The 4 Knights - Sing (1955)

The 4 Knights - Sing

Ruth Brown And Her Rhythmakers - As Long As I'm Moving

Ruth Brown - As Long As I'm Moving

Twin Tunes - Japanese Rhumba

I just picked up a few 45's on the cheap. This was one of my faves from the lot. Aye, Aye, Aye!

Twin Tunes - Japanese Rhumba

Bill Monroe And His Blue Grass Boys - Cheyenne

Pretty killer country instrumental that's very reminiscent of Hank Williams Kaw-Liga.

Bill Monroe And His Blue Grass Boys - Cheyenne

Marvin & Johnny - Ding Dong Baby

She's a fatty, she's a'round. Weighs 500 pounds. She's my lover, lover, lover, lover every ounch and every pound.....

1955 must have been a more forgiving time.... Killer R&B rocker from Marvin & Johnny and the great specailty label from 1955.

Somebody needs to compile all the songs about ugly & fat girls...

I need more coffee.....

Marvin & Johnny - Ding Dong Baby

The Hearts - Oo-Wee

Just picked this up @ the flea market. Great rockin' doo-wop/R&B by the hearts from 1955, who happen to be one of the very 1st "girl groups". I lifted the below from the web. Click the read more Here: link to read the whole deal on The Hearts.

The Hearts was a group formed in New York City in the early fifties.They were one of the very first "girl groups" that had success in the R & B field. Zell Sanders was a budding recording industry entrepreneur bucking the system as a female in a male dominated world. The Hearts consisted of Hazel Crutchfield, Forestine Barnes, Louise Harris, Joyce West, and pianist and male member Rex Garvin. Finding a label to record the group was not easy but soon Sanders had made contact with a small local label named Baton Records and its neophyte president Sol Rabinowitz. He liked what he heard and in the first few days of 1955 "Lonely Nights" and "Oo-Wee" was released on Baton # 208...

Read More HERE:

The Hearts - Oo-Wee

The Ray-O-Vacs - Party Time

Ripping early R&B Rocker. Man it's hard to beleive this is from 1955/56 because it rips so hard. Great guitar and just an killer uptempo groove. When these guys say "It's Party Time!" They mean it! I would have loved to party with these dudes... Plus they named themselves after an old battery company. Killer. Looks like they were from New York.

a bit more info HERE: Also a good blog peice on them HERE: @ Be Bop Wino:

The Ray-O-Vacs - Party Time

Jim Edward Brown & Maxine Brown - Here Today And Gone Tomorrow

For Drunken Hobo...

Jim Edward Brown & Maxine Brown - Here Today And Gone Tomorrow

Jim Edward Brown & Maxine Brown - You Thought I Thought

HONEY! SHUT UP!

Jim Edward Brown & Maxine Brown - You Thought I Thought

Mabel Lee - Dearest Dream - He's My Guy

Rare Mid 50's Doo Wop Ballad & Rocker 45.

Mabel Lee - Dearest Dream

Mabel Lee - He's My Guy

Rita Robbins - Get Away

Some more country here today. This is Rita Robbins w/ Get Away from 1955. Pretty Tame stuff but it has a certain charm. Kinda teeters on pop w/ just a hint of that hillbilly stuff i really dig...

As for Rita, here is the lowdown according to hillbily-music.com.....

Rita Marie Winters came into the world in Claxton (or Dayton? or Daisy?), Georgia back in 1932. Country music fans came to know her has Rita Robbins. Her first stage appearance was at the age of six at a school play. She began her musical journey singing with her family at various U. S. Army camps around Savannah, Georgia during World War II.

As a youngster, she would often enter local talent contests. But one in particular probably stands out in her memories. During one contest, for selling U. S. Bonds, her talents helped sell $50,000 worth of bonds.

When she graduated from high school, she became an airline stewardess with Peninsula Air Transport. Her work would take her to such cities as Chicago, Detroit, New York, Dallas and Tulsa. Her family had moved to Miami, Florida around 1949 or so. This may be where that airline was based. Her first television appearance was over a station in Miami.

Her father was a disc jockey and band leader by the name of George Winters. According to one article, he encouraged her musical career and helped her develop an "...unusual and infectious style of delivery."

At one point she teamed up with Anita Carter and Ruby Wells on a few recordings. She also recorded a tune with her brother, Don Winters.

