The Bo-Keys Writing On The Wall

The Bo-Keys – “Writing on the Wall” Review  Memphis Soul Revival Masterpiece

Electraphonic Recording ‎– ER-108

 notes:

If you’re searching for authentic Memphis soul, few modern bands 

capture the spirit better than The Bo-Keys. Their track “Writing on the Wall”, 

featuring legendary vocalist Percy Wiggins, is a perfect example of 

how classic soul continues to thrive in the modern era.

A True Memphis Soul Sound

Formed in the late 1990s by producer and bassist Scott Bomar, 

The Bo-Keys were built to preserve the legacy of Memphis labels

 like Stax and Hi Records. Their music blends veteran session 

musicians with younger talent, keeping the groove alive while staying authentic.

“Writing on the Wall” reflects this mission perfectly, delivering a warm, 

analog-style production with tight horns, deep grooves, and emotional vocals.

The Song: “Writing on the Wall”

Originally released as part of the Electraphonic Singles series,

the track stands out as a mid-tempo southern soul gem.

credits:

Percy Wiggins – lead vocals

Scott Bomar – bass, bandleader

Skip Pitts – guitar (famed for the “Shaft” wah-wah sound)

Charles “Skip” Pitts – often credited interchangeably with Skip Pitts

Charles Hodges – organ

Archie “Hubbie” Turner – piano / keyboards

Howard Grimes – drums

Ben Cauley – trumpet

Art Edmaiston – saxophone

Kirk Smothers – saxophone

tracklist:

A Writing On The Wall 3:30

written by Bomar, Franklin, Grimes

B I'm Still In Need 3:30

written by Franklin, Bomar, Grimes, Wiggins

 

link

 

 

 

Soul Runners – Green Thumb & What Can I Say

 

Soul Runners – Green Thumb & What Can I Say (Rare 60s Soul Classics Review)

Patches records 1970  – P-101

notes:

The Soul Runners remain one of the most underrated acts 

of the 1960s soul scene. Emerging from Los Angeles, the group

 helped shape the transition from classic soul into early funk, 

blending tight rhythms, punchy brass sections, 

and infectious grooves.

Often overlooked by mainstream audiences, the Soul Runners 

are highly respected among rare soul collectors, DJs, and crate 

diggers. Their recordings capture the raw, unfiltered energy of 

a golden era in American music—making them essential l

istening for fans of vintage funk and deep soul cuts.

Core Members:

Charles Wright – vocals, bandleader, arranger

Raymond “Ray” Jackson – trombone

Melvin Dunlap – bass

James Gadson – drums

Bill Cannon – saxophone

Al McKay – guitar

This lineup later evolved into the legendary

Charles Wright & the Watts 103rd Street Rhythm Band

Members like James Gadson and Al McKay went on 

to have major careers in funk and soul

The group operated as a tight studio and touring unit,

 so some recordings may include additional session musicians

    Producer – John Herron , Juddy Phillips

tracklist:

A        Green Thumb
Written-By – Pete Wyant
2:34
B        What Can I Say
Written-By – Pete Wyant
2:53

link

 

 

The Mar-Keys Non-Album Singles (1960s Soul & Stax Rarities Guide)

 

The Mar-Keys Non-Album Singles (1960s Soul & Stax Rarities Guide)

notes:

The Mar-Keys were one of the defining instrumental groups 

behind the legendary Memphis soul sound of the early 1960s. 

Closely associated with Stax Records, the band played a crucial 

role in shaping the raw, energetic style that would influence 

generations of soul, R&B, and funk musicians.

While many listeners are familiar with their major releases, 

a deeper dive into their non-album singles reveals a treasure 

trove of overlooked gems. These rare recordings highlight t

he band's versatility, tight musicianship, and importance 

within the Stax session scene.

line up

    Guitar: Steve Cropper

    Bass: Duck Dunn, or occasionally Lewie Steinberg (until 1964).

