Recorded April 5, 1954. Tiny Bradshaw really had a two-part career, in the 1930s in swing and from the mid-'40s on as a best-selling R&B artist. He majored in psychology at Wilberforce University but chose music as his career. Bradshaw sang early on with Horace Henderson's Orchestra (in addition to playing drums), Marion Hardy's Alabamians, the Savoy Bearcats, the Mills Blue Rhythm Band, and Luis Russell. In 1934, he put together his own orchestra and they recorded eight spirited numbers for Decca later that year. A decade of struggle lie ahead and, when Bradshaw's big band recorded again, in 1944, the music was more R&B and jump-oriented. The majority of Bradshaw's recordings were cut during 1950-1954, although there would be one session apiece made in 1955 and 1958. All of his post-1947 output was made for King including the seminal "Train Kept A-Rollin'" in 1951. For several decades, that song became a staple of numerous garage bands along with notable recorded versions by the Yardbirds in the '60s and Aerosmith in the '70s. In 1954, Bradshaw suffered the first of two strokes, the second would be two years later. He spent the next few years recovering in a Florida hospital. In the meantime, King tried to keep his name from disapearring altogether by releasing a single made up of previous sessions. By early 1958, Bradshaw slowly returned to touring and leading his band. A final single was released by King, "Bushes" backed with "Short Shorts," which failed to gain any interest. Essentially Tiny Bradshaw's career was over. The record-buying public, led by teenagers, had already discovered Little Richard, Chuck Berry, and Elvis. While trying to make the transistion to the rock & roll market, Bradshaw passed away of a third stroke on November 26, 1958, at his home in Cincinatti. He was 53 years old. Bradshaw is remembered not only as a fine jump blues shouter, but a bandleader who employed some of the greatest jazz players as sidemen along the way including Shad Collins, Russell Procope, and Happy Caldwell (all in 1934); Sonny Stitt (who recorded with Bradshaw in 1944); Big Nick Nicholas; Red Prysock; Bill Hardman; and Sil Austin. Biography by: Scott Yanow & Al Campbell
One of the more well known singles in dad's crates is this classic instrumental version of "Walk - Don't Run", by The Ventures.
"Walk, Don't Run" is an instrumental composition written and first recorded by jazz guitarist Johnny Smith in 1954. The tune is essentially a contrafact of the chord changes to the standard "Softly, As in a Morning Sunrise".
The Seattle-based instrumental rock band The Ventures released their version of the tune as a surf rock single in autumn 1959 on Dolton Records, which quickly became a hit. In the UK, the tune was covered by the John Barry Seven, whose version, while only peaking at #11 on the Record Retailer chart, compared to the Ventures' #8, outcharted them to reach the Top 10 on other UK charts, such as that of the NME. The Dolton release of this record had two backing sides, the first release (Dolton 25) had "Home", and after initial sales were so great (to gain royalties), the B side was replaced with a Bogle-Wilson (The Ventures) original composition, "The McCoy" (Dolton 25-X).
The Ventures' version is believed to be one of the first surfing songs to make the Billboard Hot 100 chart, peaking at #2 and reaching #3 on the Cash Box magazine chart for five weeks in August and September 1959.
Here is the flip side to "Blues In The Closet", by The Tri-Tones, a band from Trenton, NJ with Vince Iorio on Sax, that recorded one instrumental single in 1955 for Grand Records with the sides_Sweet And Lovely/Blues In The Closet. In 1957 the single was re-released by Jamie Records as The Tritones.
This record came out in 1962 and my dad would play it on the hi-fi on Halloween to spook the trick or treaters that came to the door. It's probably one of the earliest examples of a sound effects record made specifically for the holiday. It was put out by Sounds Records out of Glendale, Ca. Here is track number one which is the longest from the 45 and features all the sounds that are on the rest of the disc. Put it in on a continuous loop for your next haunted house. Happy Halloween!
The Cadillacs were an American rock and roll and doo-wop group from Harlem, New York; active from 1953 to 1962. The group was noted for their 1955 hit "Speedoo", which was lead singer, Earl Caroll's nickname. The song was released on Josie Records, which was a subsidiary of Jubilee Records in New York and was active from 1954 through to 1971.
