Richard "Groove" Holmes – Book Of The Blues Vol. 1 (1964) | Vinyl Review

 

 

 

 

 Vintage Jazz Vinyl: Richard "Groove" Holmes Book Of The Blues Vol. 1 (Warner Bros. 1553)

 

 

 

Warner Bros. Records 1964 – LP 1553

 

 notes:

Richard “Groove” Holmes – Book Of The Blues Vol. 1

Few Hammond organ players captured the spirit of soul jazz

 quite like Richard Holmes.
 Released on Warner Bros. Records, Book Of The Blues Vol. 1 

stands as a rich combination 
of blues feeling, swinging jazz rhythms, and deep late-night grooves.

This classic LP showcases Holmes’ unmistakable Hammond B-3 

organ sound, blending 
blues roots with sophisticated jazz improvisation. The album delivers warm tones, 
relaxed tempos, and soulful melodies that helped define the golden era 

of soul jazz during the 1960s.

Supported by an excellent rhythm section, Holmes creates an 

atmosphere filled with smoky 
club energy and emotional expression. Each track flows naturally,

balancing blues intensity 
with jazz elegance. Fans of groove jazz, blues organ, 

and vintage vinyl recordings will 
appreciate the timeless character of this Warner Bros. release.

Book Of The Blues Vol. 1 remains an essential album for collectors 

of classic jazz vinyl and 
listeners discovering the magic of Hammond organ music for the first time. 

Richard “Groove” Holmes 
continues to influence generations of jazz keyboard players with 

his unmistakable style and soulful phrasing.

Whether you are a dedicated soul jazz collector or simply exploring 

classic American jazz albums,
 this LP deserves a place in every serious vinyl collection.

credits:

    Richard “Groove” Holmes — Hammond B-3 organ
    Uncredited studio big band/orchestra
   Arranged and conducted by Onzy Matthews
    Engineer – James Lockert, Lee Hirshberg
    Producer – Ben-Ven Productions
    Recorded By – Nick Venet

tracklist:

A1        See See Rider
Songwriter – M. Rainey*
A2        Organ Grinder
Songwriter – C. Williams*
A3        I'd Rather Drink Muddy Water
Songwriter – E. Miller*
A4        Mean Old Frisco Blues
Songwriter – A. Crudup*
A5        I'm Gonna Move On The Outskirt Of Town
Songwriter – Razaf*, Weldon*
B1        Your Red Wagon
Songwriter – Raye*, DePaul*, Jones*
B2        How Long, How Long Blues
Songwriter – L. Carr*
B3        In The Dark
Songwriter – L. Green*
B4        Roll 'Em Pete
Songwriter – Turner*, Johson*

 

 

 

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Alvin Cash & The Registers: Twine Time

 

 

 

 

Rare Chicago Soul Records: Alvin Cash's Twine Time on Mar-v-lus MLP 1827 

 

 

 

Mar-v-lus Records 1965– MLP 1827

 

 

 notes:

The Beat of Chicago: Alvin Cash and The Registers' "Twine Time"

If you want to understand the raw, rhythmic pulse of mid-60s Chicago soul,
 you have to start with Alvin Cash and The Registers. Their seminal album, 
Twine Time, released on the legendary Mar-v-lus Records (MLP 1827), 
isn't just a collection of songs—it’s a historical document of the "Twine" 
dance craze that swept through the Windy City and beyond.

Alvin Cash, a born entertainer from St. Louis who made Chicago his home,
 possessed an uncanny ability to command a groove. Unlike the polished 
harmonies of Motown, Twine Time offers a grittier, more spontaneous feel. 
The title track, an infectious instrumental punctuated by Cash's rhythmic shouts,
 peaked at #4 on the Billboard R&B charts and remains a staple for Northern Soul 
enthusiasts and vintage funk collectors today.

Album Detail: The Mar-v-lus MLP 1827 pressing is highly sought after by collectors 
for its authentic mono punch and the vibrant, period-specific cover art
 that captures the high-energy aesthetic of 1965.

Beyond the hit title track, the album serves as a masterclass in the "One-Derful!" 
family of labels' production style—driving basslines, sharp horns, and that unmistakable 
Chicago shuffle. Whether you are a vinyl crate-digger or a casual soul fan, 
Alvin Cash’s work represents a pivotal bridge between early R&B and the birth of funk.

 credits:

The album was recorded for Mar-v-lus Records, a subsidiary of 
Chicago’s One-der-ful! Records empire run by George and Ernie Leaner.  
  Producers: Andre Williams, Harold Burrage, Monk Higgins 

(credited as M. Higgins), and Otis Hayes.  
 Key Arranger: Monk Higgins.

