Elmore James – Sunny Land / Standing At The Crossroads

Elmore James – Sunny Land / Standing At The Crossroads (Broomdusters Single Review & History)

 Flair Records 1954 – 45x1057

notes:

The legendary blues guitarist Elmore James, backed by

 his band the Broomdusters, delivered one of the most 

influential electric blues recordings with Sunny Land / 

Standing At The Crossroads. Released during the golden 

era of Chicago blues, this single captures James’ 

signature slide guitar style and raw vocal intensity.

The Sound of Elmore James and the Broomdusters

Known as the “King of the Slide Guitar,” Elmore James crafted 

a powerful, distorted tone that would later influence 

rock and blues legends.

“Sunny Land” showcases a driving rhythm and electrifying 

slide riffs, embodying the transition from Delta blues 

to urban electric blues.

Standing At The Crossroads” Meaning

crossroads blues legacy

Often associated with the myth of crossroads blues, 

this track connects to the tradition popularized by 

Robert Johnson, blending folklore with emotional storytelling.

Influence on Blues and Rock

Artists like Eric Clapton and Duane Allman drew inspiration

 from James’ slide technique and phrasing.

Crédits:

Elmore James – vocals, slide guitar

Unidentified studio saxophone section (arranged by Maxwell Davis)

Unidentified pianist

Unidentified bassist

Unidentified drummer

 These were professional West Coast session players, 

not the touring Broomdusters

Recording date: August 1954

Studio: Modern Records studio, Culver City, California

Producer / supervisor: Maxwell Davis

This is important:

This was NOT a Chicago Broomdusters session in the usual sense.

It used West Coast studio musicians, arranged in a more 

polished Modern Records style.

notes:

The Broomdusters (Typical Line-Up)

Like many blues sessions of the 1950s, exact personnel can vary 

depending on the recording date, but musicians

 associated with these sessions include:

J.T. Brown – saxophone

Johnny Jones – piano

Homesick James – rhythm guitar

Odie Payne – drums

Willie Dixon – bass (on some sessions)

These musicians formed the backbone of the Chicago electric

 blues sound, delivering a tight, driving groove 

behind James’ powerful slide guitar.

Tracklist:

Written-By – James, Josea

A Standing At The Crossroads

B Sunny Land

link

James Brown And The Famous Flames – I Got the Feelin’ (1967 Funk Classic)

James Brown And The Famous Flames – I Got The Feelin’ (King LP)  Soul & Funk Classic Review

King Records 1967  KS-1031

notes:

I Got the Feelin' is the nineteenth studio album by American 

musician James Brown. The album was released in April 1968, 

by King Records. 

The album debuted on Billboard magazine's Top LP's chart in 

the issue dated May 18, 1968, peaking at No. 135 during 

a fourteen-week run on the chart

credits:

James Brown - lead vocal

with the James Brown Orchestra:

Waymond Reed - trumpet

Joe Dupars- trumpet

Levi Rasbury - trombone

Alfred "Pee Wee" Ellis - alto saxophone

Maceo Parker - tenor saxophone

St. Clair Pinckney - tenor saxophone

Jimmy Nolen - guitar

Alphonso "Country" Kellum - guitar

Bernard Odum - bass

Clyde Stubblefield - drums

Producer  James Brown

Recorded By  Ron Lenhoff

Written-By  Bud Hobgood (tracks: A2, A4 to A6, B2, B3, B5, B6), 

James Brown (tracks: A1 to A6, B2 to B6)

Recorded January 25, 1967 – March 5, 1968

Studio

Beltone Studios (New York City, New York)

RCA Studios (New York City, New York)

King Studios (Cincinnati, Ohio)

Vox Studios (Los Angeles, California)

Tracklist:

A1 I Got The Feelin'

A2 Maybe I'll Understand (Part 1)

    Written-By  R. Lenhoff*

A3 You've Got The Power

    Written-By  J. Terry*

A4 Maybe Good - Maybe Bad (Part 1)

A5 Shhhhhhh (For A Little While)

A6 Just Plain Funk

    Written-By  T. Seals*

B1 If I Ruled The World

    Written-By  Ornadel*, Bricusse*

B2 Maybe I'll Understand (Part 2)

    Written-By  R. Lenhoff* 

B3 Stone The Fox

B4 It Won't Be Me

    Written-By  A. Ellis*

B5 Maybe Good - Maybe Bad (Part 2)

B6 Here I Go

    Written By  D. Lewis 

link

  

Pancho Villa & The Bandits – Ain’t That Bad / Progress

Pancho Villa & The Bandits – Ain’t That Bad / Progress (Rare Soul 45 Review)

Symbol Records 1964 ‎– 202

notes:

If you’re into deep cuts and obscure grooves, Pancho Villa & The Bandits 

 Ain’t That Bad / Progress is a must-hear for soul collectors and DJs alike. 

