In The Trashcan
Records GARBAGE249
"Tear it up, break it up and when I'm tore up by
the weddin' bells, I'd say: gimme some baby cakes and
dynamite for my superstar..."
Do you know Eunice Waymon? Most of you don't. But you all know her alter ego Nina Simone. She was 32 when she recorded this savage gospel induced rhythm 'n' blues in 1965 as flipside to her fabulous rendition of Screaming Jay Hawkins' "I put a spell on you", also on the "Ne me quitte pas" EP. My copy is a promo 45 on Philips. She died in France, aged 70. More Nina tunes on volumes76 and 239.
Ray Charles had his own record company and he introduced unknown artists, such as this guy Youngblood. Who was this artist? He wanted to sound like his mentor on this Ray Charles composition. A Tangerine Record release from 1966.
Another pseudonym… she was born Dione LaRue in 1945, so she was only 17 years old when she recorded this soul scorcher in 1962 for Columbia. For more Dee Dee info, check out volumes 17 and 182.
I believe this was the flipside to his first Epic single, from 1962. Earlier he recorded a handful of singles for Motown as Popcorn & The Mohawks. He was also often asked as a session pianist; he can be heard on "Please Mr Postman" by The Marvelettes. A big guy and a big name in the northern soul scene.
A bit slower than the magnificent A-side "Love addict" (see vol 217) but still a fine northern soul song, recorded in 1969 for the Arctic label. Two thirds of the Ritchie Family are in this female quartet.
Perhaps her last single without The Sweet Inspirations as backing vocals. She co-wrote this northern soul gem in 1966. Flipside is a Beatles cover "We can work it out". A Wand release.
Billy Gayles and Ike Turner's Rhythm Rockers are a solid rockin' team. In 1956, aged 25, he sang this Ike Turner tune. Both sides were written by Ike. Born and raised in Mississippi he lived the blues, also when we was drumming. He was only 62 years old when he died in St Louis, after only a handful of singles.
Again an Ike Turner song performed by Billy Gayles in 1956, also for Federal Records.
Funky soul holler about a new dance craze, albeit at least 4 years too late. In 1967 nobody was interested anymore in these dance songs. However, it's an excellent catchy tune, released on Back Beat. See also vol 247.
In 1966 it was perfectly normal to combine garage beat jazz with funky rhythms of a flute. It's the title track of their sole album. A Hanna-Barbera release.
Norman Whitfield was best known as one of the creators of the Motown Sound when he founded Undisputed Truth in 1970. This tune was one of the first he wrote especially for this psychedelic soul outfit. It was released in 1971 on Tamla-Motown. His best songs, however, are the ones he wrote together with Barret Strong. Just think of Motown classics such as "I heard it through the grapevine", "Ball of confusion", "Papa was a rolling stone", ...
Splendid B-side of "Tramp", a mod soul tune from 1967, the second single of Julie and Brian together.
His 7th or 8th single for New Voice Records is not his best known. His rockin' soul sound with The Detroit Wheels was quite successful in the mid and late 60s. Born William Levise in 1945 he was 22 years old when this came out, a little while after his great, faster, version of Shorty Long's "Devil with a blue dress on". Check out volumes 40 and 67 for more Mitch Ryder.
And a year later followed the third single, "Road to Cairo" and this great flipside. One of their most underrated recordings. Two years later Julie got married and adopted a new name, Julie Tippetts. Brian Auger never stopped playing. A 1968 Marmalade release.
I particularly love his early days, but this 1972 recording is something special. It always works at soul parties. Little Johnny was born Johnny Merrett in 1943 and died before he reached the age of 60, while he was still active as a performer. Another Little Johnny tune on volume 102.
Rockabilly king of the hiccups was almost gone and forgotten when he recorded Johnny Burnette's "Tear it up". The year was 1968 and rock 'n' roll was about to get a second life in the 70s, but it wasn't the same anymore. Elvis adored him in 1956 but twelve years later it was a different world. Still I love this blistering version he recorded for the Philwood label.
