"Fuzzy" Owen - Arkie's Got Her Shoes On - Beware Of A Stranger

can't keep 'em barefoot and pregnant forever...

"Fuzzy" Owen - Arkie's Got Her Shoes On


edit: added the flip even though it plays pretty beat because a drunken hobo asked for it. sorry about the noise.




"Fuzzy" Owen - Beware Of A Stranger

Cliff Martin And His Cliff Dwellers - Back Street Affair

Some more early country music w/ Cliff Martin And His Cliff Dwellers doing Back Street Affair on the Crest record label. Scant info on this, so again, i have no idea what year but has to be the 50's? Any help DrunkenHobo? This one kind of slinks along with some creepy fiddle and steel guitar and a kooky vocal delivery from Mr. Martin which creates a pretty somber tone. Nice.

edit: Bob The Scared Data Miner said 1953. Thanks Bob!

Cliff Martin And His Cliff Dwellers - Back Street Affair

The Bell Tones - Hangover Blues - I've Got A New Baby Doll

The Colts - Shiek Of Araby - Guiding Angel

The Colts is one of two black vocal groups that came out of Bakersfield, California (the other group was The Paradons of "Diamonds and Pearls" fame). Lead singer Ruben Grundy, his brother Joe Grundy, and Carl Moland lived on the same street in Bakersfield. When the three moved to Los Angeles to attend L.A. City College, they put together a vocal group with fellow student Leroy Smith, who came from New Jersey. (Love all things Jersey!)

Read more HERE:

The Colts - Shiek Of Araby

The Colts - Guiding Angel

Unknown Acapella Doo Wop Group - (Del Rockers?)

Ok, so i bought this acetate for 25 cents and I'm a bit puzzled (not hard to do). There are 2 different sets of writing on this thing. The pencil underneath i can not make out, but on top of the pencil in pen it says Del Rockers, 1981, Ricky - Tom - Frank - Walt + Mike on both sides. Is this really from 1981? I have several other Audiodisc acetates and they look just like this one but are from the early to late 50's. Were they still making these audiodisc acetates in 1981? and the acapella doo wop sounds on this sound hauntingly authentic. Did the Del Rockers nail it in 1981? Or did some band called the Del Rockers mock up this acetate as a goof or trick? I don't know.... Both tunes are pretty good for accapella, which I'm not really a big fan of. I don't really know the names of the songs but i took a stab considering they say the same thing a bunch of times in each song. If any of this rings a bell drop a note and let me know. Thanks.

Unknown Acapella Doo Wop Group - Memories Of You

Unknown Acapella Doo Wop Group - It's Really Love

22 New Songs: The Excellents, The Elchords, The Cadillacs, Ron Holden, Joe Hinton, Ronnie Love, The Blue-Belles, Safaris, Little Willie John, Etc...

A bunch more 45's i picked up recently. I figure if i don't start putting these up in bulk i am never going to get to all the crap i have... I'm going to try to bunch some 45's like this on the reg.... Anyway, there is a nice mix of music here of all different styles from 1955 to the early 60's, if you can't find something you like in this bunch you should move along and never come back...

The Excellents - Coney Island Baby


The Excellents - Why Did You Laugh


Elchords – Peppermint Stick


The Cadillacs - Gloria


The Cadillacs - I Wonder Why


Ron Holden - My Babe


Ron Holden - Love You So


Joe Hinton - Love Sick Blues


Joe Hinton - You Know It Aint Right


Ronnie Love - No Use Pledging My Love


Ronnie Love - Chills And Fever


The Blue-Belles - I Sold My Heart To The Junkman


The Blue-Belles - Itty Bitty Twist


The Safaris - Image Of A Girl


The Safaris - 4 Steps To Love


Little Willie John - Until Again My Love


Little Willie John - Mister Glenn


Chris Powell And The Blue Flames - Goodbye Little Girl


Chris Powell And The Blue Flames - Chinatown


The 3 Friends- Happy As A Man Can Be


The 3 Friends - Dedicated (To The Songs I Love)


Micki Marlo - Little By Little

The Aquatones - She's The One For Me

A nice little rocker from 1958 from the Aquatones. This is the flip to their hit 1st and only "hit" record "You". I prefer this side...

Here is the Wiki low down:

The Aquatones were a doo-wop group in the 1950s who charted just once with "You", a ballad which was also covered by Gale Storm.

The Aquatones were true one hit wonders whose subsequent singles for the Fargo label all failed to reach the Hot 100.