    Keyboards: 

Smoochy Smith (occasionally through 1963) and/or Marvell Thomas 

(frequently through 1963); essentially supplanted by Booker T. Jones 

(with increasing frequency from 1962) and/or Isaac Hayes (after mid-1964).

   Drums: 

Howard Grimes (1961–62) or Terry Johnson (occasionally, 1961–62); 

supplanted by Al Jackson Jr. (from mid-1962).

    Horns:

 varying combinations of Wayne Jackson, Floyd Newman, Don Nix, 

Gilbert Caple, Packy Axton (through 1964), Andrew Love (from 1964).

A Bo-Time   
    S.Cropper  

     
B The Dribble 2:20
Cropper, Axton, Collins, Grimes    

 

link 

A     Bush Bash 2:20
Written-By – Jones*, Newman*, Caple*

B     Beach Bash 2:12
Written-By – Jackson*, Branch*, Cropper*

Link

 A     Banana Juice 2:23
Written-By – Ed Lee

B     The Shovel  2:16
Written-By – Mar-Keys

 

Link

 

 Tracklisting:

A    Whot's Happenin'! 2:25
Mar-Keys, Pukish

B    You Got It    2:05
Newman, Jones

 

link

 

 

Ray Sharpe Help Me (Get The Feeling)

Ray Sharpe – Help Me (Get the Feeling) | 1960s R&B & Northern Soul Classic

ATCO Records 1966  45-6402

notes:

“Help Me (Get the Feeling)” is a classic R&B single by Ray Sharpe. 

Originally released in the mid-1960s, the track blends 

rhythm & blues, soul, and dance-floor energy that later 

made it popular with Northern Soul DJs.

Sharpe, born in Fort Worth, Texas, built his reputation in the 

late 1950s with rockabilly-influenced R&B recordings and 

is best known for his hit Linda Lu.

“Help Me (Get the Feeling)” features musicians connected 

with saxophonist King Curtis and even early guitar work by Jimi Hendrix

 on some recordings, giving the song a powerful groove loved by 

collectors of rare soul and R&B.

Recorded in Dallas,tx.

 July 1966

A King Curtis Production 

 Tracklist

Written-By  Dupree*, Ousley*, Sharpe*

A I Can't Take It  2:15

Written By – Sharpe

B Mary Jane  2:24

Written By – Sharpe

link

Ray Sharpe – I Can’t Take It / Mary Jane 1966

Ray Sharpe – I Can’t Take It / Mary Jane (1966 Atco Soul 45 Review)

 

 ATCO Records ‎– 45-6437

notes:

American singer and guitarist Ray Sharpe recorded the powerful 

soul-rock single “I Can’t Take It / Mary Jane” for Atco Records in 1966.

Best known for the 1959 rockabilly hit Linda Lu, Sharpe blended

 rhythm & blues, Texas blues and garage rock in his recordings. 

The Atco 45 showcases his gritty vocal style and driving rhythm section,

 capturing the raw crossover sound between R&B and early soul 

in the mid-1960s. Ray Sharpe was a versatile singer whose work 

bridged rockabilly and soul, earning cult status among vintage vinyl collectors.

Recorded in Dallas,tx.

 July 1966

A King Curtis Production 

 

 tracklist:

 A     I Can't Take It  2:15
Written By – Sharpe

B     Mary Jane  2:24
Written By – Sharpe

link

 

Otis Redding Live at the Whisky a Go Go (1966)

Otis Redding Live at the Whisky a Go Go (1966): The Soul Performance That Changed Music History

ATCO Records 1968  ‎– SD 33-265

notes:

In April 1966, Otis Redding took the stage at the Whisky a Go Go 

on the Sunset Strip—and delivered a series of performances that 

would change the trajectory of soul music forever.

Over three electrifying nights, Redding introduced his raw Southern 

sound to a predominantly white rock audience, helping bridge 

a cultural divide and laying the groundwork for his crossover success. 

