(Formerly Known As "Record Of The Week")

#936 (4/15/22)

SPECIALTY RECORDS - PART FIVE (1950-1957)

Includes Audio For Forty-Six Songs
(Audio Restored By Dave Saviet - Images Restored By Tony Fournier)


SOME SPECIALTY RECORDS ARTISTS (1946-1957):
    THE YEAR 1951
  • PERCY MAYFIELD
  • ROY MILTON
  • JOE LIGGINS
  • CAMILLE HOWARD
  • JIMMY LIGGINS
  • KING PERRY
  • THE FOUR FLAMES
  • AMOS EASTON
  • THE VICTORIANS
  • LIL GREENWOOD
  • FREDDY CLARK
  • PILGRIM TRAVELERS
  • SOUL STIRRERS
  • BROTHER JOE MAY
  • SISTER WYNONA CARR
  • PROF. J. EARL HINES
  • SALLIE MARTIN SINGERS






    THE YEAR 1955
  • THE DUKES
  • THE CHIMES
  • TONY ALLEN
  • CHUCK HIGGINS
  • JOHN LEE HOOKER
  • EARL JOHNSON
  • GUITAR SLIM
  • PERCY MAYFIELD
  • ROY MILTON
  • LLOYD PRICE
  • LITTLE RICHARD
  • MERCY DEE
  • WYNONA CARR
  • THE TWILIGHTERS
  • THE SHAW-WEES
  • JESSE BELVIN
  • PILGRIM TRAVELERS
  • SOUL STIRRERS
  • ORIGINAL GOSPEL HARMONETTES
  • HAPPYLAND SINGERS
  • BROTHER JOE MAY
  • SWAN SILVERTONES
  • PROF. ALEX BRADFORD
    OTHERS
  • JUMP JACKSON (1946)
  • NELSON ALEXANDER (1947)
  • JOE LUTCHER (1948)
  • BUDDY BANKS (1949)
  • SMOKEY HOGG (1949)
  • WILLIE JOHNSON (1952)
  • LESTER WILLIAMS (1952)
  • FLOYD DIXON (1953)
  • KENZIE MOORE (1953)
  • FRANKIE LEE SIMS (1953)
  • MARVIN & JOHNNY (1953)
  • THE HOLIDAYS (1954)
  • EARL KING (1954)
  • ARTHUR LEE MAYE (1956)
  • THE ECHOS (1956)
  • VERNON GREEN AND THE PHANTOMS (1956)
  • DON AND DEWEY (1957)
  • LARRY WILLIAMS (1957)
  • SAM COOKE (1957)
  • THE TITANS (1957)
  • DALE COOK (1957)
  • SOUTHERN HARMONIZERS (1948)
  • MEDITATION SINGERS (1954)

FLOYD DIXON:

CALIFORNIA EAGLE, January 31, 1952: FLOYD DIXON BAND ON TOUR
Destined to become a jazz great, Floyd Dixon, wizard of piano and song, and his orchestra leave this week for an extended tour of one-nighters in the South. Blues stylist Mickey Champion and guitarist Charles Norris are featured artists with Dixon's aggregation.

Dixon has several hit recordings on the Aladdin and Modern labels and boasts of an ever growing following in the bobby sox ranks. He formerly played with Johnny Moore and the Three Blazers before forming his own band.

He's been a positive standout at the recent series of jazz concerts at the Orpheum Theater, and the Embassy and Philharmonic auditoriums.

Above: Photo of Floyd Dixon at the piano.
Above: Label images for both sides of Specialty SP/XSP-477, recorded on June 16, 1953 and released in 1953. As depicted on the labels, Floyd Dixon is credited as composer for both sides. This is the second of three records that he had on the Specialty label, all in 1953. It seems that in the Specialty numbering system, the "XSP" designation was intended to be the "A" side.
Above Left: Photo of Floyd Dixon.

Above Right: THE BILLBOARD, November 14, 1953. Specialty often used this small advertisment format, so it must have been effective for them.

Above: Photo of Floyd Dixon at the piano.

At Right: CASH BOX AWARD O' THE WEEK, November 21, 1953.


CASH BOX, October 31, 1953:
....Art Rupe, prexy of Specialty Records, says that from all indications Floyd Dixon's latest release "Hole In The Wall" will soon be on the way for another hit....