Here's a blues harp stomper that is from a split 45 that has THIS on the other side. Born in Mansfield, LA in 1923, singer and harmonica blower Sidney Maiden made his mark on the blues with the classic "Eclipse of the Sun." In the '40s, Maiden moved to California where he first met guitarist K.C. Douglas. They bonded immediately since they both had a purist attitude towards rural blues and didn't compromise that style of playing once they left the south. They played clubs on the West Coast, and recorded "Eclipse of the Sun" in 1948 for the Down Town label run by Bob Geddins. It would be the first and only hit for Maiden.
# rec. 1957 in Los Angeles; Sidney Maiden voc, hca; p; Slim Green, g; Al Simmons, dr
Man this joint is jumpin'! If this song does not make you move then someone better check your pulse. This is a classic cut and was released on both 45 and 78 RPM records in the fall of 1955 on Meteor. HERE is a website with the story of the label. I always loved the label design with it's astronomical and music note artwork. Here's Bep "Sax Man" Brown and The Broomdusters,with Round House Boogie aka Sax Symphonic Boogie.
One of our favorites here at Dad's 45s is the original recording of Louie by Richard Berry. Richard Berry released his version in April 1957 (Flip Records 321), originally as a B-side, with his backing band the Pharaohs, and scored a regional hit on the west coast, particularly in San Francisco. When the group toured the Pacific Northwest, local R&B bands began to play the song, increasing its popularity. The track was then re-released as an A-side. However, the single never charted on Billboard's national rhythm and blues or pop charts. Berry's label reported that the single had sold 40,000 copies. After a series of unsuccessful follow-ups, Berry sold his portion of publishing and songwriting rights for $750 to the head of Flip Records in 1959.
Here is the A side from a record I posted back in 2011. This was released in March of 1956 and both songs are featured on the Prysock LP, "Fruit Boots" that was released the following year on Wing's parent label, Mercury Records.
Red Prysock was one of the first of the big blasting tenor sax players of the rock 'n roll era. In the early fifties Red backed up blues singer Lonnie Johnson for some sessions with King Records which produced the sides "Darlin" / "Seven Long Days" on King #4503, and "My Mother's Eyes" and "Me And My Crazy Self" on ##4510. Red signed with Mercury Records, the Chicago based major in early January of 1954.
Speaking of Ray Charles, here is a great instrumental single from his first gold album "What'd I Say" in 1959. The song was later covered in 1985, by The Manhattan Transfer as "Ray's Rockhouse" with lyrics by Jon Hendricks.
Here's a nice one from 1958, by the Ramsey Lewis Trio, released on the Argo label.
Set up in Chicago, 1955 as the jazz subsidiary of Chess Records, Argo Records changed its name to Cadet Records in 1965, after the discovery of the UK based jazz, classical and spoken word label Argo Records that was already in existence.
Percy Mayfield is probably best known as the songwriter of "Hit The Road Jack" which Ray Charles had a big hit with in 1960. This single from 1954 is a smokey downtempo R&B number, heavy on the B and was possibly recorded at Universal Recorders in Hollywood, CA. A great example of Percy's early years with Specialty Records.
Here is a nice little swinger for all the vibraphone lovers out there from the Lionel Hampton Orchestra. This rare 45 was released on Hampton's own Glad Records (later Glad-Hamp). I believe the Glad is for his wife Gladys, who ran the business side of his music. This cut would fit right in with an episode of Mad Men. Shake up a martini and enjoy!
Here is the flip side to "Walkin' With Mr. Lee," which I posted back in 2011. A couple trivia items about Lee Allen;He played three shows in October 1981 with the Rolling Stones: on October first at the Metro Centre (Rockford, Illinois), and on the third and the fourth atFolsom Field(Boulder, Colorado). According toIan McLagan,who played keyboards with the Stones on the 1981Tattoo Youtour, Allen was so bewildered by playing with the Stones for over 80,000 people in attendance "he [Allen] completely choked up". Audio recordings of the shows confirm McLagan. Allen was replaced byErnie Wattsfor the remainder of the tour.
After Allen's death, Blasters member Dave Alvin dedicated the song "Mister Lee" to Allen.