These historic shows would later form the basis of the iconic live album 

In Person at the Whisky a Go Go.

At the time, the Whisky a Go Go was known for hosting rock acts and 

attracting a young, countercultural crowd. Soul artists rarely performed 

there, making Redding’s booking both unusual and risky., Redding delivered 

high-energy sets that captivated audiences unfamiliar with Southern soul. 

His emotional delivery, commanding stage presence, and ability to 

connect with the crowd quickly turned skepticism into admiration.

These performances marked a turning point—not just for Redding, 

but for the wider acceptance of soul music in mainstream (and largely white) venues.

The shows, held from April 8 to 10, 1966, were recorded live, capturing the

 intensity and spontaneity of Redding’s performances. However, the album 

In Person at the Whisky a Go Go wasn’t released until 1968, after his tragic death.

The recording stands out for its raw authenticity. Unlike polished studio albums, 

it immerses listeners in the atmosphere of the venue—complete with crowd 

reactions, improvisation, and extended grooves.

credits:

Recorded over three nights in April 1966, the band was a ten-piece revue 

led by saxophonist Robert Holloway. 

The lineup included:

Guitar: James Young

Bass: Ralph Stewart

Drums: Elbert Woodson

Keyboards: Katie Webster

Horns: A full section including Robert Holloway, Sammy Coleman, and John Farris.

Otis Redding – vocals

Released Oct 1968

Recorded Whisky a Go Go, Sunset Strip, 

Los Angeles, CA, April 8, 9 & 10, 1966

Wally Heider: Recording Engineer (Heider was a pioneer of 

remote recording and operated the mobile truck used for these sessions).

Bill Halverson: Assistant Engineer

Supervised By – Nesuhi Ertegun

Track listing:

A1 I Can't Turn You Loose

Written-By – Redding 4:43

A2 Pain In My Heart

Written-By – Neville 2:11

A3 Just One More Day

Written-By – McEvoy/Robinson*, Redding*, Cropper* 5:07

A4 Mr. Pitiful

Written-By – Redding*, Cropper*

2:07

A5 (I Can't Get No) Satisfaction

Written-By – Jagger/Richards*

4:36

B1 I'm Depending On You

Written-By – Redding*

3:01

B2 Any Ole Way

Written-By – Redding*, Cropper*

2:34

B3 These Arms Of Mine

Written-By – Redding*

3:54

B4 Papa's Got A Brand New Bag

Written-By – Brown*

4:38

B5 Respect

Written-By – Redding*

Link

Mongo Santamaria – Explodes at the Village Gate 1967

Mongo Santamaria – Explodes at the Village Gate (1967 Live Album Review & Tracklist)

 

Columbia records 1967   CS 9570

          

notes:

Few live jazz recordings capture raw energy and rhythmic

 intensity quite like Explodes at the Village Gate, the 1967 

album by Mongo Santamaria. Recorded in New York City at 

the legendary Village Gate, this album stands as one of the 

defining moments in Latin jazz history.

Blending Afro-Cuban rhythms with soul jazz grooves, Santamaria 

delivers a performance that is both hypnotic 

and explosive true to the album’s title.

Released in 1967, Explodes at the Village Gate captures 

Mongo Santamaria at the height of his creative powers.

 Backed by a tight, groove-driven band, he transforms the

 live setting into a powerful rhythmic journey.