CASH BOX, November 14, 1953:
....Jim Warren states that Floyd Dixon's "Hole in The Wall" is taking off real crazy like here in Los Angeles. Art Rupe, owner of Specialty Records, verifies this statement and adds that it's also clicking throughout the country....

The Billboard Review (11-21-53):

FLOYD DIXON — Specialty 477
Hole In the Wall (78)
Dixon sings out strongly about a joint on the other side of the tracks. The lyrics aren't much, but the ork pounds its way thru with a persuasive beat and listeners should find the excitement catching. Fine for the jukes.
Old Memories (75) A slow, romantic blues conveys a sentimental and sad mood in his finely projected effort. The chanter is in top-notch form here.
(NOTE: Ratings had a range of 0-100 with 70-79 as "good".)
LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Hole In The Wall" - Floyd Dixon - Specialty SP-477 - 1953.
2. "Old Memories" - Floyd Dixon - Specialty XSP-477 - 1953.

BOTH SONGS played in sequence.

EXTRA RECORDS — FLOYD DIXON:
Above: Label images for both sides of Supreme 1546-A/B, released in 1949. Eddie Williams would later join Johnny Moore's Three Blazers (see photo a little further down this page).

CASH BOX, December 10, 1949:
....Talked to Roy Brooks of Supreme in absence of A1 Patrick and learned that Jimmy Witherspoon's "How Long", Floyd Dixon, Eddie Williams and Brown Buddies on "You Need Me Now", and our friend Percy Mayfield with "Two Years Of Torture" and "Half Woke" (love those titles) are really stepping out in the sales department....

The Billboard Review (11-21-53):

FLOYD DIXON, EDDIE WILLIAMS AND HIS BROWN BUDDIES — Supreme 1546
You Need Me Now (72)
Warbler Dixon and the Williams group do a blues in the manner of their recent "Broken Hearted" click. This follow-up doesn't attain the haunted mood of the hit, however.
Prairie Dog Hole (65) Group tackles a Western-styled novelty with doubtful results.
(NOTE: Ratings had a range of 0-100 with 60-69 considered as "satisfactory" and 70-79 as "good".)
LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "You Need Me Now" - Floyd Dixon With Eddie Williams And His Brown Buddies - Supreme 1546-A - 1949.
2. "Prairie Dog Hole" - Floyd Dixon With Eddie Williams And His Brown Buddies - Supreme 1546-B - 1949.

BOTH SONGS played in sequence.

Above: Photo of Johnny Moore's Three Blazers. (L-R) Eddie Williams (bass fiddle), Johnny Moore (guitar), and Charles Brown (piano and vocals).

Above: Label images for both sides of Aladdin 3166, released in 1950. Floyd Dixon is backed instrumentally by Johnny Moore's Three Blazers.

CASH BOX, November 25, 1950:
....News from Leo Mesner of Aladdin that he and brother Eddie have signed up Floyd Dixon, the deal calling for their national distribution of his "Sad Journey" and six other masters on the Peacock label....

CALIFORNIA EAGLE, January 18, 1951:
....Now that Eddie Williams and Floyd Dixon have rejoined Johnny Moore and his Three Blazers betcha they're terrific!

The Billboard Review (2-21-53):

FLOYD DIXON/JOHNNY MOORE'S THREE BLAZERS — Aladdin 3166
Broken-Hearted Traveler (77)
Dixon turns in a good, meaningful reading of a weary blues telling about his troubles with a hard-hearted woman. The Blazers show their skill behind him. Side could pull spins and plays.
You Played Me For A Fool (75) Dixon does a strong job with this new blues, backed warmly by the Blazers. However the tune is only so-so. Performance could help it pull spins.
(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)
LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Broken-Hearted Traveler" - Floyd Dixon With Johnny Moore's Three Blazers - Aladdin 3166 - 1950.
2. "You Played Me For A Fool" - Floyd Dixon With Johnny Moore's Three Blazers - Aladdin 3166 - 1950.

BOTH SONGS played in sequence.


JIMMY LIGGINS:

GULF INFORMER, June 24, 1950: JIMMY LIGGINS LOOMS AS BLUES GREAT
The tumultuous career of Jimmy Liggins has been one of continuous ups and downs since he commenced it several years ago, but his bulldog tenacity sees him well on the road as a leading contender for the title of "Blues King".

