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Wayne’s Music 27/28 July 2013.  raiding The Vaults of those brave pioneer labels of the 50s and 60s.

‘Little Bitty pretty One’             Thurston Harris first appeared on record in 1953 as the featured vocalist with The Lamplighters, one of the many groups on the early Rhythm and Blues scene in Los Angeles.  .

‘Hey Doll Baby’              Pat Kelly on Jubilee Records which was set up in New York in 1946 –

‘Second Hand Love’                Connie Francis with one of her gems from the MGM Vaults. 

‘Let The Good Times Roll’                Shirley and Lee (the sweethearts of the blues) on the Alladin label which conjured up all sorts of magical sounds and for a while it was The leading R & B label in the United States.

‘My Love’            a young Betty Everette making her first venture into a recording studio in Chicago, historically the “hub” of the blues –

‘Without You’                Johnny Tillotson -  who had his best years with The Cadence label, founded originally to promote the career of Julius La Rosa a resident singer on the Arthur Godfrey Show.

‘Jim Dandy’          LaVerne Baker on the label that emerged in the early years of the 20th century with the famous Magic Notes logo – (a pair of semiquavers) which became the Columbia Graphophone Company (which owned HMV)  to become Electrical and Musical Industries (EMI) 

‘I Wish I Could Shimmie Like My Sister kate’        The Olympics – on Vogue records the label released several rock and roll standards during its short lifespan.

‘Over There’                   The Bobbettes - Eight girls, between the ages of 11 and 15, who were both members of the glee club and after-school playmates, decided to form a group.

‘Don’t Go Near The Eskimos’            Sheb Wooley released music and performed as Ben Colder as well as under his own name.

‘Dad Gum Ya Hide Boy’          Louis Jordan was up with the bunch of major solo acts who recorded for the label with the lamp – Aladdin. 

‘Walking Down The Aisle’        Ike Turner’s Kings Of Rhythm – a seasoned recording artist by the time he released this in 1959 –

‘I’m Gonna Knock On Your Door’    Eddie Hodges with his novelty number that proved to be a Cadence Classic –.

‘Since I met You baby’   ivory Joe Hunter with his masterpiece of smooth, bluesy elegance. 

‘Bom Bom Lulu’             Gene And Eunice were Los Angeles’ answer to New Orleans Shirley and Lee – except Eunice could actually sing in key. 

‘You Don’t Know How Glad I Am’    no prizes for guessing who this is!!!  Yes – right first time – the “barefoot contessa of pop” – Sandie Shaw. 

‘Halfway To Paradise’              Tony Orlando on what turned out to be one of the most successful Record labels of the 80s … EPIC –

‘Don’t Make me Over’             it was Burt Bacharach who discovered the woman that would become Scepter records most famous artist.  Dionne Warwick embarked on a career that would span 6 decades, five Grammy awards and millions of records sold.

Wayne’s Music Sunday 28 July 2013.  PART ONE.

‘Didn’t I tell You’           Tommy Hunt, a member of The Flamingoes, and as a solo singer was on the Bill at The Apollo Theatre with Jackie Wilson, Marvin Gaye, Ray Charles, Diana Ross, The Shirelles, Chuck Berry, Bo Diddley and others.

‘I Wish’                Della Reese was a gospel singer being mentored by Mahalia Jackson when she signed up with Jubilee records in 1953 –

‘Rockin and Rollin With Grandmaw’  Carson Robison was the son of a famous fiddler from Kansas City – he became a country singer and writer and although his impact is forgotten today, he played a major role in promoting country music in its early years  through numerous recordings and radio shows.  Here’s one of his novelty numbers from the MGM Vaults of 1956. 

‘Hey Little Girl’               Thurston Harris is a very BIG part of the Aladdin Story – he signed up in 1957 and reeled off a string of hits to add to a host of singles where The Aladdin Label really flourished with names like Lightnin Hopkins, Lowell Fulson, Louis Jordan the jump-jive pioneer himself, even Lady Day (Billie Holiday) herself passed through earlier in the 50s, although her major output was to be found elsewhere.

‘Ain’t Gonna Cry’          Betty Everette – another one of her early cuts on Cobra records three or four years before her biggest hit “The Shoop Shoop Song” came along. 


‘When Will I be Loved’  in 1957 Wesley Rose of music publishing giants Acuff-Rose was asked by Archie Bleyer the owner of Cadence records to keep an eye out for country acts.  Rose suggested two young brothers by the names of Don and Phil Everly –

‘Lucky Lips’                   Ruth Brown – this was the first pop hit for the Queen Of Rhythm and Blues – a leiber/Stoller number that set her career alight in 1957.

‘Good For Nothin’                   Scott Engel with Count Dracula and The Boys …went on to become Scott Walker, iconic frontman of the Walker Brothers …

‘Don’t Blame me’  many of my school buddies were in love with Erma Franklin (Aretha’s sister who sang back up vocals for her more famous younger sister) – Erma did not find comparable success but I still think her husky, soulful voice is every bit as good as Aretha’s. 

‘Think Sometimes About Me’             that hit-making team of writer/producer Chris Andrews and Sandie Shaw – way back in those PYE days of the mid sixties …

‘Knee Deep In The Blues’         then there was Tommy Steele in those early DECCA Years – the most successful of the British home-grown rock and roller’s of the 50s – he also had a hand in writing many of his biggest hits – a rarity for any UK artist in that decade. 

‘Bring A Little Water Sylvie’               Lonnie Donegan – Tommy Steele’s label mate for a while at DECCA … this one from the beginning of the skiffle craze in 1957. 

‘I Smiled yesterday’                  Dionne warwick when she was starting out at SCEPTER records before moving on to Warner Brothers in the early seventies. 

‘it’s All Over But The Cryin’              although Jubilee records was never a major label, it signed up an impressive string of artists, many of whom would go onto greater things – for example  The Four Aces.

‘Together’             Connie Francis was MGM’s brightest star in the late 50s, early 60s – she could do no wrong with her pop hits and frothy arrangements of old ballads like this one. 

‘Messy Bessy’                Louis Jordan and His Tympany Five – were away a head of their time – the Cotton Club show band was one of the best ever. 

‘The Bilbao Song’          Andy Williams  was signed up by Cadence when he was the heartthrob lead singer of The Williams brothers – and soon the solo releases appeared –
‘You Can’t Stop This Rocking And Rolling’ – Ivory Joe Hunter from his Columbia Golden Years …he was known as the “Barron Of The Boogie”.
‘ I Gotta Go Home’                  Gene (Wilson) and Eunice Levy) a couple of Texas singers who met at a talent contest in Los Angeles, and soon they were starting to write their own songs. 

‘Get Your Kicks On Route 66’ …       George Maharis was one of the stars of the TV programme, but his version of the theme song rarely gets played …

‘Tomorrow”                   Sandie Shaw from her second album working again with writer/producer Chris Andrews who certainly got the most out of Adam faith’s teenage discovery.

‘Handful Of Songs’                  Tommy Steele –

‘Chesapeake Bay’           Lonnie Donegan in his jazz band days –

‘It’s Love That Really Counts’  The Shirelles.