This recording reflects the vibrant New York jazz scene of 

the late 1960s, where Latin, soul, and jazz influences merged 

into a new, electrifying sound. Santamaria, already known for

 bridging Afro-Cuban traditions with modern jazz, 

pushes that fusion even further here.

credits:

    Bass – Victor Venegas

    Congas, Bongos – Mongo Santamaria

    Drums, Timbales – Hungria Garcia

    Piano – Rodgers Grant

    Saxophone, Flute – Bobby Porcelli

    Saxophone, Flute, Piccolo Flute – Hubert Laws

    Trumpet – Ray Maldonado

Engineer – Edward T. Graham, Murray Zimney

Producer – David Rubinson, Warren Vincent

tracklist:

A1 Philadelphia

Written-By – M. Sheller*

3:49

A2 Juan Jose

Written-By – A. Echevarria*

3:45

A3 Bloodshot

Written-By – H. Laws*

3:21

A4 Afro Blue

Written-By – M. Santamaria*

10:17

B1 Yes It Do

Written-By – R. Porcelli*

3:10

B2 Mongoettes

Written-By – R. Porcelli*

3:17

B3 Springtime

Written-By – R. Porcelli*

3:50

B4 No More

Written-By – H. Laws*

3:01

B5 Elephant Pants

Written-By – N. Simmons*

3:33

Link

Harold Johnson Sextet – House On Elm Street 1967

Harold Johnson Sextet – House On Elm Street (1967 Soul Jazz Album Review & Tracklist)

H.M.E. records 1967 – HME 5-101-5-67

notes:

If you’re digging deep into rare groove and vintage jazz,

 House On Elm Street by the Harold Johnson Sextet is the 

kind of album that rewards repeated listening. Originally 

recorded in 1967 and later released on the Revue label, 

this overlooked LP blends soul jazz, Latin rhythms, and 

cinematic lounge textures into a surprisingly cohesive experience

Led by pianist Harold Johnson, a young prodigy from Los Angeles,

 the group formed during his teenage years and quickly recorded 

their debut album. The project was initially released on an

 independent label before being picked up and distributed 

more widely by MCA’s Revue imprint.

Despite being called a “sextet,” the recording actually features a 

larger ensemble, with additional horn players adding depth 

and texture throughout the album.

credits:

Harold Johnson - piano

David Crwford - flute

Billy Jackson - congo drums

Alfred Patterson - alto sax

Mike Show - teor sax

Eddie Synigal - alto sax

Ronald Rutledge - drums

Jimmy Nash - bass

Alto Saxophone – Alfred Patterson

Arranged By, Alto Saxophone – Eddie Synigal

Piano, Arranged By – Harold Johnson

Producer – 

H. Mitchell, S. Topley

engineer 

Norm Goodman

    

tracks listing:

A1 House On Elm Street

Written-By – H. Johnson*

7:10

A2 Have You Got Good Religion?

Written-By – H. Johnson*

3:00

A3 Dolores

Written-By – A. Patterson*

3:15

A4 Watts '67

Written-By – H. Johnson*

3:45

B1 Alfie

Written-By – Bacharach-David*

2:45

B2 Sunny

Written-By – Bobby Hebb

2:50

B3 Something Mellow

Written-By – D. Crawford*

2:45

B4 Yeh Uh Huh

Written-By – H. Johnson*

2:40

B5 Moses

Written-By – Crawford*, Johnson*

7:10

link

 

James Brown – Thinking About Little Willie John 1968

James Brown – Thinking About Little Willie John (1968 album review, tracklist & history)

 

KING RECORDS 1968                                  KS-1038 

notes:

In 1968, James Brown released one of the most unusual records 

of his career: Thinking About Little Willie John and a Few Nice Things.

Unlike his high-energy funk classics, this album is a deeply personal

 tribute to Little Willie John, an influential R&B singer whose 

life and career ended tragically.

