Frank Beverly & The Butlers ‎– Love (Your Pain Goes Deep) 1967

 

Frank Beverly & The Butlers –  Love (Your Pain Goes Deep) / If That’s What You Wanted  Rare Soul Vinyl Review & History

Sassy records 1967  ‎– S 1002

notes:

Frank Beverly and The Butlers, Frankie Beverly early recordings, 

rare soul vinyl, 70s soul single, deep soul records, If That’s What 

You Wanted, Love Your Pain Goes Deep, soul 45 RPM, collectors vinyl, 

vintage soul music, Philadelphia soul, lost soul records

Before becoming the legendary frontman of Maze, Frankie Beverly 

recorded earlier material with Frank Beverly & The Butlers.

 One of the most sought-after releases from t

his era is the emotionally rich single:

“If That’s What You Wanted”

“Love (Your Pain Goes Deep)”

This release captures Beverly’s raw vocal identity before

his mainstream breakthrough.

This rare 45 RPM showcases early soul craftsmanship rooted 

in emotional storytelling, minimal production, and deeply expressive vocals.

Side B:

“If That’s What You Wanted”

A smooth yet painful reflection on love and compromise, 

driven by classic 60s/70s soul arrangements.

Side A:

“Love (Your Pain Goes Deep)”

A heavier emotional cut, highlighting heartbreak

 themes and gospel-influenced vocal phrasing.

Crédits:

Frank Beverly (lead vocals, songwriter)

later known as Frankie Beverly

The Butlers (vocal group / backing ensemble)

The Butlers were the early doo-wop/soul group Beverly formed in

Philadelphia before evolving into Maze years later.

Bobby Martin 'key figure in early Philadelphia soul orchestration)

Arranged By – Joe Renzetti (guitarist/arranger linked to 60s East Coast soul & pop sessions)

Producer – Billy Jackson

important: No officially released “full session musician list” survives for this recording.

However, based on the Gamble-era production context and arranger credits, 

the recording is widely understood to feature uncredited Philadelphia / 

East Coast studio musicians, commonly associated with early soul sessions of the period.

Typical personnel used in similar sessions included:

Studio rhythm section (drums, bass, guitar, piano)

Brass section (trumpet, trombone, saxophones)

Possibly string overdubs (depending on arrangement)

These players were part of the early professional soul recording ecosystem

 that later evolved into the Philadelphia International sound.

Recorded in the mid-to-late 1960s (circa 1965–1967 era sessions)

Early phase of Frankie Beverly’s career before relocating and forming Maze

Associated with the Gamble/Philadelphia soul production network 

(indirectly through arrangers and distribution)

Later reissued on labels like Sassy and others in various pressings

tracklist:

A Love (Your Pain Goes Deep)  2:30

Written-By – Billy Jackson 

B If That's What You Wanted    2:32

  Written-By – Frank Beverly

link

Lil Bob And The Lollipops – Life Can Be Lonely - Song For My Father

 

Lil Bob And The Lollipops – Life Can Be Lonely / Song For My Father (Rare Soul 45 Review & History)

La Louisianne Records 1966 ‎– LL-8078

notes:

Lil Bob And The Lollipops – “Life Can Be Lonely / Song For My Father” 

is a rare and emotionally charged soul 45 that continues to attract 

attention from Northern Soul DJs and vinyl collectors. With its deep,

 expressive vocal delivery and limited pressing history, this single 

stands as a hidden gem in underground soul music culture.

credits:

Lil Bob (Camille Bob)

Lead vocals on both sides

Also active as drummer and bandleader

Known for “singing drummer” style common in Louisiana dance bands

Performance style rooted in gospel-inflected Southern sou

As with most La Louisianne mid-60s recordings, official session 

logs were not consistently published. Based on label practices 

and recurring musicians in adjacent sessions, 

the backing band is typically reconstructed as:

 Horn Section (probable)

Local Lafayette / Lake Charles horn players

Trumpet + tenor sax frontline typical of La Louisianne productions

Arranged in a dance-band soul style (not big studio orchestration)

 Guitar

Likely Guitar Gable (or associated Louisiana session guitarist circle) 

on rhythm guitar in this era

(Gable was known to collaborate with Lil Bob during this period

 and later performances)