Here is the B-side to California Sun that I posted earlier this year. Best remembered for the 1960 novelty smash "You Talk Too Much," New Orleans R&B singer Joe Jones later forged a career in production and publishing before becoming a galvanizing force in the battle for artists' rights.
James David Nicholson, 12 April 1917, Monroe, Louisiana, USA, d. 27 July 1991, Los Angeles, California, USA. Nicholson learned to play the piano in church from the age of five. He later emigrated to the west coast where, influenced by the popular black recording artists of the day, he built up a solo act and travelled and performed all over California. In the mid-40s he teamed up with Jimmy McCracklin and they made their first demo recordings together; Nicholson played, McCracklin sang and both their styles were very much in the mould of Walter Davis. Over the next decade, Nicholson accompanied a number of well-known artists, such as Lowell Fulson and Ray Agee, and also made some records under his own name. Later in the 50s, he joined Jimmy Reed’s band, and also played with Little Walter. He made a few more records in the 60s. This is a split 45 with Red Callender on the other side.
This hauntingly beautiful song was the flip side to Eddie's jazz version of the theme from the movie Exodus. Exodus to Jazz is the debut album by American jazz saxophonist Eddie Harris recorded in 1961 and released on the Vee-Jay label.
Back in 2011, I posted the other side of this 45, which was Eddie's version of "A Taste Of Honey." Pancho is a name that is used when you don't know someone's name. Sort of like "Mac", "Buddy", "Bubba", or "Joe" in English. Panchita is the diminutive feminine version of Pancho. Panchita is also slang for a small jar of wine. In any case. It's a great latin jazz number. Panchita. What beauty! The last three notes remind me of the old jingle, "By Mennen." I guess you'll have to be a little old to remember that.
Clifton Chenier(June 25, 1925 - December 12, 1987), a Creole French-speaking native of Opelousas, Louisiana, was an eminent performer and recording artist of Zydeco, which arose from Cajun and Creole music, with R&B, jazz, and blues influences. He played the accordionand won a Grammy Award in 1983. In 1984 he was honored as a National Heritage Fellow and in 1989 was inducted posthumously into the Blues Hall of Fame.
He was known as the 'King of Zydeco'and also billed as the 'King of the South'.
Clarence "Gatemouth" Brown (April 18, 1924 — September 10, 2005) was an American musician from Louisiana and Texas. He is best known for his work as a blues musician, but embraced other styles of music, having "spent his career fighting purism by synthesizing old blues,country, jazz, Cajun music and R&B styles" His work also encompasses rock and roll, rock music, folk, electric blues, and Texas blues. "Depression Blues" was the flip side of the 1951 instrumental "Okie Dokie Stomp".
Dad loved Cannonball Adderly's jazz. This is the title track from his 1961 album, "African Waltz," on Riverside Records. This song was written by Galt MacDermot and it earned him a Grammy Award. MacDermot is probably best known for his music for the musical, HAIR. Some of the players on this song include, Percussion – Michael Olatunji Trombone – Arnett Sparrow, George MatthewsTrumpet – Joe Newman
Boots Brown cut this knockoff of Bill Justis' "Raunchy" called "Juicy" in 1958. It's just similar enough to have the hit potential without blatantly plagiarizing the original. The A side is a "Tequila" ripoff called "Cerveza," which I will also post at some point in the future. If you like twangy guitars and sax, then you will dig this.
Reader snakeboy pondered if this might have been Boots Randolph and Chet Atkins. Looking into it, I found that Boots Brown was a pseudonym used by West Coast jazz trumpetist Shorty Rogers. He played with his backing band the Blockbusters which included the likes of Barney Kessel, Bill Pittman and Milton Norman on guitar, Red Callender on bass, Shelly Manne on drums and Larry Bunker on percussion. On this single the band featured Bud Shank, Jimmy Rowles and Mel Lewis. "Cerveza" went to number 23 in the U.S. charts in 1958.
Everyone knows the classic 1962 instrumental hit, "Green Onions," but have you heard the flip side of the original 45?