Musicians & Line-up

The credits on the original 1965 release can be slightly confusing due
to the group names "The Registers" and "The Crawlers."
Vocals/Performance: Alvin Cash (born Alvin Welch).  
The Crawlers: This group consisted of Alvin’s brothers (Robert, Arthur, and George). 
While they were his primary dance and touring group, 

they did not actually play the instruments on the recording.  
The Instrumentalists: The backing band on the hit title track and much of the album 
was actually a group from Louisville, Kentucky, called 

The Nightliters (who later became New Birth).  
The Registers was a stage name used for the studio musicians and touring band to
 maintain a consistent brand for the "Twine" dance craze.
Recording Date & Studio
Recording Date: The title track "Twine Time" 

was recorded in late 1964 (around November). 
The full LP followed in 1965 to capitalize on the single's massive success.
Studio: The sessions took place at the 

One-der-ful! Studios located at 1827 South Michigan 
Avenue (the "Record Row" of Chicago).

tracklist:

A1 Shake A Tail Feather    2:27
written by     A.Williams,O. Hayes,V. Rice
A2 Twine Awhile    1:42
written by     A.Williams    
A3 Hawk Eye    2:38
written by M. Higgins, H. Burrage    
A4 Bump    2:22
Written by A. Cash, V. Rice    
A5 Twine Time    2:23    
written by     A.Williams, W. Rice
A6 Fool That I Am    2:25    
written by M. Higgins, H. Burrage
B1 Barracuda    2:19    
written by B. Williams
B2 You Shot Me Thru The Grease    2:55
written by O. Hayes, M. Higgins,    
B3 In Need Of Love    2:40
written by M. Higgins, H. Burrage    
B4 Burn Just A Hair    2:30    
written by M. Higgins
B5 Shake    2:30    
written by S. Cooke
B6    Do It One More Time
written by M. Higgins

 

 

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The Neville Brothers – Neville-ization LP Review Live At Tipitina’s New Orleans

 

 

 

 

Black Top Records 1982 ‎– BT 1031

  

 Neville-ization (1984) is an iconic live album by The Neville Brothers, 
capturing the essence of New Orleans funk at Tipitina's. This record 
marks a soul-funk turning point with standout tracks like 'Fever' and 'Africa'.

 

 notes:

The Neville Brothers were an American R&B/soul/funk
 group, formed in 1976 in New Orleans, Louisiana.
Few live albums capture the spirit of New Orleans music as powerfully 
as Neville-ization. Recorded at the legendary Tipitina's, this electrifying 
performance showcases the deep musical chemistry of 
The Neville Brothers at their absolute peak.
Released on Black Top Records as BT 1031, the album blends funk, soul, 
gospel, rhythm & blues, and Mardi Gras Indian influences into a vibrant live 
experience that reflects the heartbeat of New Orleans culture. From the 
spiritual vocals of Aaron Neville to the funky grooves driven by Art Neville, 
every track bursts with energy and authenticity.
The live atmosphere at Tipitina’s gives the record a raw and intimate sound.
 Audience interaction, extended grooves, and emotional performances transform
 the album into more than a concert recording — it becomes a celebration of 
Louisiana musical heritage. Songs flow effortlessly between soulful ballads and 
explosive funk jams, proving why the Neville Brothers remain one of the most
 influential groups in American roots music. 

Crédits:

The performing line-up on the album was:

Art Neville — keyboards, vocals
Aaron Neville — vocals, percussion
Charles Neville — saxophone, percussion
Cyril Neville — congas, percussion, vocals
Ivan Neville — keyboards, vocals
Darryl Johnson — bass, vocals
Willie Green — drums
Brian Stolz — guitar

Recorded live at Tipitina's
Recording date: September 24, 1982
by Glenn Himmaugh, Pace Recording Service, New Orleans
Producer – Art Neville, Hammond Scott, W. Barry Wilson
Producer [Associate] – Nauman S. Scott

tracklist:

A1 Fever 5:11
Written-By – Cooley*, Davenport
A2 Woman's Gotta Have It 4:17
Arranged By – J. Hicks*, J. Grisby*Written-By – B. Womack*
A3 Mojo Hannah 5:07
Written-By – Williams*, Paul
A4 Tell It Like It Is 4:03
Written-By – G. Davis*, Lee Diamond
A5 Why You Wanna Hurt My Heart 3:12
Written-By – Art Neville
B1 Fear, Hate, Envy, Jealousy 4:20
Written-By – Art Neville
B2 Caravan 4:16
Written-By – Duke Ellington
B3 Big Chief 5:17
Arranged By – Quezergue*Written-By – Gaines*
B4 Africa 5:16
Written-By – The Meters