Keyboards (possible)

Regional session pianist from La Louisianne house band pool

Minimalist blues-soul comping style 

(left-hand bass patterns common)

Acoustic/electric local rhythm section player

Tight “swamp groove” bassline typical of Lafayette sessions

Either:

Lil Bob himself (on some sessions), OR

rotating studio drummer from La Louisianne house sessions

Production & Engineering

Producer: Likely Jay Miller 

(La Louisianne in-house production system influence)

Studio: La Louisianne recording facilities

(South Louisiana independent setup)

tracklist:

A Life Can Be Lonely

Written-By – Camille Bob 2:00

B Song For My Father

Written-By – Horace Silver 2:50

link

Martini's – Hung Over - Late late Party

 

Martini’s – Hung Over (Late Late Party)   Single Review

Bar Records 1967 – 101

notes:

Martini’s is back with a fresh party anthem, “Hung Over – Late Late Party,” 

a track that perfectly captures the chaos and energy of late-night celebrations.

 If you're into high-energy vibes and post-party moods, 

this single is worth adding to your playlist.

 Track Overview

“Hung Over – Late Late Party” blends catchy hooks with a vibrant beat,

 creating the perfect soundtrack for after-hours fun. Martini’s leans into

 a sound that feels both modern and addictive, making it ideal for clubs, 

road trips, and late-night sessions.

 Vibe & Style

The song delivers a mix of upbeat rhythms and relatable lyrics about 

nightlife, hangovers, and unforgettable nights. It sits comfortably 

among trending party tracks in 2026.

“‘Hung Over / Late Late Party’ by Martini’s was recorded in Memphis 

during the mid-1960s using top-tier session musicians linked to Stax

 and Hi Records. Led by saxophonist Charles ‘Packy’ Axton, the track 

likely features members of the Hodges family and other legendary 

studio players, blending organ, guitar, and sax into a 

smoky late-night instrumental groove.”

Final Thoughts

Whether you're recovering from a wild night or getting ready for one, 

Martini’s “Hung Over – Late Late Party” hits the right note. 

It’s energetic, catchy, and built for replay.

credits:

Charles “Packy” Axton

Tenor sax player

Bandleader behind many of these recordings

Linked to Stax and The Mar-Key

Likely Memphis session players involved:

Mabon “Teenie” Hodges – guitar (signature Hi Records style)

Leroy Hodges – bass groove foundation

Possible additional Stax/Hi session musicians:

Steve Cropper – rhythm guitar influence

Booker T. Jones – organ-style sound (or similar player)

These musicians are confirmed collaborators in Axton-related 

sessions of the same era.

Recording Details

 Location: Memphis, Tennessee

Recorded in Royal / Ardent studios

Producer – Keyton Production

Written By – A. Mitchell (tracks: A)

Written-By – C. Axton*, J. Keyes*, L. Hodges*, M. Hodges

tracklist:

A    Martini's    Hung Over   
     J. Keyes, C. Axton, A. Mitchell, M. Hodges, L. Hodges
    Keyton Productions   

B    Martini's    Late Late Party   
    J. Keyes, C. Axton, A. Mitchell, M. Hodges, L. Hodges   
    Keyton Productions    

 

 link

 

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

Etta James – At Last! 1960

 

Etta James – At Last! Album Review, Songs, Meaning & Legacy

Argo Records ‎1961 – LPS 4003

notes:

At Last! is the debut studio album by American blues 

and soul artist Etta James. Released on Argo Records

 in November 1960, the album was

 produced by Phil and Leonard Chess

Released in 1960, At Last! is one of the most 

influential soul and blues albums ever recorded. Performed 

by legendary artist Etta James, the album blends R&B, jazz, 

blues, and soul into a timeless masterpiece.

The album is best known for its iconic title track “At Last”, 

which has become a cultural symbol of romance and emotional depth.

credits:

    Etta James – vocals

    Harvey Fuqua – vocals

    Riley Hampton – arranger, conductor

    Arranged By, Conductor – Riley Hampton

    Orchestra – Riley Hampton Orchestra

    Producer – Leonard Chess, Phil Chess

All tracks recorded in Chicago. Recording dates:

1960 - January, Chicago: A5. B3, B5.

May, Chicago: A2, B1.

