Little Walter – Hate To See You Go (Chess LP-1535)

 

 

 

 

 

 

 

 

 

Little Walter – Hate To See You Go | Chess LP-1535 Review

 

 

 

 

Chess records 1969  –  LP-1535

 

 

 Notes:

Few blues musicians transformed their instrument as dramatically 
as Little Walter. By amplifying his harmonica and treating it like a 
lead electric guitar, he created a completely new sound that 
forever changed Chicago blues.

Released by Chess Records in 1969, Hate To See You Go (LP-1535)
gathers some of Walter's greatest recordings from the golden era 
of Chicago blues. Although it is a compilation rather than a contemporary 
studio album, it perfectly showcases his remarkable artistry, 
emotional vocals, and revolutionary harmonica playing.
For blues collectors, this LP remains one of the finest introductions 
to one of the most influential musicians in blues history.


The tracks were recorded between approximately 1955 and 1959.

Recording Studios
Chess Studios
2120 South Michigan Avenue
Chicago, Illinois
Producers
Leonard Chess
Phil Chess

Musicians

Personnel varied between recording sessions but commonly included:

Little Walter – vocals, amplified harmonica
Robert Lockwood Jr. – guitar
Luther Tucker – guitar
Jimmy Rogers – guitar
Willie Dixon – bass
Otis Spann – piano
Lafayette Leake – piano
Fred Below – drums
Odie Payne – drums
Earl Phillips – drums

tracklist:

A1        Nobody But You
Written-By – W. Spriggs*
    2:02
A2        My Baby’s Sweeter
Written-By – W. Dixon*
    2:28
A3        Roller Coaster
Written-By – E. McDaniels*
    2:51
A4        As Long As I Have You
Written-By – W. Dixon*
    2:36
A5        Oh Baby
Written-By – W. Jacobs*
    2:47
A6        Take Me Back
Written-By – W. Jacobs*
    3:04
A7        Everything’s Going To Be Alright
Written-By – W. Jacobs*
    2:48
A8        Mellow Down Easy
Written-By – W. Dixon*
    2:40
B1        Hate To See You Go
Written-By – W. Jacobs*
    2:16
B2        I Got To Find My Baby
Written-By – W. Jacobs*
    2:43
B3        Everybody Needs Somebody
Written-By – W. Jacobs*
    2:50
B4        Blue Midnight
Written-By – W. Jacobs*
    2:30
B5        I Had My Fun
Written-By – J. Oden*
    2:18
B6        Key To The Highway
Written-By – W. Broonzy*, C. Segar*
    2:43
B7        Blue And Lonesome
Written-By – W. Jacobs*
    2:55

 

 

 

link

 

 

 

 

 

Little Walter – Everything Gonna Be Alright (Checker 930)

 

 

 

Little Walter – Everything Gonna Be Alright Checker 930

 

 

 

 

Checker records – 930 jul 1959

 notes:

Few harmonica players transformed the sound of modern blues
 like Little Walter. By the mid-1950s, his innovative amplified 
harmonica style had already changed Chicago blues forever, 
influencing generations of blues, rock and soul musicians.

Released on Checker Records 930, Everything Gonna Be Alright 
showcases Walter's expressive vocals, unmistakable harmonica
 tone and the polished Chicago blues sound developed by the 
legendary Chess Records family of labels. Although issued 
during a period of fierce competition among Chicago blues artists, 
the record remains a fine example 
of Walter's ability to combine emotional storytelling with memorable

credits:

Little Walter    Lead vocals, amplified harmonica
Otis Spann    Piano
Luther Tucker    Guitar
Freddy Robinson    Guitar
Willie Dixon    Bass
Billy Stepney    Drums

Recording Session
Date: July 21, 1959
Location: Chicago, Illinois
Studio: Chess Recording Studio, 2120 South Michigan Avenue, 
Chicago (the Chess studios; the Ter-Mar facility had not yet opened).

production:
Leonard Chess
Phil Chess

  

 Written-By – W. Jacobs

tracklist:

A        Everything Gonna Be Alright    2:30
B        Back Track    2:35

 

 

link 

 

 

 

Irma Thomas – Take A Look (Imperial LP-9302)

 

 

 

 

 

 

 

 Irma Thomas – Take A Look (Imperial LP-9302): A Timeless New Orleans Soul Masterpiece