Jim Stewart, then president of Stax Records, wanted to release the single with the first song, titled “Behave Yourself”, as the A-side and Onions as the B-side. Steve Cropper and radio disc jockeys thought otherwise; soon, Stax released Booker T. & the M.G.'s' “Green Onions” backed with “Behave Yourself”. In conversation with BBC Radio 2's Johnnie Walker, on his show broadcast on September 7, 2008, Cropper revealed that the record became an instant success when DJ Reuben Washington, at Memphis radio station WLOK, played it four times in succession, this even before the tune or the band had an agreed-upon name.
Here's another great organ and sax number from the legendary Bill Doggett. This one was released in 1957 and is great for doing the cha-cha or mambo on your living room floor. The flip side is "Number Three." I posted the 78 rpm version of that one some time ago.
Smokie is a 1959 instrumental by Bill Black's Combo. The single was the first of four entries on the R&B chart and was successful, where it made to number one for four weeks, in early 1960. "Smokie, Part 2" also hit the top twenty on the pop singles chart. Most people know the Part 2 version, but Part 1, with it's tinkly toy piano sound and faster tempo is my favorite of the two. Here are both parts 1 & 2 for your listening pleasure
My introduction to the silky vocal tones and piano grooves of Mose Allison was via this 45 from dad's brown record box. "The Seventh Son" was written by Willie Dixon and Mose cut this swingin' version for Prestige Records in 1963. Johnny Rivers had a hit with a live version of the song a couple years later.
Dad's 45 fans can tune in this Sunday, Feb. 24th for a special show celebrating what would have been dad's 76th birthday. I'll be playing a bunch of recent A/D transfers of more of the classic 45s from dad's old record boxes. Missed it live? Catch the showreel HERE!
PLAYLIST: The Ventures - Walk - Don't Run Boots Brown & His Blockbusters - Juicy Booker T & The MGs - Behave Yourself Bill Doggett - Soft Lionel Hampton and Orchestra - Sometimes I'm Happy Bill Black's Combo - Smokie Parts 1 & 2 Clifton Chenier - Ay-Tete Fee Sidney Maiden - Hand Me Down Baby Mongo Santamaria Band - Don't Bother Me No More Lee Allen - Promenade Eddie Cano - Panchita Cannonball Adderley Orchestra - African Waltz Chuck Berry - No Money Down Richard Berry and The Pharoahs - Louie Louie The Cadillacs - Speedoo The Sounds - So Unnecessary Percy Mayfield - I Need Love So Bad Dizzy Gillespie - Somewhere Over The Rainbow Tiny Bradshaw - The Gypsy Mose Allison - The Seventh Son Ramsey Lewis Trio - Iracy Blues J.D. Nicholson - Typin' And Wonderin' Gus Jenkins - Hit The Road Sax Man Brown & The Broomdusters - Flaming Blues Red Prysock - Fruit Boots Joe Jones - Please Don't Talk About Me When I'm Gone Ernie K-Doe - I Cried My Last Tear The Drifters - Rat Race Richard Hayes w/Eddie Sauter Orch. - Summertime The Tritones - Sweet And Lovely Eddie Harris - Alicia
This is probably my favorite Chuck Berry song. Every time I hear it, I can see dad, rapping along with the lyrics. Growing up, I don't think I ever heard this song played anywhere outside our home like some of Berry's other, more famous tunes. "No Money Down" was released on Chess Records in December 1955 as the A Side of "Down Bound Train." It was also Berry's first UK single, being released there in May 1956.
The Rivieras had a top 10 hit with "California Sun," but three years before that, New Orleans-born, Joe Jones released the first recorded version in the winter of 1961. You might remember Jones' hit "You Talk Too Much," from the year before.
The song has been covered many times over the years, but this is the version I grew up hearing and is still my favorite.
Buddy Morrowwas an American trombonist and bandleader. He is known for his mastery of the upper range which is evident on records such as "The Golden Trombone," as well as his ballad playing. Here is "Denise", from an RCA Victor shellac 78. I believe this is from 1954.
Greetings music lovers. I just wanted to tell you that I will soon be digitizing the last of my dad's old 45s and will be posting them up as the weeks go by.
There will also be a special Mixlr show on February 24th which will feature many of these new vinyl transfers. Stay tuned!