The Aquatones were a four part harmony band with a female lead vocal, Lynne Nixon. The group began as three guys from Valley Stream, New York. They formed in 1956 as the Rhythm Kings with Dave Goddard, Larry Vannata, and Gene McCarthy as members. They came together to record a song written by Dave for their junior class play at Valley Stream Central High School. All of the guys played instruments as well as sang - Gene the clarinet and tenor sax, Larry the alto and tenor sax, and Dave the piano. Bob Boden would play drums when they performed live. A classmates father, a record distributor, heard the group and suggested that they add a high falsetto voice. Shortly thereafter, Larry met Lynne Nixon at a dance and asked Gene and Dave to give her an audition. Upon hearing Lynne's voice they agreed to add her to the group. At first, Lynne only sang backgrounds, until Larry wrote the song "You" for her to sing.
The group later changed its name to the Aquatones (as Dave describes it "so the guys could wear a 'cool' shirt from the 1950s - aqua with a black velvet 'V' down the front). In 1957 the three original members - Larry Vannata, David Goddard and Eugene McCarthy, decided to add Lynne as a fourth member to give the group some versatility. It was not long after the group became a foursome that they found themselves performing at a talent contest at Malverne High School. The contest entitled Stairway to the Stars was just that for the group as local real estate mogul turned music promoter Lou Fargo heard the group and liked what he saw and heard. In December 1957, he signed the group and off to the studio they went to record on Fargo's own label.

Their first song was "You" (Fargo 1001 b/w She's the One For Me). It was a group harmony recording. The record hit on the Billboard chart in April 1958. Such classics as "I Met Him on a Sunday" by the Shirelles, "Zoom Zoom Zoom" by the Collegians, and "Sweet Little Sixteen" by Chuck Berry were out at the same time. While it did very well in the East, it only managed to hit #21 across America.

The Aquatones - She's The One For Me

Lone Twister - The Lone Twister - Twistin' Up A Storm

Thanks RedBoy.. I don't care what anybody says about you....


You're still a prick...



The Lone Twister - The Lone Twister

The Lone Twister - Twistin' Up A Storm

Junior Waters - My Life Is A Seven

OH HOW LUCKY JUNIOR HERE IS!

HIS LIFE IS A 7!!! (Mine usually hovers well below the Mendoza line)

Junior Waters - My Life Is A Seven

Joe Turner and the Blues Kings - Flip Flop and Fly - Ti-Ri-Lee

Anybody out there…???

OK, so I aint been around much and I really don’t have much to say these days so I’ll just cut to the chase. Here is a great 45 from 1955 by a great artist; Big Joe Turner. I wish I had more records by him but then again I wish I had a lot of records I don’t have…

there is no need for me and my poor writing skills to try and do justice to the man just read the following lifted from the R&R hall of f(sh)ame...

Big Joe Turner (vocals; born May 18, 1911, died November 24, 1985)
Big Joe Turner was the brawny-voiced “Boss of the Blues.” He was among the first to mix R&B with boogie-woogie, resulting in jump blues - a style that presaged the birth of rock and roll. Indeed, Turner’s original recording of “Shake, Rattle and Roll,” cut for Atlantic Records in 1954, remains one of the cornerstones numbers of the rock and roll revolution. Turner’s lengthy career touched on most every significant development in popular music during this century, taking him from the big bands of the Swing Era to boogie-woogie, rhythm & blues, and rock and roll. James Austin of Rhino Records noted that “[Turner’s] raucous style first blended R&B with boogie-woogie. The result was jump blues, and Joe was its foremost practitioner.”

But how important was he to the development of rock and roll?

“Rock and roll would have never happened without him,” opined legendary songwriter Doc Pomus.

Turner was a huge man with a husky, booming voice who could out-shout a big band without amplification while projecting clarity and control. He was born in Kansas City, and it was in that freewheeling city’s jumping nightspots that he began his career as a bartender and singer. Kansas City was, in those days, a hotbed of jazz and blues whose many clubs rocked around the proverbial clock. As a young man, Turner worked at various of these joints - including the Backbiter’s Club and the Sunset Café - as a bouncer, bartender and singer. It was here that he hooked up with pianist Pete Johnson (nominally referred to in the songs “Roll ‘Em Pete” and “Johnson & Turner Blues"). Turner also sang with the big bands of Count Basie and Benny Moten when they came through town.

Turner and Johnson helped popularize boogie-woogie and jump blues in the late Thirties and early Forties. “Everybody was singing slow blues when I was young,” Turner told Rhino’s James Austin, “and I thought I’d put a beat to it and sing it uptempo.” Crowds would clamor for Johnson to play some boogie - “Roll ‘em, Pete!” Make ‘em jump!” - and he’d oblige. Thus did this duo help ignite a musical trend in the nightclubs of Kansas City and beyond. The songs Turner sang (and sometimes wrote) were often risqué, employing coy slang words and metaphors for sex in ways that would amuse a partying club crowd.