This rare 45 blends raw energy with classic late-60s soul textures.

“Ain’t That Bad” delivers punchy rhythms, tight brass sections, and a 

gritty vocal performance that fits perfectly into any Northern Soul or 

vintage DJ set. On the flip side, “Progress” leans into a more groove-

driven arrangement with subtle funk influences.

credits:

Uncredited studio session musicians

Local band members performing under a group name

Possible use of a house band from the recording studio or label

An earlier pressing exists under Pee Vee Records (Pee Vee 100)

Likely 1963 original issue

Small Philadelphia-area label release

Extremely limited distribution

tracklist:

A Ain't That Bad

Vocals – Winfield

Written-By – Villa*, Taylor 

B Progress

Written-By – Villa*, Witherspoon 

link

 

 

 

Johnny Otis Quintette, The Robins And Little Esther Double Crossing Blues / The Beale St. Gang Back Alley Blues

 

Double Crossing Blues – Johnny Otis, Little Esther & The Robins

Savoy Records 1950 – 45-731 A side

notes:

“Double Crossing Blues” is a landmark R&B track recorded by 

Johnny Otis, featuring vocals by Little Esther and The Robins.

"Double Crossing Blues" is a 1950 song by Johnny Otis Quintette, 

the Robins, and Little Esther. It was released as a 78-rpm single (731-A)

 by Savoy Records in 1950. The single went to number one on

 the US Billboard R&B chart

credits:

    Bass  – Mario Delagarde (pistes : A)

    Drums – Leard Bell (pistes : A)

    Guitar  – Pete Lewis* (pistes : A)

    Piano – Devonia Williams (pistes : A)

    Vibraphone – Johnny Otis (pistes : A)

tracklist:

A Johnny Otis Quintette With The Robins And Little Esther– Double Crossing Blues

Written-By – Johnny Otis

Back Alley Blues – The Beale St. Gang Review

Savoy Records 1950– 45-731 B side

notes:

The Beale St. Gang

Profile:

Studio Band led by Milt Buckner for Savoy Records under

disguise (contractual reasons, recording ban, etc.)

Aliases:

Beale St. Boys

tracklist:

B The Beale St. Gang– Back Alley Blues

Piano [Uncredited], Leader [Uncredited] – Milt Buckner

Written-By – A. M. Brunner

link

The C.O.D.'s – I'm A Good Guy / Pretty Baby

 

The C.O.D.'s – I'm A Good Guy / Pretty Baby (Rare Soul Vinyl Review & History)

Kellmac Records 1965 ‎– 1005

notes:

The rare soul single I'm A Good Guy / Pretty Baby by 

The C.O.D.'s is a hidden gem among collectors of 1960s

 Chicago soul. Known for its smooth harmonies and 

emotional delivery, this 45 rpm vinyl has become a 

favorite in Northern Soul circles and among rare record enthusiasts.

Crédits

    Backing Band – Paul Bascomb And Orch.*

    Producer – Cody*, Singleton*

    Written-By – Larry Brownlee, The C.O.D.'s

 Tracklist

A I'm A Good Guy 2:45

B Pretty Baby 2:47

link

Lee "Shot" Williams – You're Welcome To The Club

 

Lee "Shot" Williams – You're Welcome To The Club / Hold Me, Hold Me, Hold Me (Rare Soul Gospel Classic)

Federal Records 1964‎– 45-12522

notes:

If you’re a fan of classic gospel soul and vintage vinyl, this 

powerful release from Lee "Shot" Williams is a must-hear.

Best known for his work with The Spiritual QC's, Lee “Shot” Williams 

delivers raw emotion and deep spiritual intensity in both tracks.

 You're Welcome To The Club

This song blends traditional gospel themes with Southern soul 

energy, creating a heartfelt invitation into faith and community.