 

 

 

 

Imperial ‎records 1966 – LP-9302

 

notes:

When discussing the greatest voices in American soul music, 
Irma Thomas deserves a place among the legends. Often called
 the "Soul Queen of New Orleans," her remarkable ability to 
express heartbreak, hope, and resilience shines throughout 
Take A Look, released on Imperial Records (LP-9302).
This classic album showcases Thomas at the peak of her vocal
 powers, blending Southern soul, rhythm & blues, gospel influences,
 and New Orleans grooves into an unforgettable listening experience.
Whether you're a longtime collector or discovering her music for 
the first time, Take A Look remains an essential addition 
to any classic soul vinyl collection.
Irma Thomas – Take A Look (Imperial LP-9302) is more than a 
vintage record—it's an important chapter in the history of 
New Orleans soul music. Rich vocals, heartfelt performances, 
and timeless production make this album a must-have 
for both serious collectors and casual listeners.

credits:

Musician    Instrument
Irma Thomas – vocals
Eddie Ray – producer
Carol Kaye    electric bass
Earl Palmer    drums
Darlene Love    backing vocals (with The Blossoms)
The Blossoms    background vocals
H. B. Barnum    orchestral arrangements, conducting

Recording studio:
The Imperial recordings for this album were made at:
United Western Recorders, Hollywood, California 
(today known as United Recording). These sessions 
took place while Irma was living in Los Angeles after
 Imperial acquired her contract

tracklist:

A1        Take A Look
Written-By – Naomi Neville
    2:57
A2        Teasing, But You're Pleasing
Written-By – Naomi Neville
    1:42
A3        I Haven't Got Time To Cry
Written-By – Mel Carter, Zelda Samuels
    2:38
A4        You Don't Miss A Good Thing (Until It's Gone)
Written-By – Irma Thomas, Jerry Ragovoy
    2:20
A5        Some Things You Never Get Used To
Written-By – Van McCoy
    2:40
A6        Anyone Who Knows What Love Is (Will Understand)
Written-By – Seely*, Arbuckle*, Sheeran*, Newman*
    2:30
B1        It's Starting To Get To Me Now
Written-By – Van McCoy
    2:31
B2        Times Have Changed
Written-By – Van McCoy
    2:28
B3        He's My Guy
Written-By – Van McCoy
    2:35
B4        Baby, Don't Look Down
Written-By – Randy Newman
    2:30
B5        What Are You Trying To Do
Written-By – Naomi Neville
    2:14
B6        Wait, Wait, Wait
Written-By – Naomi Neville
    2:38 

 

 

 

link 

 

 

 

 

 

 

Irma Thomas – I Did My Part (1962 Minit Records 653)

Irma Thomas – “I Did My Part” (1962 Minit Records 653): Soul Music History & Song Review

Minit records 1962      – 653

 

 

notes:

 

 Few voices in American soul music carry the emotional depth 
and authenticity of Irma Thomas, often celebrated as the 
"Soul Queen of New Orleans." Among her early recordings,
 "I Did My Part", released in 1962 on Minit Records (Catalog No. 653),
 stands as another fine example of her remarkable ability
 to transform heartbreak into unforgettable music.
A Classic New Orleans Soul Recording
Released during the golden era of New Orleans rhythm and blues, 
I Did My Part showcases Irma Thomas's expressive vocal style that 
would later inspire generations of soul and R&B singers. The single
 reflects the city's distinctive musical blend of gospel, blues, 
rhythm & blues, and early soul.
While many listeners know Irma Thomas for classics such as 
Time Is on My Side and Wish Someone Would Care, her Minit Records 
recordings helped establish her reputation
 as one of the finest female vocalists of the early 1960s.

credits:

Irma Thomas – lead vocals
Allen Toussaint – piano, producer, arranger
Roy Montrell – guitar
Ernie K-Doe – background vocals (with additional unidentified vocalists)
Pete "Chuck" Badie – bass (probable)


Recorded: November 1, 1961
Studio: Cosimo Recording Studio, New Orleans
Producer/arranger: Allen Toussaint
Writer: Allen Toussaint (using his pseudonym Naomi Neville)

tracklist:

A        I Did My Part
Written-By – N. Neville*
2:29

B        It's Raining
Written-By – N. Neville*
2:08

link

Clifford Scott – Out Front! (Pacific Jazz PJ-66)