 

 

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Jesse Butler – Memphis Soul LP Rare Soul Album Review

 

 

 

 

Philips records 1967 – PHS 600-245

 

 notes:

The album Memphis Soul by Jesse Butler is a fascinating example of classic 
Southern soul music released on the legendary Philips Records label. Issued 
under catalog number PHS 600-245, this rare vinyl LP captures the warm grooves, 
emotional vocals, and deep rhythm section that defined the Memphis soul
 sound during the golden era of soul music.
Inspired by the vibrant music scene of Memphis, Jesse Butler delivers passionate
 performances filled with gospel influence, blues feeling, and authentic soul 
arrangements. The album combines tight horn sections, smooth backing vocals,
 and expressive melodies that appeal to collectors of 

vintage rhythm and blues records.
For soul vinyl enthusiasts, Memphis Soul remains an

 interesting collector’s item thanks
to its rarity and its connection to the classic Southern recording tradition. The LP 
reflects the raw and emotional atmosphere that made Memphis one of the most
 important musical cities in America.
Whether you are a fan of obscure soul records, vintage Philips releases, or deep 
Southern grooves, this Jesse Butler LP deserves attention from collectors and music
 historians alike. Its timeless production and heartfelt performances continue to 
attract crate diggers and soul music lovers around the world.

credits:

No complete authenticated personnel listing has surfaced in the available public 
sources consulted. Jesse Butler is credited as the leader/keyboard player,

 but Philips session documentation for this LP is not readily available online.

producer:
Boo Frazier, Roy Dea

tracklist:

A1    Memphis After Hours
written by G.Miller, A.Love         
A2    Last Night    
written by The Markeys     
A3    My Baby Loves Me
written by Hunter,May,Stevenson         
A4    Memphis
written by C.Berry         
A5    Drown in My Own Tears
Written by H.Glover         
B1    Green Onions
written by Cropper,Jones,Jackson,Jr         
B2    Tuff
written by A.Cannon         
B3    Messy Jesse    
written by F.Ford,J.Butler     
B4    Mercy, Mercy, Mercy
written by J.Zawinul         
B5    St. James Infirmary
Written By J.Primerose         
B6    Hey Brother
written by F.Ford

 

 

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Googie Rene Combo – Flapjacks (Class Records LP-200) Rare Jazz & R&B Album

 

 

 

Class records 1963– LP-200

 

 

 Notes:

The Googie Rene Combo delivered a vibrant mix of instrumental rhythm & blues 
and West Coast jazz on the album Flapjacks, released on Class Records as LP-200.
 Known for energetic saxophone-driven arrangements and dancefloor-friendly 
grooves, the record captures the spirit of the thriving 

Los Angeles R&B scene of the 1950s.
Led by saxophonist and arranger Googie Rene, the album combines jump blues 
rhythms, smooth jazz phrasing, and early rock ’n’ roll influences. Tracks on Flapjacks 
showcase tight ensemble playing, punchy horn sections, and relaxed late-night club 
atmospheres typical of the golden era of independent West Coast labels.
Class Records played an important role in promoting rhythm & blues artists during 
the post-war period, and Flapjacks remains a collectible LP appreciated by vintage 
jazz and R&B enthusiasts. The album reflects the transition between big band swing
 traditions and the emerging modern R&B sound that would influence later soul and rock recordings.
Collectors value original pressings of Flapjacks for their warm analog sound, s
tylish cover art, and historical importance within the evolution of instrumental R&B music.
The Combo also released three LPs: Beautiful Weekend (1957); 
Romesville (1959), inspired by Italian movies of the period;
 and Flapjacks (1963)

credits:

Precise session credits for the LP have never been fully documented publicly,
 but the Googie René Combo recordings from this period regularly featured 
leading Los Angeles session musicians, including:
Googie René – piano, organ, leader
Johnny Guitar Watson – guitar
René Hall – guitar, arrangements
Howard Roberts – guitar
Jimmy Nolen – guitar
Plas Johnson – tenor saxophone
Clifford Scott – saxophone
Red Callender – bass
Earl Palmer – drums
These musicians are documented as core contributors to Googie René 
Combo sessions during the Class/Rendezvous years, including the Flapjacks era.
Producer: very likely Googie René himself, working under the supervision of 
his father Leon René for Class Records.
recordings were made in Los Angeles, California
sessions likely occurred between 1962 and early 1963

tracklist:

A1        Flapjacks, Part I
Written By : C. Scott , J. Vikki 
A2        Country Walk
Written By : A. Wright , J. Thomas  , C. Scott , J. Vikki 
A3        Bossa Baby
Written By : J. Vikki 
A4        Walk Right In
Written By : E. Darling , W.Svanoe
A5        Soul Zone
Written By : J. Vikki 
A6        Tambo Shake
Written By : J. Vikki , J. Thomas 
B1        Flapjacks, Part II
Written By : C. Scott , J. Vikki 
B2        You've Really Got A Hold On Me
Written By : Wm  Robinson
B3        Surf Ride
Written By : J.Vikki 
B4        Good Luck Charm
Written By : A.Schroeder , W. Gold
B5        Jazzberry Jam
Written By : J. Vikki , C. Scott

 

 

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Elmore James – Blues After Hours (1953) Review | Chicago Blues Classic

Crown Records  1960 ‎– CLP 5168

notes:

Elmore James remains one of the most influential electric blues guitarists
 in history, known for his raw slide guitar style and emotional intensity. 
Blues After Hours captures the essence of early Chicago blues and the deep 
Southern blues tradition that shaped modern rock and blues.
Released under Crown Records as CLP 5168, this vinyl LP is a sought-after 
collector’s item among blues enthusiasts and record collectors.
This album reflects Elmore James’ signature sound:
Powerful slide guitar riffs
Deep emotional vocal delivery
Traditional blues structure with raw energy
It is a key release for anyone exploring the roots of electric blues

  credits:

 The Broom Dusters, The Maxwell Davis Orchestra,
    Piano – Little Johnny Jones
    Slide Guitar – Elmore James
    Vocals – Elmore James

    Baritone Saxophone – Jewell Grant (tracks: A2, A3, A5, B1, B2)
    Bass – Frank Fields (tracks: A1, B3, B4, B5), 

Ralph Hamilton (2) (tracks: A2, A3, A5, B1, B2), Ransom Knowling (tracks: A4)
    Design [Cover] – Hobco Arts
    Drums – Earl Palmer (tracks: A1, B3, B4, B5), 

Jessie Sailes (tracks: A2, A3, A5, B1, B2), Odie Payne (tracks: A4)
    Featuring – The Broomdusters*
    Piano – Edward Frank (tracks: A1, B3, B4, B5),

 Little Johnny Jones (tracks: A4), Willard McDaniel (tracks: A2, A3, A5, B1, B2)
    Slide Guitar, Vocals – Elmore James (tracks: all)
    Tenor Saxophone – Boyd Atkins (tracks: A4), J.T. Brown (tracks: A4)
    Tenor Saxophone, Arranged By – Maxwell Davis (tracks: A2, A3, A5, B1, B2)


This is the original issue on black Crown label, silver print.
A2, A3, A5, B1, B2 recorded at CULVER CITY MODERN studios, late summer 1954.
A1, B3, B4, B5 recorded at COSIMO MATASSA studios, NEW ORLEANS, 1955
A4 recorded IN CHICAGO, april1, 1953

tracklist:

A1     Dust My Blues 3:11
A2     Sunnyland 3:19
A3     Mean And Evil 2:16
A4     Dark And Dreary     2:48
A5     Standing At The Crossroads 2:47
B1     Happy Home 2:46
B2     No Love In My Heart     2:24
B3     Blues Before Sunrise     2:45
B4     I Was A Fool     2:51
B5     Goodbye Baby     2:59

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Elmore James ‎– To Know A Man (1969)

Elmore James – To Know A Man (1969) 

Blue Horizon records 1969  ‎– 7-66230

 2 × Vinyl, LP, Compilation

 

 notes:

A Deep Blues Document from Elmore James
To Know A Man is a striking blues LP attributed to legendary slide 
guitarist Elmore James, released on the historic UK label Blue Horizon Records 
(catalog number 7-66230). This record stands as part of the enduring legacy
 of electric blues, where raw emotion, slide guitar power, and soulful expression define every groove.
For collectors and blues enthusiasts, this release represents both a historical
 artifact and a deep dive into the sound that shaped modern rock and blues guitar traditions.
This LP captures the essence of Elmore James’ unmistakable style: explosive slide
 guitar phrasing, gritty vocal delivery, and a deeply emotional blues structure
 rooted in the Mississippi tradition.
While many Blue Horizon releases helped revive interest in classic blues during
 the UK blues boom, this particular pressing has become a sought-after item among vinyl collectors.

