Prince Buster Blue Beat Records 101–400: Rare Jamaican Ska Classics and UK Releases

singles Blue Beat records 1962 TO 1967

notes:

Blue Beat Records was a record label that released Jamaican 
rhythm and blues and ska music in the United Kingdom in the 1960s. 
It led to the use of the word bluebeat as a generic term to describe 
all styles of early Jamaican music from R&B to ska, rocksteady and 
early reggae, including music not associated with the record label.
The history of Jamaican ska music cannot be told without mentioning 
the extraordinary influence of Prince Buster and the iconic Blue Beat 
Records label. During the golden years of ska and early reggae, Blue 
Beat Records became one of the most important distributors of 
Jamaican music in the United Kingdom. Catalogue references 
101 to 400 contain some of the finest recordings ever released
 by Prince Buster, helping to introduce authentic Jamaican 
rhythms to British audiences during the 1960s.
Prince Buster, born Cecil Bustamente Campbell, was one of the
 founding architects of ska music. His recordings blended 
rhythm and blues, Caribbean influences, jazz, gospel, and African 
rhythms into a revolutionary sound that changed popular music forever. 
Through Blue Beat Records, many of his classic tracks reached a wider
 international audience and became essential records for collectors, DJs, and ska enthusiasts.
The Blue Beat catalogue from references 101 to 400 represents a historic
 period for Jamaican music. These releases include energetic 
ska instrumentals, socially conscious vocal recordings, dancefloor classics, 
and rare collector items highly sought after by vinyl enthusiasts today.
Blue Beat Records played a crucial role in spreading Jamaican music across 
the UK during the early 1960s. The label imported and distributed recordings 
from Jamaica at a time when ska music was exploding in popularity among
 Caribbean communities and British youth culture.
Prince Buster quickly became one of the label’s defining artists. His 
unique vocal style, innovative production techniques, and powerful 
rhythms transformed the sound of Jamaican music. Songs released 
during the Blue Beat era combined dancefloor energy with cultural 
identity and social commentary.
Collectors often focus on catalogue references 101 to 400 because
 these releases capture the transition from classic ska to early rocksteady.
 Original Blue Beat pressings from this era are now considered rare vinyl treasures.

credits:

Prince Buster recorded the majority of his classic UK releases for Blue Beat
Records between approximately BB 101 and BB 400 from 1962–1967, but a 
complete session-by-session archive with exact musicians, recording dates, 
and studios for every catalog number has never been officially published.
Main Recording Period
1962–1967
Produced mainly by Prince Buster (Cecil Bustamente Campbell)
UK releases licensed through Melodisc / Blue Beat
Later releases shifted toward the FAB label after Blue Beat 
catalog numbers reached the 400 range.

Principal Studios Used
Jamaica

Most Blue Beat-era masters were recorded in Kingston:

Federal Studios, Kingston
The most important early ska studio in Jamaica.
RJR Studios (Radio Jamaica Recording Studio)
WIRL Studios
Some later sessions possibly at Studio One facilities or independent 
rooms used by session musicians.
United Kingdom

A smaller number of recordings were cut or overdubbed in London:

especially tracks connected with UK touring and Blue Beat sessions.
“Wash Wash” and several UK-oriented productions reportedly 
involved British musicians including Georgie Fame.

Core Musicians / Line-Up

The backing group was usually credited as:

Prince Buster’s All Stars
Buster’s Group
occasionally Prince Buster All Stars

The personnel changed slightly by session, but these 
musicians appear repeatedly in Blue Beat-era recordings:

Musician    Instrument
Rico Rodriguez    Trombone
Ernest Ranglin    Guitar / Bass
Jerome 'Jah Jerry' Haynes    Guitar
Baba Brooks    Trumpet
Raymond Harper    Trumpet
Val Bennett    Tenor Sax
Gladstone Anderson    Piano / Organ
Arkland 'Drumbago' Parks    Drums
Count Ossie    Nyabinghi Percussion
Lynn Taitt    Guitar (later rocksteady era)
Lee Perry    Vocals / Assistant Production on some titles

These musicians are documented across numerous Blue Beat productions including:

“Madness”
“Wash Wash”
“One Step Beyond”
“Al Capone”
“Judge Dread”
“Shanty Town”
“Train to Girls Town”

Prince Buster personally supervised most sessions:

arranger
vocal coach
rhythm director
producer

Important Blue Beat Catalog Range

Approximate evolution through BB 101–400:

Period    Style
BB 100–200    Early Jamaican blues / proto-ska
BB 200–300    Classic ska explosion
BB 300–400    Late ska → rocksteady transition

Key recordings in this range include:

“Madness”
“One Step Beyond”
“Wash Wash”
“Al Capone”
“Judge Dread”
“Shanty Town”
“Dance Cleopatra”
“Rude Boy Rule”

link

 

side b of single bb 321

single Blue beat records BB261B 1964

 

Single blue beat records 1965 BB 333 A

Johnny Moore – Haven't I Been Good To You | Wand Records 1165 Northern Soul & R&B Classic

Wand ‎Records 1967 – 1165

notes:

Vintage soul music collectors continue to celebrate Johnny Moore’s
 “Haven't I Been Good To You,” an elegant and emotional release on 
Wand Records 1165. Combining heartfelt vocals, sophisticated 
arrangements, and timeless rhythm and blues production, this rare soul 
single remains a treasured favorite among Northern Soul enthusiasts worldwide.
Released during the golden age of soul and rhythm and blues, 
Johnny Moore’s “Haven't I Been Good To You” on Wand Records 1165 showcases 
the emotional sophistication of classic 1960s soul music. Appreciated by 
Northern Soul DJs, vinyl collectors, and rare groove enthusiasts, the single continues
 to stand out for its expressive vocals, melodic 
arrangement, and timeless production quality.

Credits:

Producer    Stanley Chaisson
Writers    Johnny Moore; Allen Orange sometimes credited on later pressings
Arrangers    Allen Toussaint & Johnny Moore

 Musicians / line-up
No fully documented session personnel has surfaced in standard discographies 
or label archives. However, the record is widely identified as a New Orleans 
production connected to the circle around Allen Toussaint and Johnny Moore.
The exact recording studio has not been conclusively documented in available sources. 
Because the session was arranged by Allen Toussaint and produced within the 
New Orleans R&B scene, collectors often assume it was cut in New Orleans, 
possibly at a Toussaint-associated facility, but there is no confirmed 
studio credit currently available in reliable discographies.

tracklist:

A Haven't I Been Good To You
Written-By – J. Moore*, Alan Orange
B A Dollar Ninety Eight
Written-By – Davis*, Diamond*

link

 

 

 

 

Barbara Acklin – Seven Days Of Night (1969) | Brunswick LP Review & Tracklist

Brunswick ‎Records 1969– BL 754148

 

 notes:

Released in 1969 on Brunswick Records, Seven Days Of Night stands among the essential Chicago soul recordings of the late sixties. Combining elegant orchestration, heartfelt vocals, and polished production, Barbara Acklin delivers a sophisticated blend of soul, pop, and Northern Soul energy.

The LP masterfully balances upbeat Northern Soul rhythms with lush ballads and crossover pop arrangements. Tracks like "Go With Love," "A Raggedy Ride," and "Where Would I Go" reveal Acklin’s remarkable vocal sensitivity. Meanwhile, the timeless anthem "Am I The Same Girl" became an enduring soul classic, later embraced by rare groove DJs and modern soul audiences worldwide.

Produced in the rich tradition of Chicago soul, the album reflects the sophisticated sound associated with Brunswick recordings of the period. The infectious title track, "Seven Days Of Night," remains one of Barbara Acklin’s signature performances, blending dramatic orchestration with irresistible rhythm and emotional intensity.

More than five decades after its original release, Seven Days Of Night continues to influence collectors, DJs, and soul historians. Its mixture of deep soul, pop elegance, and dancefloor energy secures its place among the finest female soul albums of the 1960s.

credits:

Arranged By: Sonny Sanders (Tracks A1 to B3, B5), Johnny Pate (Track B4)
Conducted By: Willie Henderson
Produced By: Carl Davis, Eugene Record
Recorded: Late 1968 to mid-1969 at Brunswick Studios, Chicago

tracklist:

A1        A Raggedy Ride
Written-By – Barbara Acklin, Carl Davis, Eugene Record
2:32
A2        Go With Love
Written-By – Burt Bacharach-Hal David*
2:14
A3        Seven Days Of Night
Written-By – Carl Davis, Eugene Record
2:37
A4        Just Ain't No Love
Written-By – Carl Davis, Eugene Record
2:47
A5        Where Would I Go
Written-By – Burt Bacharach-Hal David*
2:41
A6        Am I The Same Girl
Written-By – Eugene Record, W. Sanders*
3:02
B1        Until You Return
Written-By – Barbara Acklin, Carl Davis, Eugene Record
3:06
B2        This Girl's In Love With You
Written-By – Burt Bacharach-Hal David*
4:26
B3        Here Is A Heart
Written-By – Barbara Acklin, Carl Davis, Eugene Record
2:40
B4        Mr. Sunshine (Where Is My Shadow)
Written-By – Carl Davis, Eugene Record
2:37
B5        Love Had Come To Stay
Written-By – Barbara Acklin, Carl Davis, Eugene Record
3:06