September, Chicago: A1.

October, Chicago: A3, A4, B2, B4.

tracklist:

A1 Anything To Say You're Mine

Written-By – S. Thompson*

A2 My Dearest Darling

Written-By – E. Bocage*, P. Gayten*

A3 Trust In Me

Written-By – Schwartz*, Ager*, Wever*

A4 Sunday Kind Of Love

Written-By – Leonard*, Belle*, Prima*, Rhodes*

A5 Tough Mary

Written-By – C. Uto

B1 I Just Want To Make Love To You

Written-By – W. Dixon*

B2 At Last

Written-By – Warren*, Gordon*

B3 All I Could Do Was Cry

Written-By – B. Davis*

B4 Stormy Weather

Written-By – Arlen*, Koehler*

B5 Girl Of My Dreams (Rendered As Boy Of My Dreams)

Written-By – Charles Clapp

link

Etta & Harvey – Spoonful / It’s a Crying Shame 1960

 

Etta & Harvey – Spoonful / It’s a Crying Shame 1960s Soul Classic Review & History

Chess ‎Records 1960 – single 1771

notes:

“Spoonful” by Etta James and Harvey Fuqua stands as a 

powerful fusion of blues and soul, showcasing the raw 

vocal chemistry between two legendary performers. 

Originally rooted in blues traditions popularized by 

Willie Dixon, this version transforms the track into a 

deeply emotional duet. On the flip side, “It’s a Crying Shame” 

delivers a heartfelt performance that highlights 

the expressive depth of classic 1960s R&B.

credits:

Etta James, duet with Harvey Fuqua.

Arranged By, Conductor – Riley Hampton

Session Musicians (Probable Lineup)

Phil Upchurch – guitar

Louis Satterfield – bass

Morris Jennings – drums

Isaac 'Redd' Holt – drums (alternate sessions)

Sonny Thompson – piano / musical direction

Recorded in Chicago around September 1960, “Spoonful” 

and its B-side “It’s a Crying Shame” were issued on 

Chess Records (catalog number 1771).

Chess Studios, Chicago

tracklist:

A Spoonful

Written-By – W. Dixon*

B It's A Crying Shame

Written-By – James*, Fuqua*

link

Etta James , Songs & Legacy

Etta James Biography, Songs & Legacy (At Last Singer Guide)

Argo Records ‎1960/62 – LPS-4013

notes:

Etta James is the self-titled third studio album by American blues artist, 

Etta James. The album was released on Argo Records in 1962

 and was produced by Ralph Bass. 

The legendary Etta James remains one of the most powerful voices 

in blues, soul, and R&B history. Among her early releases, 

Argo Records ‎– LPS-4013 stands out as a highly collectible vinyl 

that captures her raw, emotional depth.

Released under Argo Records, this album showcases the signature 

blend of gospel, blues, and jazz that defined her early career.

This pressing reflects the golden era of analog recording, 

where Etta’s vocals were front and center—unfiltered and deeply 

expressive. Collectors and audiophiles value this record for both 

its sound quality and historical significance.

credits:

    Etta James - lead vocals

    The Riley Hampton Orchestra

    Riley Hampton - arranger, conductor

    Harvey Fuqua - duet vocals on "If I Can't Have You" and "Spoonful"

Phil Upchurch – guitar 

   Louis Satterfield – bass 

   Gene Barge – saxophone and arrangements

Released May 5, 1962

Recorded 1960-62

Studio Chess Studios, Chicago, Illinois

Ron Malo - engineer

Producer

Leonard Chess

Phil Chess

tracklist:

A1 Waiting For Charlie To Come Home

Written-By – Hilliard*, Bacharach*

A2 Guess Again

Written-By – Schroeder*, Glazer*, Gold*

A3 A Lover's Mourn

Written By – Reese

A4 You Can Count On Me

Written By – Singleton

A5 If I Can't Have You

Written-By – James*, Fuqua*

B1 Something's Got A Hold On Me

Written-By – James*, Kirkland*, Woods*

B2 My Dear

Written By – Reese

B3 Nobody But You

Written-By – W. Dixon*

B4 Let Me Know

Written-By – Gordy*, Davis*

B5 Spoonful

Written-By – W. Dixon*

link