 

 

 

 

 

 

 

 Clifford Scott – Out Front! | Pacific Jazz PJ-66 | Classic Jazz Masterpiece

 

 

Pacific Jazz 1963  – PJ-66

 

 notes:

Clifford Scott – Out Front! (Pacific Jazz PJ-66)

Jazz history is filled with remarkable recordings that showcase both
technical brilliance and soulful expression. Clifford Scott – Out Front!,
 released on Pacific Jazz (PJ-66), stands as one of those memorable 
sessions that captures the energy and sophistication of classic American jazz.

Known for his warm tenor saxophone tone and expressive improvisation,
 Clifford Scott delivers a performance that blends hard bop, blues influences,
 and West Coast jazz aesthetics. Every track reflects his distinctive musical
 voice while highlighting the exceptional talent of the accompanying musicians.

Released by the renowned Pacific Jazz label, Out Front! represents an era 
when jazz artists were pushing creative boundaries while maintaining strong 
melodic foundations. The recording features engaging solos, tight ensemble 
playing, and a relaxed yet compelling atmosphere that continues 
to attract jazz collectors and new listeners alike.

Whether you're a longtime fan of Clifford Scott or discovering his music for 
the first time, Out Front! offers an excellent introduction to his artistry. 
The album demonstrates why Pacific Jazz became one of the most respected
 labels in modern jazz, producing recordings 
that remain highly regarded decades after their original release.

credits:

Clifford Scott – tenor saxophone, alto saxophone
Les McCann – piano
Joe Pass – guitar
Herbie Lewis – bass
Paul Humphrey – drums

Recording session
Date: February 1, 1963
Studio: Pacific Jazz Studios, Los Angeles, California
Producer – Richard Bock

tracklist:

A1        Samba De Bamba
A2        Over And Over
A3        As Rosie And Ellen Dance
A4        Cross Talk
B1        Why Don't You Do Right
B2        Just Tomorrow
B3        Out Front

 link

 

 

 

 

 

Billy Larkin And The Delegates Featuring Clifford Scott – Blue Lights (Aura Records ARS 23003)

Billy Larkin And The Delegates Featuring Clifford Scott – Blue Lights | Rare Soul Jazz Vinyl Review

AURA RECORDS 1965       ARS 23003

 

 notes:

If you're a collector of vintage soul jazz and rhythm & blues vinyl, 
Billy Larkin And The Delegates Featuring Clifford Scott – Blue Lights 
is a record that deserves a place in your collection. Released on 
Aura Records (ARS 23003), this classic recording captures the energetic 
organ-driven sound that made Billy Larkin and his band favorites 
among jazz and R&B fans.
Billy Larkin was known for his dynamic Hammond organ performances,
 while legendary saxophonist Clifford Scott added his unmistakable 
tenor sax sound to many memorable recordings. Together, they created
 music that blends soul jazz, blues, and early funk influences
 into an irresistible groove.
Billy Larkin And The Delegates Featuring Clifford Scott – Blue Lights 
(Aura Records ARS 23003) remains a rewarding listen decades after its release.
 Rich Hammond organ textures, soulful saxophone work, and infectious 
grooves make it a standout record for fans of classic soul jazz and vintage vinyl.
If you enjoy organ-driven jazz with deep blues influences, 
Blue Lights is certainly worth discovering.

credits:

    
Drums – Mel Brown 
Guitar – Hank Swarn
Organ – Billy Larkin
Tenor Saxophone, Alto Saxophone, Flute – Clifford Scott
Producers – Les Carter, Richard Bock 
recorded Hollywood, CA, June 24 & 25, 1965
Studio: The surviving discographies identify only Los Angeles, CA. 
No contemporary source specifies the exact recording studio 
(it was likely a World Pacific-associated facility, 
but this has not been documented)

Engineer – Richard Bock

tracklist:

A1        Little Jr. Detroit
Written-By – B. Larkin*, C. Scott*, H. Swarn*, M. Brown*
    2:27
A2        Charade
Written-By – H. Mancini*, J. Mercer*
    5:15
A3        Quintessence
Written-By – Quincy Jones
    3:08
A4        Sticky Wicket
Written-By – B. Larkin*, C. Scott*, H. Swarn*, M. Brown*
    4:15
A5        Transfusion
Written-By – Charles Lloyd
    3:45
B1        The Cooker
Written-By – B. Larkin*, H. Swarn*, M. Brown*
    2:40
B2        Dallas Blues
Written-By – Onzy Mathews*
    2:48
B3        Blues For Dinner
Written-By – B. Larkin*, H. Swarn*, M. Brown*
    5:35
B4        Killer Joe
Written-By – Benny Golson
    3:40
B5        Blue Lights
Written-By – Gigi Gryce
    5:46

 

 

 Link

 

 

 

 

Clifford Scott & The Hideaway All Stars – The Big Ones (1963)

 

 

 

 

 

 

 Clifford Scott & The Hideaway All Stars – The Big Ones (1963)  World Pacific Records WP-1811 Vinyl Review

 

 

 

 World Pacific Records 1963 – WP-1811

 

 

 notes:

Released in 1963, The Big Ones showcases the warm tenor saxophone 
sound of Clifford Scott, one of the most respected yet underrated figures
 in West Coast soul-jazz. Issued by World Pacific Records under catalog 
number WP-1811, the album blends rhythm & blues, jazz standards,
 blues grooves, and popular melodies into an enjoyable listening
 experience that captures the early-1960s jazz scene.
Recorded in Los Angeles during sessions held on March 18 and March 28, 1963,
 the album features Clifford Scott on tenor and alto saxophone,
 Bert Kendrix on organ, and Wayne Robinson on drums. The trio delivers
 relaxed but energetic performances, combining bluesy improvisation
 with catchy melodies and danceable rhythms.

credits:

Personnel (all tracks)

Clifford Scott – tenor saxophone, alto saxophone
Bert Kendrix – Hammond organ
Wayne Robinson – drums

Recording sessions
Date    Location    Tracks
18 March 1963    Los Angeles, California    "Tweedlee Dee", "Why Was I Born?", 
"Sack O' Woe", "Time on My Hands", "So Rare", "You Came a Long Way from St. Louis"
28 March 1963    Los Angeles, California    "I'll Follow You", "Secret Love", 
"Teardrops from My Eyes", "One Mint Julep", "My Babe", "Down Blues"

Recording studio

The session is documented simply as taking place in Los Angeles on the above dates. 
Neither the original LP, Tom Lord's discography, nor the Jazz Disco sessionography 
identifies a specific recording studio. While many World Pacific/Pacific Jazz sessions 
of this era were made at the label's Los Angeles facilities, no published source 
attributes WP-1811 to a named studio, so it cannot be stated with confidence.

tracklist:

A1        Tweedle Dee
Composed By – W. Scott*
    2:30
A2        Why I Was Born
Composed By – Hammerstein-Kern
    2:18
A3        Sack O' Woe
Composed By – Julian Adderley*
    2:18
A4        Time On My Hands
Composed By – Harold Adamson, Mack Gordon, Vincent Youmans
    3:10
A5        So Rare
Composed By – Jack Sharpe, Jerry Herst
    3:02
A6        You Came A Long Way From St. Louis
Composed By – Bob Russell, John Benson Brooks
    2:16
B1        Secret Love
Composed By – Paul Francis Webster, Sammy Fain
    2:45
B2        Teardrops From My Eyes
Composed By – Rudolph Toombs
    2:20
B3        I Will Follow You
Composed By – Arthur Altman, Del Roma, J.W. Stole, Jacques Plante, Norman Gimbel
    2:07
B4        Down Blues
Composed By – Clifford Scott
    2:40
B5        One Mint Julep
Composed By – Rudolph Toombs
    2:45
B6        My Babe
Composed By – Willie Dixon
    2:59

 

 

 

link 

 

 

 

 

 

James Brown Presents His Band – Night Train (King Records 771)

James Brown Presents His Band – Night Train (King Records 771) | Classic R&B Vinyl Review

King Records 1961  ‎– LP 771

notes:

Few instrumental recordings capture the excitement of early rhythm and blues
 quite like James Brown Presents His Band – Night Train, released on 
King Records 771. Long before James Brown became known worldwide as 
the "Godfather of Soul," this energetic recording showcased the incredible 
musicianship of his touring band and helped establish his reputation as one 
of America's most exciting live performers.
Originally released in the early 1960s, Night Train became one of James Brown's 
signature recordings. Built around a driving saxophone melody, infectious groove, 
and Brown's unmistakable stage energy, the record became a staple of 
concerts and dance halls across the United States.