 

    listen

 

 

The Young-Holt Unlimited – Soulful Strut (1968 Brunswick LP)

    Brunswick records 1968 BL 754144

 How Young-Holt Unlimited Scored a Million-Selling Hit with "Soulful Strut"

 

 notes:

Released in late 1968, "Soulful Strut" remains one of the most recognizable and uplifting instrumental tracks in soul and jazz history. Reaching number 3 on the Billboard Hot 100 and selling over a million copies, the song cemented the legacy of Young-Holt Unlimited (formerly the Young-Holt Trio).

The Origins: From Ramsey Lewis to Chicago Soul The group was formed by bassist Eldee Young and drummer Isaac "Red" Holt after their departure from the legendary Ramsey Lewis Trio. Alongside pianist Ken Chaney, they reshaped their sound under the moniker Young-Holt Unlimited. However, the story behind their biggest hit, "Soulful Strut," comes with a fascinating twist.

The Barbara Acklin Connection The instrumental is actually the backing track to Barbara Acklin’s soul classic, "Am I the Same Girl." Legendary producer Carl Davis decided to remove Acklin’s vocals, layer a vibrant piano solo by Floyd Morris over the melody, and release it as an instrumental under Young-Holt Unlimited's name.

Though music historians often debate whether Young and Holt played on the final studio session or if Brunswick Records relied heavily on Chicago's top session musicians, the track's infectious horn riff and driving rhythm became an instant classic.

An Enduring Legacy "Soulful Strut" has been covered and sampled extensively over the decades, most notably by Grover Washington Jr. and pop-soul group Swing Out Sister in 1992. Decades later, its timeless feel-good groove continues to captivate soul music lovers worldwide.

credits:

Line-up / Musicians

Eldee Young — bass, cello, vocals
Isaac "Red" Holt — drums
Ken Chaney — piano

Floyd Morris--piano
Sonny Sanders — arrangements
Willie Henderson — musical direction
Production
Producers: Carl Davis and Eugene Record
Arrangements by Sonny Sanders.

tracklist:

A1 Who's Making Love
Written By – Homer Banks-Betty Crutcher-Donald Davis-Raymond Jackson
2:44    
A2 Please Sunrise, Please
Written By – Eugene Record-Barbara Acklin
2:50    
A3        Be By My Side
Written By – Eugene Record-Barbara Acklin
2:34    
A4        What Now My Love (Et Maintenant)
Other [Directed By] – Gerald Sims
Written By – Becaud-Delanoe-Sigman
3:38    
A5        Baby Your Light Is Out
Vocals [Directed By] – Gerald Sims
Written By – Hysear Don Walker-Eldee Young-Isaac Red Holt
3:10    
A6        Soulful Strut
Written By – Eugene Record-Sonny Sanders

2:57    
B1        Just Ain't No Love
Written By – Eugene Record-Carl Davis
2:52    
B2        Little Green Apples
Written-By – Bobby Russell
2:50    
B3        Funky Is As Funky Does
Written By – Hysear Don Walker-Eldee Young-Isaac Red Holt
3:10    
B4        Love Makes A Woman
Arranged By – William Sanders*
Other [Directed By] – Gerald Sims
Written By – Eugene Record-William Sanders-Carl Davis-Gerald Sims
2:59    
B5        Ain't There Something Money Can't Buy
Vocals [Directed By] – Gerald Sims
Written-By – Isaac Red Holt*

   

link

James Brown And His Famous Flames – Tour The U.S.A. (King Records 804)

King Records 1962  ‎– 804

 

 Notes:

 

The Famous Flames were an American rhythm and blues 
vocal group founded in Toccoa, Georgia, in 1953 by Bobby Byrd. 
James Brown began his career as a member of The Famous Flames,
 emerging as the lead singer by the time of their first professional 
recording, "Please, Please, Please", in 1956.

Tour The U.S.A. captures James Brown at the dawn of his legendary
 live reputation. Released on King Records in 1962, this historic LP
 showcases the unmatched stage energy of James Brown And His 
Famous Flames with electrifying performances blending soul, 
rhythm & blues, gospel, and early funk influences. 
A must-have album for collectors of classic R&B and vintage soul music.