Blending soul, instrumental arrangements, and reinterpretations, 

the record stands apart as one of the most emotional and 

reflective projects in James Brown’s discography.

credits:

James Brown – lead vocals

Johnny Grimes – trumpet

Waymon Reed – trumpet

Les Asch – tenor saxophone

David Parkinson – alto saxophone, baritone saxophone

Alfred "Pee Wee" Ellis – organ

Wallace Richardson – guitar

Al Lucas – bass

Bernard “Pretty” Purdie – drums

Recorded

June 27, 1968 (side one)[1]

August 17, 1967 – October 18, 1968 (side two)[2]

Studio

Bell Sound Studios (New York City, New York) (side one)[1]

King Studios (Cincinnati, Ohio) (side two)[2]

Design  – W. Hughes

Engineer – Ron Lenhoff

Photography – E. Speedy Brown

Producer – James Brown

Production Manager – Bud Hobgood

tracklist:

A1 Talk To Me, Talk To Me

Written-By – Joe Seneca

A2 Suffering With The Blues

Written-By – Pemberton*, Conyers*

A3 Cottage For Sale

Written-By – Larry Conley, Willard Robison

A4 Bill Bailey, Won't You Please Come Home

Written-By – Traditional

A5 Home At Last

Written-By – Toombs*

A6 Heart Break (It's Hurtin' Me)

Written By – J. Thomas - C. Hoyle

B1 What Kind Of Man

Written-By – B. Hobgood*, Eddie Setser, J. Brown*, Seals*

B2 A Note Or Two (Part 1)

B3 I'll Lose My Mind

Written-By – B. Byrd*, B. Hobgood*, J. Brown*

B4 Fat Eddie

Written-By – Hobgood*, Brown*, Lenhoff*

B5 You Gave My Heart A Song To Sing

Written-By – B. Byrd*, B. Hobgood*, J. Brown*

B6 A Note Or Two (Part 2)

link

Willie Mitchell – It's What’s Happenin’ (1966)

Willie Mitchell – It's What’s Happenin’ (Hi Records 1966) – Rare Soul Review

HI RECORDS 1966                                      HL 12031 

notes:

If you’re passionate about 60s soul, Memphis groove, and rare vinyl gems,

 Willie Mitchell’s It’s What’s Happenin’ is a must‑hear classic from 

the golden age of Hi Records.

This LP captures the vibrant spirit of mid‑60s soul and R&B, blending 

instrumental flair with groove‑driven rhythm that characterizes 

Mitchell’s early work. It stands out as both a collector’s treasure 

and a snapshot of Memphis’s rich musical history.

credits:

leader Willie Mitchell

band :  Hi Rhythm Section

The Hi Rhythm Section was the house band for hit soul albums 

by several artists, including Al Green and Ann Peebles, on

 Willie Mitchell's Hi Records label in the 1970s. The band 

included the three Hodges brothers, Charles Hodges (organ), 

Leroy Hodges (bass), and Mabon "Teenie" Hodges (guitar), 

together with drummer Howard Grimes (or Stax Records 

legend Al Jackson, Jr. on most singles until his death in 1975).

 Many recordings also used The Memphis Horns - Wayne Jackson 

and Andrew Love - of Stax fame, usually with Willie's brother 

James Mitchell arranging.The recordings were made at 

producer Willie Mitchell's Royal

Recording Studio in Memphis, Tennessee.

recorded in june 1966 

royal studio, Memphis, Ten,

engineer : Ray Harris

Supervision: Joe Cuoghi

tracklist:

A1 What Now My Love

Written-By – Sigman*, Becaud*

2:07

A2 The "In" Crowd

Written-By – Billy Page

2:03

A3 Hot Cha

Written-By – Woods*

2:21

A4 Taste Of Honey

Written-By – Scott*, Marlow*

2:19

A5 Secret Agent Man

Written-By – Sloan*, Barry*

2:17

A6 Blueberry Hill

Written-By – Lewis*

2:32

B1 Bad Eye

Written-By – Willie Mitchell

2:22

B2 634-5789

Written-By – Floyd*, Cropper*

2:10

B3 Honky Tonk

Written-By – Doggett*, Butler*, Scott*

2:20

B4 Wooly Bully

Written-By – Samudio*

1:58

B5 Java

Written-By – Toussaint*

1:55

B6 Shadow Of Your Smile

Written-By – Mandel*, Webster*

2:00

link