credits:

The personnel is reconstructed from King session 
research and surviving documentation:

Musician    Instrument
James Brown    vocal shouts; drums (on the master take, according to session evidence)
Nafloyd Scott    guitar
Hubert Perry    guitar
Leonard Goy    bass
Les Buie    tenor saxophone
Roscoe Patrick    trumpet
Alfred Ellis    tenor saxophone (possibly present depending on the exact take)
Nat Kendrick    originally assigned drummer; session accounts differ 
as to whether he actually played on the released master.

The James Brown tracks—including "Night Train"—were recorded at:
King Studios
Recording date for : 9 February 1961
engineer : Ron Lenhoff

tracklist :

A1    James Brown–    Hold It
Written-By – Butler*, C. Scott*
    2:13
A2    James Brown–    Scratch
Written-By – James Alston
    1:43
A3    James Brown–    Night Train
Written-By – Forrest*, Simpkins*, Washington*
    3:35
A4    The Wobblers–    The Wobble
Written-By – Stryker*, Otis*, Hall*
    2:08
A5    James Brown–    Night Flying
Written-By – James Brown
    2:40
A6    Herb Hardesty–    Just A Little Bit Of Everything
Written-By – Michael H. Hardesty*
    2:28
B1    Henry Moore–    Doin' Everything
Written-By – Ballard*, Moore*
    2:25
B2    James Brown–    Suds
Written-By – Nathaniel Kendrick*
    2:18
B3    Hank Marr–    Tonk Game
Written-By – Hank Marr
    2:40
B4    Henry Moore–    Switch-A-Roo
Written-By – Casha*, Tucker*, Evans*
    2:35
B5    Clifford Scott–    Bushy Tail
Written-By – C. Scott*, G. Redd*, N. Nath*
    2:30
B6    James Brown–    Cross Firing
Written-By – James Brown
    2:18

link

    

Chuck Berry – Rock & Roll Music / Blue Feeling (Chess 1671).

 

 

 

 

 

 Chuck Berry – Rock & Roll Music / Blue Feeling (Chess 1671) | Classic 1957 Rock & Roll Vinyl

 

 

 

 

 Chess records 1957  – Single 1671

 

 notes:

Few artists shaped the sound of rock & roll as profoundly as Chuck Berry. 
Released by Chess Records as catalog number 1671, the single 
"Rock & Roll Music" backed with "Blue Feeling" remains 
one of the defining records of the 1950s.
"Rock & Roll Music" is one of Berry's signature recordings, celebrating the 
excitement and universal appeal of the new musical style that would 
soon transform popular music around the world. Driven by Berry's
 unmistakable guitar riffs, energetic vocals, and infectious rhythm, 
the song became an enduring rock & roll anthem.
The B-side, "Blue Feeling," reveals another side of Berry's songwriting.
 Influenced by blues traditions, it delivers a slower, more emotional 
performance while showcasing the musical roots that inspired 
many of his greatest recordings.
Released on the legendary Chess label, this 45 rpm single is highly sought
 after by collectors of classic rock & roll and vintage vinyl. Original 
pressings remain important pieces of music history and continue 
to attract fans and collectors worldwide.
Whether you're a longtime collector or discovering Chuck Berry for the
 first time, Chess 1671 represents an essential chapter
 in the evolution of American popular music.

credits:

Track    Recording date    Studio    Personnel
Rock and Roll Music    May 6 or 15, 1957    Universal Recording Corp., Chicago, Illinois
    Chuck Berry – lead vocal, electric guitar; Lafayette Leake – 
piano; Willie Dixon – bass; Fred Below – drums

Blue Feeling    Same session    Universal Recording Corp., Chicago, Illinois    
Same personnel; Berry plays guitar, with Leake, Dixon and Below backing. 
The issued take is an instrumental blues; the later LP track "Low Feeling" 
is the same recording played back at a slower tape speed.