Before becoming universally known as “The Godfather of Soul,” 
James Brown was already redefining live performance with unmatched 
intensity and passion. Released in 1962 on King Records, Tour The U.S.A. 
captures Brown and The Famous Flames during the formative
years of soul music, delivering a raw and electrifying concert experience.
Unlike polished studio productions of the era, this LP highlights the energy,
 spontaneity, and audience interaction that made James Brown one of the 
greatest live performers in music history. Backed by tight musicianship, 
fiery vocals, and relentless rhythm, the album stands as an essential 
document of early rhythm & blues transitioning into modern soul.
The record includes dynamic performances filled with gospel-inspired vocals, 
driving horn arrangements, and powerful stage charisma. Every track reflects 
the intensity that would later influence generations of funk, soul, and rock performers.

line up

Vocals

James Brown — lead vocals, organ on selected tracks
Bobby Byrd — backing vocals, organ, piano
Baby Lloyd Stallworth — backing vocals
Bobby Bennett — backing vocals
Horn section

Roscoe Patrick — trumpet
Teddy Washington — trumpet
Lewis Hamlin — trumpet
Clarence “Jay” Johnson — trombone
J.C. Davis — tenor saxophone
St. Clair Pinckney — tenor saxophone
Al “Brisco” Clark — tenor & baritone saxophone
Clifford “Ace” King MacMillan — tenor saxophone

Rhythm section

Les Buie — guitar
Hubert Lee Perry — bass
Nat Kendrick — drums
Clayton Fillyau — drums
James Brown — drums on “Choo-Choo Locomotion”
Keyboards
James Brown — organ on “Cross Firing” and “Every Beat of My Heart”
Bobby Byrd — organ / piano (“I Don’t Care”)

The album tracks were recorded between February 1961 and July 1962.

Studios used:

King Studios — most of the album
Dukoff Studios — “Cross Firing” and “Every Beat of My Heart”

Known session date:

“Mashed Potatoes U.S.A.” recorded May 22, 1962 at King Studios, Cincinnati.
Production
Producer: James Brown

Written-By – James Brown (tracks: A1, A2, A4 to A6) 


tracklist:


A1     Mashed Potatoes U.S.A.
written by James Brown         
A2     Choo-Choo (Loco-Motion) 
written by James Brown        
A3     Three Hearts In A Tangle 
Written By  R. S. Pennington, S. Thompson    
A4     Doin' The Limbo 
written by James Brown        
A5     I Don't Care 
written by James Brown
A6     Joggin' Along 
written by James Brown        
B1     I've Got Money 
written by James Brown        
B2     Sticky 
 Written By J. Brown, J.C. Davis
B3     Like A Baby  
Written By  Jessie Stone        
B4     Every Beat Of My Heart 
Written By  Johnny Otis    
B5     In The Wee Wee Hours (Of The Nite) 
written by James Brown        
B6     Cross Firing
written by James Brown

 

 

link

Freddy King – Freddy King Sings (King Records 762)

King Records 1961   ‎– 762

notes:

Released during the golden era of Chicago and Texas electric blues, 
Freddy King Sings captures the artist at the peak of his creative
 powers. The album combines heartfelt vocals with the distinctive 
guitar tone that made Freddy King one of the
 “Three Kings of the Blues Guitar” alongside B.B. King and Albert King.
Listeners will immediately recognize the energy and authenticity 
that made Freddy King such a major influence on later rock 
musicians including Eric Clapton, Stevie Ray Vaughan, and Jeff Beck.
More than sixty years after its release, Freddy King Sings remains 
essential listening for blues fans. The album captures the raw 
energy of early electric blues while foreshadowing the explosive
 blues-rock movement of the late 1960s and 1970s.
For vinyl collectors, blues historians, and guitar enthusiasts, 
this record remains a cornerstone of any serious blues collection.

credits:

Freddie King – lead guitar and vocals
Fred Jordan – second guitar
Sonny Thompson – piano
Bill Willis – bass guitar
Phillip Paul – drums
Gene Redd - saxophone
Clifford Scott - saxophone

Recorded     King Studios, Cincinnati, Ohio
August 1960 – July 1961
Produced by Sonny Thompson (King Records A&R producer,
 pianist, arranger) for King Records / Federal Records sessions.

tracklist:

A1 Lonesome Whistle Blues 
written by Alan Moore, Elson Teat, Rudy Toombs    
A2 You've Got To Lover Her With A Feeling 
written by King
A3 Have You Ever Loved A Woman 
written by Billy Myles    
A4 You Know That You Love Me
written by King, Thompson     
A5 You Mean, Mean Woman 
written by Thompson, Bill Willis    
A6 It's Too Bad That Things Are Going So Tough 
written by King    
B1 If You Believe 
writtrn by Billy Lamont, Bonnie Thompson, Toombs    
B2 Let Me Be ( stay away from me)
written by Thompson        
B3 Takin' Care Of Business     
B4 I Love The Woman
written by Myles, Nathaniel Nathan     
B5 I'm Tore Down
written by Thompson         
B6 See See Baby
written by Freddie King, Sonny Thompson

link

 

Freddie King Is A Blues Master Classic Blues LP Review

 

Cotillion records 1969 – SD 9004

notes:

Freddie King Is A Blues Master stands as an essential recording for 
fans of vintage blues vinyl. The album highlights King’s ability to 
combine traditional blues structures with a modern electric attack
 that helped shape blues-rock during the late 1960s and early 1970s.
The production on this Cotillion release gives plenty of space to 
Freddie King’s signature guitar sound. His stinging leads and emotional 
bends create a dynamic listening experience filled
 with tension, release, and groove.
Released on Cotillion Records, Freddie King Is A Blues Master remains
 one of the defining albums in Freddie King’s legendary catalog. The LP
 captures the raw intensity and emotional depth that made King a 
major influence on generations of blues and rock musicians, including 
Eric Clapton, Stevie Ray Vaughan, and Jeff Beck.

credits:

    Bass – Jerry Jemmott
    Drums – Norman Pride
    Guitar – Billy Butler 
    Keyboards – Gary Illingworth, James Booker
    Saxophone – David "Fathead" Newman, King Curtis, Willie Bridges
    Trumpet – Joe Newman, Martin Banks, Melvin Lastie
    Vocals, Lead Guitar – Freddie King

    Producer – King Curtis
Recording studio: Atlantic Recording Studios, New York City
period: generally cited as 1968–1969 
during Freddie King’s first sessions for Cotillion/Atlantic.

tracklist:

     A1        Play It Cool
Written By – Freddie King
3:49
A2        That Will Never Do
Written By – Milton Campbell, Robert Loins
2:20
A3        It's Too Late, She's Gone
Written By – Chuck Willis
2:20
A4        Blue Shadows
Written By – Lowell Fulson
3:35
A5        Today I Sing The Blues
Written By – Curtis Lewis (3)
3:55
A6        Get Out Of My Life, Woman
Written By – Allen Toussaint
3:32
B1        Hideaway
Written By – Freddie King
2:26
B2        Funky
Written By – Freddie King, King Curtis
2:26
B3        Hot Tomato
Written By – King Curtis
2:45
B4        Wide Open
Written By – Freddie King
3:00
B5        Sweet Thing
Written By – King Curtis
2:30
B6        Let Me Down Easy
Written By – King Curtis
3:00

 

link

 

Frank Frost – Things You Do / Harpin' On It (Jewel Records 771)

 

 

 

 

 

 

 

 

Jewel Records 1966  – 771

 

 notes:

Explore the rare blues single “Things You Do / Harpin' On It” by Frank Frost
 on Jewel Records 771. A classic slice of electric Mississippi blues featuring
 powerful harmonica grooves, soulful vocals, 
and authentic vintage rhythm & blues energy.
 “Things You Do / Harpin' On It” by Frank Frost 
stands as a powerful example of raw Southern electric blues and hypnotic
 harmonica-driven rhythm. Known for his deep Mississippi blues roots and 
distinctive harp style, Frank Frost blended Delta traditions with energetic 
groove-oriented performances that helped shape modern blues recordings
 of the 1960s. This rare Jewel Records single remains highly appreciated
 by blues collectors, vintage vinyl enthusiasts, 
and fans of classic American rhythm & blues.

credits:

Probable lineup (Jewel recording band)

The personnel for Jewel 771 is not fully documented 
in surviving discographies, but the core band for the
 1966 Jewel sessions is generally accepted as:
Frank Frost — vocals, harmonica, guitar
Big Jack Johnson — guitar
Sam Carr — drums
Recording location: Jewel Recordings, Nashville, Tennessee
Producer: Scotty Moore produced the 1966 Jewel sessions for Frank Frost.

tracklist:

A        Things You Do
Written-By – Frank Frost
    2:28
B        Harpin' On It
Written-By – Arthur Williams 
    2:53