 The gritty vocals and expressive delivery make it stand out

 among classic gospel recordings.

credits:

Lee "Shot" Williams vocal

Often backed by The Spiritual QC's

Written-By – S. Thompson

Based on how recordings by Lee "Shot" Williams were typically made:

Backing band was likely:

Touring members of The Spiritual QC’s

Local studio/session musicians (often uncredited)

Typical instrumentation included:

Hammond organ

Electric guitar (Southern soul style)

Bass guitar

Live drums

Background vocalists (church-style harmonies)

tracklist:

A You're Welcome To The Club 2:59

B Hold Me, Hold Me, Hold Me 2:40

link

The Impressions (1963 Album)

The Impressions (1963 Album) – Tracklist, History & Curtis Mayfield’s Soul Classic

ABC-Paramount Records 1963 ‎– ABC-450

notes:

The group was founded as The Roosters by Chattanooga, Tennessee natives

 Sam Gooden,Richard Brooks, and Arthur Brooks, who moved to Chicago 

and added Jerry Butler and Curtis Mayfield to their line-up to become

 Jerry Butler & the Impressions. By 1962, Butler and the Brookses had departed,

 and after switching to ABC-Paramount Records, Mayfield, Gooden, and new 

Impression Fred Cash collectively became a top-selling soul act. 

The original pressing of the album did not include "It's Alright" 

and instead included "Can't You See" as track 6.

credits:

    Curtis Mayfield - tenor vocals, guitar

    Fred Cash - tenor vocals

    Sam Gooden - baritone and bass vocals

    Arthur Brooks - tenor vocals

    Richard Brooks - tenor vocals

Recorded July 1961–March 1962

Producer Curtis Mayfield, Rory Glover, Jr.

Written-By – Curtis Mayfield (tracks: A1 to A5, B1, B3 to B6)

tracks list:

A1 It's All Right 2:48

A2 Gypsy Woman 2:20

A3 Grow Closer Together 2:12

A4 Little Young Lover 2:14

A5 You've Come Home 2:45 Impressions, The ‎– The Impressions

A6 Never Let Me Go

Written-By – Joe Scott*2:30

B1 Minstrel And Queen 2:22

B2 I Need Your Love

Written-By – Richard Brooks 2:25

B3 I'm The One Who Loves You 2:28

B4 Sad, Sad Girl And Boy 2:40

B5 As Long As You Love Me 2:27

B6 Twist And Limbo 2:29

link

 

Etta James – Call My Name 1966

 

Etta James – Call My Name LP (Cadet Records): Soul Classic Vinyl Review

Cadet Records 1966 ‎– LP 4055

notes:

Released in 1967, Call My Name captures Etta James at 

a turning point in her career, blending deep soul, gospel 

influences, and emotional storytelling. This album stands 

as a powerful example of late-60s rhythm and blues evolution.

Released January 27, 1967

Recorded December 1966

Studio Ter Mar Studios, Chicago

credits:

Producer Monk Higgins & Ralph Bass

Engineer – Doug Brand

While exact session credits for every track may vary or 

be partially undocumented, recordings from this period 

at Cadet/Chess studios commonly featured:

 Piano and Hammond organ players from Chicago’s soul scene

 Electric guitar session musicians specializing in blues-R&B fusion

 String orchestras arranged for emotional depth

Horn sections (trumpet, saxophone, trombone)

 Professional rhythm section drummers and bassists from studio pools

These musicians were not always credited individually, 

but they were essential to shaping the rich soul sound of the album.

tracklist:

A1 Happiness 2:48

written by Smith, Dollison

A2 That's All I Want From You 2:45

written by Rotha

A3 Have A Little Faith In Me 2:40

written by Higgins, Wrencher

A4 I'm So Glad (I Found Love In You) 3:12

written by Smith, Dollison

A5 You Are My Sunshine 2:37

written by Davis, Mitchell

A6 It Must Be Your Love 2:52

written by Bernard, Higgins, Dollison, Foster

B1 842-3089 (Call My Name) 2:57

written by Higgins, Dollison, Foster

B2 Don't Pick Me For Your Fool 2:31

written by Higgins, Dollison, Foster

B3 I Prefer You 2:50

written by Higgins, Dollison

B4 Nobody Loves Me 2:45

written by Higgins, Wrencher

B5 It's All Right 2:37

written by C. Mayfield

B6 Nobody Likes You 2:53

written by Higgins, Dollison

link