Studio: Universal Recording Corp., Chicago, Illinois (often referred to in 
discographies simply as "Chess, Chicago" because Chess used Universal
 before opening its own studio).
Producers: Leonard Chess and Phil Chess.

tracklist:

A        Rock & Roll Music    2:30
B        Blue Feeling    2:59

 

 

 

link 

 

 

 

 

 

 

Chuck Berry And His Combo – Maybellene / Wee Wee Hours (Chess 1604)

 

 

 

 

 

 

 

 Chuck Berry And His Combo – Maybellene / Wee Wee Hours (Chess 1604) | The Rock & Roll Classic That Started It All

 

 

Chess Records 1955   single  1604 

 

 notes:

Released in 1955 on Chess Records, Chuck Berry And His Combo – 
"Maybellene" / "Wee Wee Hours" (Chess 1604) is one of the most 
influential singles in the history of popular music. The record launched
 Chuck Berry's career and helped define the sound of early rock and roll 
by blending rhythm and blues with country influences,
 energetic guitar riffs, and storytelling lyrics.
The B-side, "Wee Wee Hours," showcases Berry's deep roots in the blues. 
Slower and more reflective than its famous counterpart, the song highlights
 his expressive guitar playing and demonstrates the versatility that made 
him one of America's greatest recording artists.
Issued as Chess Records 1604, this original 45 RPM single remains one of
 the most desirable records among collectors of vintage rock and roll and 
rhythm & blues. Original pressings with clean labels and strong playback 
continue to command significant interest in the collector's market.

credits:

The lineup is reconstructed from Chess documentation and later research. 
The accepted personnel are:
Chuck Berry — vocals, lead guitar
Johnnie Johnson — piano
Willie Dixon — bass
Jerome Green — maracas
Drums: Ebby Hardy or Jasper Thomas (the drummer has never been conclusively
 identified). Most modern discographies list one of these two, 
while acknowledging the uncertainty.
Recorded during the same 21 May 1955 session.
A slow 12-bar blues featuring an especially prominent piano 
performance by Johnnie Johnson.
Released as the B-side but became an R&B hit in its own right.

Recording date    21 May 1955
Studio    Universal Recording Corporation, Chicago, Illinois 
(often called Universal Recording Studios)
Producers    Leonard Chess, Phil Chess

tracklist:

Written-By – Berry

A        Maybellene
B        Wee Wee Hours

 

 

 

link

 

 

 

 

 

 

Chuck Berry – Back Home (Chess LPS-1550)

Chuck Berry – Back Home (Chess LPS-1550): Complete Album Review, Track List & Vinyl Guide

 Chess records 1970 ‎– LPS-1550

notes:

Rock & roll legend Chuck Berry returned to Chess Records with Back Home, 
an album that reminded listeners why he remains one of the greatest 
pioneers in music history. Released on the legendary Chess label as LPS-1550, 
the record combines Berry's unmistakable guitar style, clever storytelling,
 and energetic performances that helped shape modern rock music.
A Return to Chess Records
After spending time recording for another label, Chuck Berry reunited with 
Chess Records during the late 1960s. Back Home captures the familiar sound 
that made Berry famous while also reflecting the evolving musical landscape of the era.
The album delivers everything fans expect from Chuck Berry—infectious guitar riffs, 
memorable lyrics, and the rhythm-driven sound that influenced generations of artists, 
from The Beatles and The Rolling Stones to AC/DC and countless others.

Crédits 

    A&R – Chuck Berry
    Composed By – Chuck Berry 
    Chuck Berry – guitar, vocals
    Bob Baldori – harmonica, piano (overdubs)
    Lafayette Leake – piano
    Phil Upchurch – bass guitar
Billy Peek    second guitar (on selected 1970 tracks, probable)
Unknown session drummer(s)    drums (not identified in surviving documentation)

Recorded    November 21st, 1969; April 27th, 1970; September 1970
Studio    Ter Mar Studios, Chicago
Malcolm Chisholm – engineer

 Tracklist:

All Songs Composed By Chuck Berry

A1     Tulane     2:35
A2     Have Mercy Judge     2:40
A3     Instrumental     2:47
A4     Christmas     3:27
A5     Gun     2:45
B1     I'm A Rocker     4:34
B2     Flyin' Home     4:17
B3     Fish & Chips     2:50
B4     Some People     4:10

 

 

link 

Jimmy McGriff – Blues For Mister Jimmy (Sue Records LP 1039)