It should be noted that Rita did not really start to think about a career as a performer until her brother Don did an audition tape for Cameo Records back in 1953. Somebody liked what they heard of her on that recording session and signed Rita to the Cameo label. Her first release for Cameo was said to be "Take A Look At That Moon."

Pee Wee King reported in his column in 1955 that Rita had appeared on his television show.

Country & Western Jamboree spoke favorably of her release on RCA that included the tunes "Don't Take All The Love" b/w "Go Between" and thought it was a toss-up as to which side was the "A" side.

In 1955, Country & Western Jamboree's Disc Jockey poll ranked her Number 4 among "Top New Female Singers" behind Myrna Lorrie, Ginny Wright and Betty Amos. The next year, she was named one of the "Top Female Singers".

Her career appears to have been short-lived as we have found no mention of her after 1958.

http://www.hillbilly-music.com/artists/story/index.php?id=14154


Rita Robbins - Get Away

The Marigolds - Rollin' Stone - Why Don't You

Man this record is just great. I picked this up years ago while on tour in the basement of some funky ass record store down south. i wish i could remember the joint but man there was A LOT of 45's in the basement. This was one of the great records i pulled that day... Any way this is from 1955 and on the excellent Excello label. these guys were from Nashville TN and only put a few records out from 1955 to 1956. They also appeared under the names Johnny Bragg & The Marigolds and The Solotones.

The Marigolds - Rollin' Stone

The Marigolds - Why Don't You

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

Billy Emerson - When It Rains It Pours

You know the devil does the best he can round these musical parts but i am bottom feeder of musical sorts. i don't wheel and deal or sell on ebay, i am true music fan and i really do love music and collecting records. but i am a man of smalls means, which means there a millions records on the devils want list, but i do what i can... and while this 1964 version of Billy "The Kid" Emerson's "When it rains it pours" aint the original 1955 version on Sun records, it is a great version and a version the devil could actually afford to buy... So please enjoy and maybe one day i will sneak into the Red Boys apartment and swipe his OG copy...

As for Mr. Emerson:

William Robert Emerson, known as Billy "The Kid" Emerson (born 21 December 1929), is an African-American R&B and rock and roll singer and songwriter best known for his 1955 song, "Red Hot".

He was born in Tarpon Springs, Florida, and learned the piano, playing in various local bands. Following a spell in one group, dressed as outlaws, he picked up the nickname "Billy The Kid". He joined the Air Force in 1952, and on his discharge met up in Memphis with bandleader Ike Turner, who recruited him into his Kings of Rhythm.

In 1954 he released his first record on the Sun label, "No Teasing Around", following which he left Turner's band and joined a group led by Phineas Newborn. He stayed with Sun as a songwriter, writing and recording "When It Rains It Really Pours", later recorded by Elvis Presley, and "Red Hot", which later became a hit for both Billy Lee Riley and Bob Luman.

In late 1955 he joined Vee-Jay Records in Chicago, making sophisticated records such as "Every Woman I Know (Crazy 'Bout Automobiles)", released a year later but with little commercial success, and soon afterwards moved to Chess Records. However, he continued to have more success as a songwriter, writing for Junior Wells, Willie Mabon, Wynonie Harris and Buddy Guy during the early 1960s, often in conjunction with Willie Dixon.

Billy Emerson - When It Rains It Pours

Pee Wee King and His Band - You Can't Hardly Get Them No More

This one goes out to my kids and once again the redboy.

See when i first got this here 45 a way back when and was playing it my kids were asking about it saying Daddy, what's a mustache cup? (listen to the song to fully understand) and i tried to explain it to them and they just had this puzzled look on their faces like "huh?". So what i did was actually took a coffee mug and cut out a piece of paper to make a mock mustache cup to show them...

So when i was telling the story to my my co-worker, fellow record collector geek and all around swell guy (well most times) the redboy i was shocked and dismayed that the man who knows everything was a bit clueless about the mustache cup as well. So we did what everyone does these days and looked it up on the interwebs. Now he had never heard this song before but i told him about it and the line "You Can't Hardly Get Them No More". Well low and behold a few weeks later i came to work and there on my desk was a fancy antique mustache cup (a few chips but its thee thought that counts right?) with a note in it saying 'i guess you CAN hardly get them no more". Nice!



So anyway here is a real goof-ball of a country song from 1955 about a mustache cup, among other things... Do any of you care about my story that is just as goofy as this song?
Most likely not, but i found it very amusing...

I already did a post about Mr. King so if you desire the info click HERE:

Pee Wee King and His Band- You Can't Hardly Get Them No More