLER JACKI ne wWU'

BARBARA ACKLIN N BAKER BILL & WOLFE DON ENDER STEV

CARPENTER THE SOUND R THECOO' ERETTES NDOR INDA HOPKIN LEROY & THE D OF SOUL RAY POLLAR CONNIE QUESTF MARVINSMIT JIMMY STfWA inThe Great Traditiono S TYLER JACKI VERDELLDAN OUNG HOLT TM

BARBARA ACM BAKER pill

& WOLFE DO dENDER STEV: CARPENTER JA 4DLER THE COOP ERETTES DORIS & K T LINDA HOPKIN

LRO & THE DRIVERS ArrtIDERS RAY POLLAR CONNIE QUESTELL JACKIE RAY SCOTT MARVIN SMIT JIMMY STEWARD THE SYMPHONICS DEBBIE TAYLOR GLADYS TYLER JACKIE VERDELL DANNY WHITETHE WILDARE TRIO JACKIE WILSON YOUNG HOLT TRI BARBARA ACKLIN THE ARTISTICS PATTI AUSTIN LAVERN BAKER BILL & WOLFE DONNIE BURKES BILLY BUTLER BOBBY CALLENDER STEVE CARPENTER JAY CARTER JIMMY CASTOR GENE CHANDLER THE co9p- .RETTES DORIS & KELLEY FOUR PENNIES EARL GRANT LINDA HOPI('

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