Crédits

This album is  a  studio album session, but a posthumous compilation 
of Elmore James’ final recordings and alternate takes, mainly from his
 late studio work (1960–1963) before his death in 1963.
Main recording period
1951–1963 (with focus on late 1950s–1963 final sessions)
Especially tracks from his Fire Records / Bobby Robinson period (1959–1963)
 Key recording locations (historical sessions)
Chicago, Illinois (main late-career studio base)
New York (Fire Records sessions)
Various small R&B/blues studios used by Fire/Chief/Meteor affiliates
Because To Know a Man is a compilation, personnel varies by track, 
but the core Elmore James sound units include:
 Elmore James
Slide guitar, vocals
Leader of all sessions
 Key backing musicians (Broomdusters & Fire sessions era)
J.T. Brown – tenor saxophone (early & Fire-era recordings)
Johnny Jones – piano (frequent late-session pianist)
Homesick James – guitar (occasionally)
Odie Payne – drums (Chicago blues session drummer)
Frank Kirkland – drums (some Fire sessions)
Eddie Taylor / Sammy Lee Bully / other Chicago session players (varies by date
Compiled and produced by Blue Horizon Records (UK)
Compilation supervised with liner notes by blues historians
Sleeve notes commonly credited to Mike Leadbitter (Blues Unlimited)

   

 Coordinator – Mike Vernon, Richard Vernon 
    Producer – Bobby Robinson

 Tracklist

    To Know A Man Volume 1
    Hand In Hand / I Have A Right To Love My Baby / Hand In Hand     (7:45)
A1.1     Tape Announcement     
A1.2     Hand In Hand - Take 1 3:10
Written-By – E. James*
A1.3     Tape Announcement And Band Tuning     0:25
A1.4     I Have A Right To Love My Baby 2:45
Written-By – E. James*
A1.5     Hand In Hand - Take 2 (Last Verse) 1:25
Written-By – E. James*
Hand In Hand - Take 3     (3:15)
A2.1     Tape Announcement     
A2.2     Hand In Hand - Take 3
Written-By – E. James
A3     Hand In Hand - Take 4  3:04
Written-By – E. James
A4     Everyday I Have The Blues 3:26
Written-By – P. Chatman*
Dust My Broom     (3:48)
B1.1     Tape Announcement And Speech     0:50
B1.2     Dust My Broom 2:58
Written-By – E. James*
It Hurts Me Too     (3:24)
B2.1     Tape Announcement     
B2.2     It Hurts Me Too - Take 1
Written-By – M. London*
Talk To Me Baby / Can't Stop Loving My Baby     (5:30)
B3.1     Tape Announcement     
B3.2     [False Start] Talk To Me Baby - Take 1 3:00
Written-By – E. James*
B3.3     Tape Announcement     
B3.4     Can't Stop Loving My Baby 2:30
Written-By – E. James*
Got To Move     (4:06)
B4.1     Tape Announcement     
B4.2     Got To Move
Written-By – J. Williamson*
Manhattan Slide     (3:36)
B5.1     Tape Announcement     
B5.2     Manhattan Slide
Written-By – E. James

To Know A Man Volume 2
Twelve Year Old Boy     (4:15)
C1.1     Speech And Tape Announcement     0:45
C1.2     Twelve Year Old Boy 3:30
Written-By – M. London*
Elmore Jumps One     (4:10)
C2.1     Tape Announcement     
C2.2     Elmore Jumps One - 1st False Start     0:25
C2.3     Elmore Jumps One - 2nd False Start     0:30
C2.4     Elmore Jumps One - Take 1 3:15
Written-By – E. James*
I Believe / I Gotta Go Now     (7:55)
C3.1     I Believe - Take 1  3:40
Written-By – E. James*
C3.2     Speech And Announcement     0:35
C3.3     I Gotta Go Now 3:40
 Written-By – E. James*
Back In Mississippi     (3:40)
C4.1     Musicians In Discussion: Speech Only     
C4.2     Back In Mississippi     
Second Fiddle Man     (2:30)
D1.1     Unidentified Singer Possibly "Bushy Head"     
D1.2     Tape Announcement     
D1.3     Second Fiddle Man
Written-By – Bushy Head
Make My Dreams Come True     (3:37)
D2.1     Tape Announcement     
D2.2     Make My Dreams Come True - False Start     0:35
D2.3     Make My Dreams Come True - Take 3 3:02
Written-By – E. James*
Mean Mistreatin' Mama     (4:30)
D3.1     Tape Announcement     
D3.2     Mean Mistreatin' Mama - Take 1 Incomplete     1:35
D3.3     Mean Mistreatin' Mama - Take 2 2:55
Written-By – E. James*
D4     Mean Mistreastin Mama - Take 3 2:50
Written-By – E. James*
Sunnyland     (2:25)
D5.1     Tape Announcement     
D5.2     Sunnyland - Take 1
Written-By – E. James*
Footrace To A Resting Place / Wrong Doing Woman     (5:35)
D6.1     Unidentified Singer Possibly "Bushy Head". Speech     
D6.2     Footrace To A Resting Place 3:05
Written-By – Bushy Head
D6.3     Tape Announcement     
D6.4     Wrong Doing Woman 2:30
Written-By – Bushy Head