The duo brought their routine to New York in the late Thirties, and their appearance at the “Spirituals to Swing” concert in December 1938 proved to be a major turning point. Turner sang without a microphone, his forceful pipes carrying into the furthest reaches of the sold-out hall with ease. In New York, Turner and Johnson became regulars at the Cafe Society nightclub and signed to Vocalion Records, cutting some seminal versions of “Roll ‘Em Pete” and “Cherry Red” for the label.

Turner recorded prolifically in the Forties for various labels, including Decca, National and Aladdin. He worked with Johnson as well as a number of other pianists, including such giants as Albert Ammons, Willie “the Lion” Smith and Meade Lux Lewis. In 1946, Turner had his first R&B hit, “My Gal’s a Jockey,” released on Herb Abramson’s National label. Abramson would go on to co-found Atlantic Records with Ahmet Ertegun 1948. Meanwhile, Turner - who recorded for a bewildering variety of labels during this period - charted again in 1950 with “Still in the Dark,” issued on the Houston-based Freedom label.

In 1951, Ertegun brought Turner to Atlantic Records, where he cut a string of rhythm & blues and early rock & roll classics over the next decade. Among them were “Chains of Love,” “Sweet Sixteen,” “Honey Hush,” Shake, Rattle and Roll,” “Flip Flop and Fly,” and “Corrine Corinna.” Pianist Fats Domino accompanied Turner on the romping “TV Mama.” “Shake, Rattle and Roll” and “Honey Hush” were particularly massive hits, topping the R&B charts for three and eight weeks, respectively. For a spell Turner was a bonafide rock and roll star, cutting such songs as “Teenage Letter” for the burgeoning youth market and appearing in the teen flick Shake, Rattle and Rock. No other figure straddled rock and roll and rhythm & blues with such authority as Turner. Capitalizing on his reputation as a pioneer, Turner shuttled easily between the two worlds, sharing stages with Fats Domino, the Clovers, Bo Diddley and a variety of other acts on Alan Freed’s package tours.

But Turner’s musical roots were too deep to limit him to the faddish teen market. Turner’s definitive work for Atlantic came in 1956, and the title said it all: The Boss of the Blues: Joe Turner Sings Kansas City Jazz. A sequel of sorts, Big Joe Rides Again, appeared in 1960. In the Sixties, after the first wave of rock and roll had died down, Turner returned to blues and boogie-woogie. He moved to Los Angeles, where he recorded with jazz legends like Dizzy Gillespie, Count Basie and Roy Eldridge for some well-received albums on the Pablo label. He also schooled a young backup band that eventually became the Blasters.


Joe Turner and the Blues Kings - Flip Flop and Fly
Joe Turner and the Blues Kings - Ti-Ri-Lee

Bobby Charles - Why Can't You

I don't have much to say these days, but i am hoping for a better twenty ten...

fuck 2009!!!

There is no connection whatsoever with this song & new years... I just really really dig this cut from 1956 and it is a 45 i've been waiting for the right moment to drop. I guess none better than wishing for a happier new year huh? I hope all of you have a great new year and if you 2009 was awesome i hope 2010 equals or surpasses for you...

As for Mr. Bobby Charles:

Bobby Charles (born Robert Charles Guidry, February 21, 1938, Abbeville, Louisiana) is an American singer and songwriter.

An ethnic Cajun, Charles grew up listening to Cajun music and the country and western music of Hank Williams. At the age of 15, he heard a performance by Fats Domino, an event that "changed my life forever," he recalled.

Charles helped to pioneer the south Louisiana musical genre known as swamp pop. His compositions include the hits "See You Later, Alligator," which he initially recorded himself as "Later Alligator", but which is best known from the cover version by Bill Haley & His Comets; and "Walking to New Orleans", written for Fats Domino.

"(I Don't Know Why I Love You) But I Do" was a 1950s classic that Charles composed which Clarence "Frogman" Henry had a major hit with and which was on the soundtrack to the 1994 blockbuster Forrest Gump. His composition "Why Are People Like That?" was on the soundtrack to the 1998 movie Home Fries.

Because of his south Louisiana-influenced rhythm and blues vocal style, Charles has often been referred to as black, when in fact he is white.


Bobby Charles - Why Can't You

Nappy Brown - Little By Little - I'm Getting Lonesome

Napoleon Brown Culp (October 12, 1929 – September 20, 2008), better known by his stage name Nappy Brown, was an American R & B singer.

Nappy Brown was among the biggest stars in R&B, frequently touring with the legendary revues of Alan Freed. His songs, along with those of his peers and contemporaries (such as Little Richard, Chuck Berry, and Fats Domino), were among the first wave of African-American pop music to become noticed and popular with white audiences.

In addition to Brown's influence on blues music, and 1950s R&B and pop, Brown's powerful and protean voice, combined with his distinctive emotive style, is widely viewed as a key link in the development of Soul music.