Jimmy McGriff – Blues For Mister Jimmy (Sue Records LP 1039)  Classic Soul Jazz Vinyl Review

 Sue Records Inc. 1965 ‎– LP 1039

notes:

Blues for Mister Jimmy is an album by organist Jimmy McGriff 
recorded and released by Sue Records in 1965.
Few musicians blended blues, jazz, soul, and gospel with the 
effortless groove of Jimmy McGriff. Released on Sue Records Inc.
 (LP 1039), Blues For Mister Jimmy captures the Hammond organ 
master's unmistakable sound, delivering deep blues feeling
 with infectious jazz rhythms.
McGriff's signature Hammond B-3 organ style helped define 
soul jazz during the 1960s. Throughout this album, listeners are 
treated to warm organ tones, blues-inspired improvisations, 
and tight rhythm section performances that remain timeless 
decades after their original release.
Whether you're an experienced vinyl collector or discovering 
Jimmy McGriff for the first time, Blues For Mister Jimmy stands
 as an essential recording in the evolution of soul jazz and blues organ music.

credits:

    Jimmy McGriff – organ
    Larry Frazier – guitar
    Jimmie Smith – drums

recorded 
New York: c. 1964

tracklist:

All compositions by Jimmy McGriff except where noted


A1        Discotheque U.S.A.    3:21
A2        Cash Box    3:39
A3        Blues For Joe    3:00
A4        Blues For Mr. Jimmy    4:52
A5        The Dog (You Dog)    3:25
B1        Bump De Bump    3:37
B2        The Party's Over
Written-By – Comden-Green*
4:05
B3        Turn Blue    4:36
B4        Sho' Nuff    3:51 

 

 

 

  

Link

 

The Spencer Davis Group – Autumn '66 (Fontana TL5359)

 

 

 

 

 

 

The Spencer Davis Group – Autumn '66 (Fontana TL5359) | Album Review, Tracklist & Vinyl History 

 

 

 

 

 

 

FONTANA RECORDS 1966                      TL5359 

 

 notes:

Few British rhythm & blues bands captured the energy of the mid-1960s 
quite like The Spencer Davis Group. Released in 1966, Autumn '66 
showcased the remarkable vocal talent of Steve Winwood alongside 
Spencer Davis, Muff Winwood, and Pete York. Issued by Fontana Records 
under catalog number TL5359, the album blends blues, soul, jazz, and 
early rock into a timeless collection that remains a 
favorite among collectors and classic rock enthusiasts.
Autumn '66 arrived during the group's most successful period, when 
Steve Winwood's soulful voice had already helped produce international hits. 
Rather than relying solely on chart singles, the album explores deeper
 blues influences, soulful arrangements, and polished musicianship that 
reflected the band's rapid artistic growth.
Listeners will find energetic performances mixed with emotional ballads, 
demonstrating why The Spencer Davis Group became one of 
Britain's defining R&B acts of the decade.

credits:

    Steve Winwood – lead guitar, organ, lead vocals (except where noted)
    Muff Winwood – bass
    Spencer Davis – rhythm guitar, vocals (lead vocal on "Midnight Special" , 
   "Dust My Blues" & "Neighbour, Neighbour")
    Pete York – drums

Although the original LP sleeve does not identify the recording studio,
 period documentation and recording histories attribute the sessions to:
Island Studios, London

    Chris Blackwell – producer
    Bob Auger – engineer
    Peter York – liner notes
   

 Track list:

A1     Together 'Til The End Of Time
Written-By – F. Wilson*
A2     Take This Hurt Off Me
Written-By – Covey*, Miller*    
A3     Nobody Knows You When You're Down And Out
Written-By – Cox
A4     Midnight Special
Arranged By – Spencer DavisWritten-By – Trad.*
A5     When A Man Loves A Woman
Written-By – Wright*, Lewis*
A6     When I Come Home
Written-By – J. Edwards*, S. Winwood*
B1     Mean Woman Blues
Written-By – C. Demetrius*
B2     Dust My Blues
Written-By – Elmore James
B3     On The Green Light
Written-By – S. Winwood*
B4     Neighbour, Neighbour
Written-By – A.J. Valier*
B5     High Time Baby
Written-By – Winwood*, York*, Davis*, Winwood*
B6     Somebody Help Me
Written-By – J. Edwards*

 

 

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