 

  

 

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Lloyd Price And His Orchestra – (You've Got) Personality / Have You Ever Had The Blues

 

 

(You've Got) Personality / Have You Ever Had The Blues – Rare 1959 Lloyd Price ABC-Paramount 45 Review

 

 

 ABC-Paramount  1959 – 10018

notes:

Released in 1959 on ABC-Paramount Records, “(You've Got) Personality” became one 
of the biggest crossover hits for Lloyd Price. Backed by “Have You Ever Had The Blues,” 
this legendary 45 RPM single perfectly captures the transition from late 1950s 
rhythm and blues into early soul and rock’n’roll. Driven by Price’s charismatic vocals, 
punchy brass arrangements and infectious piano rhythms, the record remains 
a cornerstone of classic American R&B history.



credits:

The surviving personnel information for the hit side “Personality” includes:
Lloyd Price — vocals
Bill Jones — guitar
Ted Curson — trumpet
The Ray Charles Singers — backing vocals
Merritt “Mel” Dalton — lead saxophone (identified as lead sax player 
on Price’s major ABC hits of this period)
Additional session musicians were used but remain uncredited in most available sources
Recording period: early 1959 (exact session date not firmly documented 

in major discographies)
Studio: generally cited as New York sessions for ABC-Paramount, but the exact studio has not
 been conclusively identified in readily available sources.
Apr 1959


tracklist:

Written-By – Logan, Price


A    (You've Got) Personality 2:35
Arranged By – Don Costa

B    Have You Ever Had The Blues  2:05
Written-By – Jennings, Logan, Price

 

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This Is My Band – Lloyd Price

Lloyd Price – This Is My Band (Double-L Records DL-2301) | Rare Soul & R&B LP Review

Double-L Records  1963 – DL-2301

 

 notes:

Lloyd Price returned with This Is My Band, a powerful soul and R&B LP released
 on Double-L Records under catalog number DL-2301.
Known for blending New Orleans rhythm & blues with orchestral soul arrangements, 
Lloyd Price delivers a dynamic set featuring rich brass sections,
 tight grooves, and polished studio production.
This rare vinyl pressing remains sought after by collectors of classic soul, 
funk, and vintage R&B records from the late 1960s and early 1970s.

credits:

 James Booker Organ, Piano
Lloyd Price Primary Artist, Vocals
The complete personnel for the LP has never been fully documented
 in major discographies, but the following musicians and arrangers are confirmed:
Slide Hampton — arranged 7 of the 12 tracks
James Booker — featured on organ on 4 tracks; also composer of several instrumentals
Norman Thrasher — vocal appearance on one track
The remaining musicians were members of the Lloyd Price Orchestra  touring band,
 but individual names are not listed on surviving LP credits or standard databases.
Production
Producer: likely Lloyd Price himself through his Double-L label operation.
Several compositions credited to Lloyd Price and manager Harold Logan.
Recording date & studio
No authoritative source currently gives an exact recording date or studio location for 
This Is My Band. Collectors and discography discussions generally 
place the sessions around 1962–1963, probably in New York during

 the Double-L Records period.

tracklist:

A1        Trouble - Part One    2:30
written by L. Price, H. Logan
A2        Trouble - Part Two    2:45
written by L. Price, H. Logan
A3        Number Four    2:35
written by James C. Booker    
A4        Tommy Dorsey's Boogie Woogie    2:22
A5        Ooh-Pee-Day    2:41
written by James C. Booker    
A6        Soulful Waltz    2:46
written by James C. Booker    
B1        Pan Setta    2:41
written by James C. Booker    
B2        Cool Blue    2:54
written by L. Price, H. Logan
B3        Go Straight Ahead    2:35
written by L. Price, H. Logan
B4        No Limit    2:37
written by L. Price, H. Logan
B5        Brother Elijah    2:24
written by L. Price, H. Logan
B6        Sweetie    2:35
written by L. Price, H. Logan

 

 

link

 

 

Isaac Hayes – Hot Buttered Soul (Enterprise Records ENS 1001)

 

 

 