This jam was released in 1956.

Every time i listen to some Nappy i feel the need to go out and find more of his records that i don't own. Hope you feel the same way...?

Nappy Brown - Little By Little

Nappy Brown - I'm Getting Lonesome

Screamin' Jay Hawkins - Alligator Wine - There's Something Wrong With You

Happy Monday people:

Here's a little something i just picked up last week at a record store near my work.

Me and the Red Boy went on over at lunch time and dug through the LP's and as we were running out of time and had to start getting back we decided to pay up and a get a moving back to the old slave grind. So as were walking up to the counter to pay we notice a few new boxes of 45's sitting on the counter and we just kinda looked at them and good old Red Boys says something to effect of "We don't have time" to which i reply "i know" as i say that i just randomly pull out a 45 in the middle of the box and turn and show him this little gem and then i say "maybe we should look?"

and we did...

There are a few clicks in pops in this classic 45 but hey, for 99 cents I aint complaining....

Enjoy some Screamin' Jay Hawkins on Okeh!

Screamin' Jay Hawkins - Alligator Wine
Screamin' Jay Hawkins - There's Something Wrong With You

The Devil's Music: Devil Dick Mix - Vol. 4 - 50's Rock N' Roll!!!

It's been a while since i did a mix so i put this little rocker together. Call it Rock, Rockabilly, Rock-A-Billy, Rockin' Roll, whatever you want but after my Voxpoppers post i realized i miss my 50's rock so i grabed a random box of 45's and put together this little mix for myself and for anyone out there that wants it.

Enjoy!

1. Jesse Lee Turner - Shake, Baby, Shake - 1959
2. Cliff Richards - Dynamite - 1959
3. Jack Scott - Save My Soul - 1959
4. Bill Parsons - Rubber Dolly - 1959
5. Ricky Nelson - Be Bop Baby - 1957
6. Charlie Gracie - Wanderin' Eyes - 1957
7. Benn Joe Zeppa - Topsy Turvy - 195?
8. Ray Coleman & the Skyrockets - Rock Chicken Rock - 1957
9. George Flemming - The Shake - 195?
10. Dicky Doo & the Dont's - Wild Party - 1958

The Devil's Music: Devil Dick Mix - Vol. 4 - 50's Rock N' Roll!!!

The Voxpoppers - The Last Drag

Ok, here is something i definitely don't do enough of over here considering i have thousands of 50's rockin' 45's and this here is one of my faves.

This goes out to my man over at Blues For The Redboy and he knows why....

This is the 1st pressing on AMP before Mercury records scooped up the band and put the same cut out in 1958. I found this a while back out in PA for cheap cheap cheap, after owning the only the Mercury 45 for a while now.

Info was pretty scarce but i did dig up a discussion about the band on the One Hit Wonder message board. Looks like they were from Canarsie, NY.

The Voxpoppers: (New-York)

Personnel included:

Freddie Tamburo
Sal Tamburo
Harry Tamburo


Discography :

1958 - The last drag / Wishing for your love (Mercury 71282/Amp-3 1004)
1958 - Pony tail / Ping pong baby
1958 - Come back little girl/A love to last a lifetime (Poplar 107)
1958 - Why do you treat me this way / Come back little girl (Poplar 112)
1959 - Can't Understand it / Blessing after all (Versailles 200)

There is some tasty guitar work on this cut just like the devil likes so please enjoy!


The Voxpoppers - The Last Drag

Eugene Church & The Fellows - Pretty Girls

Let's switch hit up today w/ some R&B type Doo Wop or Doo-Wop inspired R&B whatever you prefer:

Eugene Church (b. Jan. 23, 1938 - d. April 3, 1993, Los Angeles, California) and The Fellows (members Eugene Church, Bobby Day, Alex Hodge, Tommy Williams with Richard Berry and The Dreamers)

Church collaborated with Jesse Belvin in the 1950s as The Cliques, releasing singles on Modern Records. Late in the 1950s he released 4 singles of his own, as Eugene Church & the Fellows. The first two were U.S. hits: "Pretty Girls Everywhere" went #6 R&B & #36 Pop, this cut is from 1959 and is another fave of the devil here at the devil's music so please enjoy!


Eugene Church & The Fellows - Pretty Girls

Joey Gills - (I'm Like) A Dog Without A Bone

Here is a little something I've yet to touch upon on my lil' old bloggie here, some Rock-a-billy - Bop - Hillbilly music.

Here is what I found out about Mr. Gills, he is from Louisiana, Born January 27, 1929 and this record is from 1956.

Enjoy some strong mid pace Hillbilly Bop from JOEY GILLS with a definite lean towards Mr. Hank Williams to get your weekend started.


Joey Gills - (I'm Like) A Dog Without A Bone