 

 

link 

 

 

 

Pat Bowie Feelin’ Good! LP Review | Prestige Records 1965

 

 

 

 

 

 

 

Prestige records 1965 – PR 7437

 

 notes:

Jazz vocalist Pat Bowie delivers a warm and expressive performance on 
Feelin’ Good!, a sophisticated Prestige Records release supported by an 
all-star jazz ensemble. Backed by the lyrical piano work of Tommy Flanagan, 
the vibrant alto saxophone of Charles McPherson, the deep swing of Al Hall
and the tasteful drumming of Osie Johnson, this LP captures the elegance 
of classic jazz singing during the golden era of Prestige Records. Feelin’ Good! 
remains a rewarding listen for collectors of
 vintage vocal jazz, hard bop and rare Prestige sessions.
Released on the legendary Prestige Records label as PR 7437, Feelin’ Good! 
by Pat Bowie is an elegant jazz vocal album featuring an exceptional quartet 
led by alto saxophonist Charles McPherson, pianist Tommy Flanagan, bassist 
Al Hall and drummer Osie Johnson. Combining soulful interpretations, refined 
swing rhythms and intimate club-style arrangements, the LP stands as a hidden
 gem of 1960s jazz vocals and Prestige Records catalog history.



credits:

Alto Saxophone – Charles McPherson
Bass – Al Hall
Drums – Osie Johnson
Piano – Tommy Flanagan
Vocals – Pat Bowie

Recorded at Van Gelder Studio on:

September 7, 1965
September 9, 1965
Producer – Cal Lampley
Engineer – Rudy Van Gelder


tracklist:


A1        Baby Won't You Please Come Home    2:15
written by Williams,Wrfield-picwick
A2        Since I Fell For You    3:42
written by Johnson-Advanced
A3        They Can't Take That Away From Me    3:42
written by Gershwin
A4        You Don't Know What Love Is    3:47
written by Raye, De paul,leeds
A5        Summertime    3:35
written by Gershwin
B1        Why Don't You Do Right    3:42
written by McCoy,Mayfair
B2        Wonder Why    4:07
written by  griffith,Four
B3        I Wanna Be Loved    3:45
written by Green,Rose,Heyman
B4        Lonesome Road    3:07
written by Shilkret,Auston
B5        Feeling Good    4:11
written by Bricusse, newley

 

 

 link

 

 

 

 

 

Groove Holmes American Pie LP Review on Groove Merchant

 

 

 

 

 

 

 

 Groove Merchant 1972 – GM 505

 

 

 notes:

Few Hammond organ players captured the essence of soul jazz and 
jazz-funk quite like Richard Groove Holmes. With American Pie, 
released on Groove Merchant as GM 505, Groove Holmes delivers a 
warm, groove-driven session filled with deep organ textures, funky rhythms,
 and soulful improvisation. Blending jazz sophistication with street-level 
funk energy, this album remains a favorite among rare groove
 collectors and soul jazz enthusiasts searching for classic Hammond organ sounds.
American Pie showcases Groove Holmes at the height of his creative
 powers, transforming contemporary themes into irresistible jazz-funk 
explorations. Backed by tight rhythm arrangements and infectious grooves, 
Holmes’ signature Hammond B-3 organ style creates a rich atmosphere that 
bridges soul, blues, and funk. The album perfectly reflects the evolving sound 
of early 1970s soul jazz, making it an essential listen for fans of rare groove vinyl,
 funky jazz sessions, and classic Groove Merchant recordings.
The album is considered one of Holmes’ mellow early-70s soul-jazz sessions, 
notable for the interaction between his Hammond organ and 
Larry Willis’ Fender Rhodes electric piano.

credits:

Richard groove Holmes — organ
Larry Willis — electric piano
Gerald Hubbard — guitar
Jerry Jemmott — bass
Kwasi Jayourba — congas, bongos / percussion
Recording studio/location: New York City / New York, NY
Producer: Sonny Lester
Engineer: Malcolm Addey

tracklist:

A1        American Pie    2:56
written by Don McLean
A2        St. Thomas    4:34
Written by Rollins
A3        Catherine    6:00
written by R. Groove Holmes,
A4        Fingers    5:33
written by R. Groove Holmes,
B1        It's Impossible    4:53
written by Wayne- A. Manzanero
B2        Rainy Day    6:10
written by Jimmy Van Heusen, Johnny Burke
B3        Who Can I Turn To    6:45
written by Newely,Bricusse

 

 

link

 

 

 

 

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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