 

 

 

 

 

 

 

 

Enterprise Records 1969 – ENS 1001

 

 

 notes:

Released in 1969, Hot Buttered Soul transformed soul music forever 
and established Isaac Hayes as one of the most innovative artists of his
 generation. Issued on Enterprise Records with catalog number ENS 1001, 
this groundbreaking LP blended orchestral arrangements, deep grooves, 
spoken-word passages, and extended reinterpretations of contemporary
 songs into a completely new soul experience.
At a time when most soul albums focused on short radio-friendly tracks,
 Isaac Hayes expanded the format with long, cinematic performances full of
 emotion and atmosphere. The album became a defining release of 
the Memphis soul movement and helped shape the future of funk, 
R&B, and orchestral soul.

credits:

Line-up / Musicians
Isaac Hayes – vocals, Hammond organ, keyboards
With The Bar-Kays
Willie Hall – drums
James Alexander – bass
Michael Toles – guitar
Additional musicians
Marvell Thomas – keyboards, co-producer
Harold Beane – guitar solo on “Walk On By”


Recorded: March–May 1969

Ardent Studios – Memphis, Tennessee (basic tracks, rhythm section)
Tera Shirma Studios – Detroit, Michigan (mixing, vocals, additional production work)
Additional orchestral recording work took place at United Sound Systems.

Producers:

Al Bell
Marvell Thomas
Allen Jones
Engineers 
Terry Manning – recording engineer
Ed Wolfrum – engineering and mixing
Russ Terrana – remixing / final mix
Arrangements:
Johnny Allen – strings and horn arrangements

tracklist:

A1        Walk On By
Written-By – Burt Bacharach-Hal David*
    12:00
A2        Hyperbolicsyllabicsesquedalymistic
Written-By – A. Isbell*, I. Hayes*
    9:55
B1        One Woman
Written-By – Charles Chalmers
    5:00
B2        By The Time I Get To Phoenix
Written-By – Jim Webb*
    18:40

 

 

link 

 

 

 

Robert Parker – Everybody's Hip Huggin / Foxy Mama | Rare Nola Records 735

Robert Parker – Everybody's Hip Huggin / Foxy Mama | Rare Nola Records 735 Funk Soul 45

Nola Records1966 ‎– 735

notes:

Few records capture the raw groove and infectious rhythm of 
classic New Orleans funk quite like “Everybody's Hip Huggin / Foxy Mama” 
by Robert Parker. Released on Nola Records 735, this rare soul-funk 45
 delivers the deep rhythmic energy and street-level atmosphere that
 made Southern recordings from the era so memorable.
Best known for his saxophone-driven style and timeless rhythm & blues sound, 
Robert Parker helped shape the rich musical identity of New Orleans. 
On this single, the driving beat, tight horn arrangements, and gritty
 vocal delivery combine to create an irresistible dance-floor groove.
“Everybody's Hip Huggin” carries a contagious funk rhythm filled with 
classic brass textures and vintage soul energy, while “Foxy Mama” delivers 
a heavier groove rooted in deep Southern funk traditions. Together, 
both tracks reflect the authentic sound collectors 
continue to search for in rare vinyl releases.
For vinyl enthusiasts, rare groove DJs, and classic soul fans, 
Robert Parker’s “Everybody's Hip Huggin / Foxy Mama” remains 
a standout addition to any serious funk collection.

credits

rhythm-section musicians connected to Nola / Sansu sessions
Robert Parker himself was a saxophonist and vocalist.
The single was probably recorded in New Orleans in 
early-to-mid 1967 before its July 1967 release listing.
The exact studio is not definitively documented in the available
 sources, though many Nola / Quezergue productions 
of the period were cut at New Orleans studios such as:
Cosimo Recording Studio
or other local facilities used by Quezergue and Nola Records.
arranger
Wardell
producer
Whurley Burley

tracklist:

A     Everybody's Hip Huggin
Written-By – R. Parker*
B Foxy Mama
Written-By – Al Reed

link

 

 

 

 

 

 

The Soul Runners – Chittlin' Salad (MoSoul ‎– 5104)

 

The Soul Runners – Chittlin' Salad | Rare 1967 Funk Soul Classic on MoSoul 5104

MoSoul records 1967  ‎– 5104

notes:

Deep in the golden era of Southern soul and raw funk grooves, 

The Soul Runners delivered a memorable underground classic 

with “Chittlin’ Salad”, released on the respected MoSoul 5104 label. 

Packed with gritty rhythms, tight horn arrangements, and

authentic Southern energy, this rare single remains a favorite

 among collectors and crate diggers searching for hidden soul gems.

“Chittlin’ Salad” captures the essence of late 1960s and early 1970s 

soul-funk culture — a sound built on powerful grooves, dancefloor-ready 

percussion, and expressive vocals. The Soul Runners blended funk 

instrumentation with deep Southern soul influences, creating a track 

that still resonates with vintage music enthusiasts today.

The MoSoul label became known for releasing distinctive soul 

records that carried the raw emotional spirit of the American South. 

With “Chittlin’ Salad,” The Soul Runners added another timeless 

recording to the label’s legacy, helping preserve the 

rich tradition of independent soul music.

Credits

Arranged By – James Carmichael

Producer – Fred Smith 

Written-By – Smith, Carmichael

Bernard Blackman (guitar)

Ray

John Rayford (b.1943, tenor saxophone)

Melvin Dunlap (bass)

Al McKay (guitar)

and James Gadson (drums)

Charles Wright is a singer, pianist, guitarist, 

and leader of the eight-member band.

Recording studio

The most credible lead points to:

Nashville West Recording Studio in Los Angeles

tracklist:

A Chittlin' Salad 2:25

B Chittlin' Salad - Part II 2:00

link

Robert Parker – Tip Toe Soul Kind Of Loving (Nola Records 729)

Robert Parker – Tip Toe / Soul Kind Of Loving (Nola Records 729) Rare Soul Vinyl

Nola Records 1966 ‎– 729

notes:

Robert Parker delivers pure Southern soul energy on Tip Toe / 

Soul Kind Of Loving, released on Nola Records 729. This rare 

45 RPM single blends smooth rhythm and blues grooves with 

the emotional vocal style that made Parker a respected name 

among Northern Soul collectors and vintage vinyl enthusiasts. 

For fans of classic soul music and rare records, 

this release remains a standout addition to any collection.

credits:

Probable session musicians

No confirmed personnel listing for Nola 729 has surfaced publicly, 

but the record was almost certainly cut by the core Wardell 

Quezergue New Orleans session circle active in late 1966. 

The most likely contributors include:

Wardell Quezergue — arrangement / production

Smokey Johnson — drums (frequent Quezergue/Nola drummer)

George Davis — guitar

James Booker or Allen Toussaint — possible piano

members of the regular Quezergue horn section, potentially including:

Melvin Lastie

Nat Perrilliat

Red Tyler

Most researchers place Parker’s Nola sessions from 1966–67 at:

Cosimo Recording Studio (Cosimo Matassa’s studio)

Arranged By – Wardell Quezergue

Producer – Whurley Burley

tracklist:

A Tip Toe

Written By – R. Parker

B Soul Kind Of Loving

Written By – E. Frank / T. Val

link

Robert Parker ‎– Happy Feet - The Scratch (1966)

Robert Parker – Happy Feet / The Scratch (Nola Records 726) | Rare Funk Soul Vinyl

 

Nola Records 1966 ‎– 726

 notes:

Robert Parker delivered a raw slice of New Orleans rhythm and soul

 with Happy Feet / The Scratch, released on Nola Records as catalog 

number 726. This rare vintage 45 captures the energetic dancefloor 

spirit of classic Southern funk and R&B, blending infectious grooves, 

tight rhythm sections, and the unmistakable sound of Louisiana soul.

Collectors and DJs continue to seek out this single for its gritty production,

 upbeat tempo, and authentic 1960s New Orleans vibe. Whether you are 

into rare soul, funk breaks, or vintage vinyl collecting,

 Happy Feet / The Scratch 

remains a standout release from Robert Parker’s discography.

credits:

Studio

No confirmed studio credit has surfaced for this exact single.

However, most mid-1960s Nola Records sessions arranged by 

Quezergue were typically recorded in New Orleans studios associated with:

Cosimo Recording Studio (Cosimo Matassa’s studio)

or occasionally other local facilities used by Quezergue during the period.

Because no session sheet has been published for Nola 726, this remains 

an informed but unconfirmed attribution.

Session musicians

A complete lineup for “Happy Feet / The Scratch” has not been documented 

in reliable published sources. The recordings almost certainly used the regular

 New Orleans studio players working around Quezergue and Nola 

Records in 1965–66, but exact personnel are undocumented.

Likely contributors from the Quezergue/New Orleans session orbit during 

that period included musicians associated with:

James Black

Smokey Johnson

Melvin Lastie

Alvin Tyler

Arranged By – Wardell Quezergue

    Producer – Whurley Burley

    Written-By – Robert Parker

tracklist:

A Happy Feet 2:13

B The Scratch 2:35

link