Any other artist might have thrown in the proverbial towel long ago, but not Jimmy. His latest Specialty recording of "Answer To Tear Drop Blues" backed by "That Song Is Gone" sees him battling once again for top spot on the various music trade hit parades.

Jimmy Liggins is the son of a San Diego minister. He had ambitions for a fistic [boxing] career, but gave up the ring to join his brother, Joe Liggins and band, as a chauffeur.

Being surrounded by so much music, it was only natural that Jimmy should decide he would like to become a part of this fascinating world. He purchased a second hand guitar, and while his brother's band was playing on different stages throughout the country, Jimmy spent his time trying to learn his instrument.

Music conscious, he became aware of people's likes and dislikes. When the band's tour ended, Jimmy had become very adept on his guitar and had developed a style that he felt would appeal to music lovers.

Shortly after his arrival home, he formed his own band. After several weeks of rehearsal, he opened at a west coast night club. His plaintive type of blues delivery, coupled with his distinctive style, established Jimmy as an up and coming blues singer.

In 1947, Specialty Records of Hollywood signed Jimmy to a recording contract. Just as he was launched on a musical career, fate intervened, and Jimmy met with an accident. He was hospitalized for several months. His men were scattered. However, Jimmy never became discouraged.

When he returned to musical circles, he resolved that he would not be satisfied until reaching the top rung of the ladder of success. He made more records for Specialty, including his current "Answer To Tear Drop Blues".

Without a doubt, his persistency and talent will see him realize his ambitions before very long.

Above: Label images for both sides of Specialty SP 362 A/B, released in 1950. The "A" side was recorded on November 17, 1948, the "B" on September 9, 1947. This is the third of many records that Jimmy Liggins had on Specialty Records (1947-1954). The original "Tear Drop Blues", done by Liggins, was released on Specialty in 1947.

Cash Box Review (6-3-50):

JIMMY LIGGINS — Specialty 362
Answer To Tear Drop Blues/That Song Is Gone

Vocal flavor by Jimmy Liggins on this pair is the sort that makes for big juke box tunes. Both sides of this platter are tailor made for the juke box trade, and should catch on and go like wildfire. The top deck is just what the title indicates, while the coupling has the Liggins gang at their best again. Get with this one.
Above Left: THE BILLBOARD, February 4, 1950. Jimmy Liggins' big brother, Joe, is featured in the previous articles "Specialty Records - Parts Three and Four".

Above Middle: THE BILLBOARD, March 4, 1950.

Above Right: INDIANAPOLIS RECORDER, May 15, 1953. The "celebrated" Herman Manzy was a singer and drummer. He had one record on Specialty's short-lived subsidiary label, Fidelity, in 1951. He also was the drummer on Jimmy's 1953 Specialty releases.

Above: Label images for both sides of Specialty SP 362 A/B, recorded in March 1951 and released in 1951.

Cash Box Review (4-7-51):

JIMMY LIGGINS — Specialty 397
Down And Out Blues/Lonely Nights Blues

A terrifically low down blues item makes up the Jimmy Liggins offering on the top deck. Jimmy really sends this with a piano backing that's right. The lower end gets an almost talking vocal from Jimmy and once again it's worth hearing. Ops oughta do just that.

The Billboard Review (4-14-51):

JIMMY LIGGINS — Specialty 397
Down And Out Blues (66)
Liggins chants well and combo hacks him solidly in easy slow-rock style on an okay but not distinctive blues.
Lonely Nights Blues (66) Another slow-rock blues like flip, Liggins and combo are fine but material is uninspired.
(NOTE: Ratings had a range of 0-100 with 60-69 considered as "satisfactory".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Answer To Tear Drop Blues" - Jimmy Liggins And His Drops Of Joy - Specialty SP 362 A - 1950.
2. "That Song Is Gone" - Jimmy Liggins And His Drops Of Joy - Specialty SP 362 B - 1950.
3. "Down & Out Blues" - Jimmy Liggins And His Drops Of Joy - Specialty SP 397 A - 1951.
4. "Lonely Nights Blues" - Jimmy Liggins And His Drops Of Joy - Specialty SP 397 B - 1951.

ALL FOUR SONGS played in sequence.

EXTRA RECORDS — JIMMY LIGGINS:
Above Left: Label image for Specialty XSP , recorded in January 1954 and released in 1954.

Above Right: Label image for Aladdin 3250, released in 1954. As with all the sides in this section, Jimmy Liggins is credited on the label as composer. This was his first of three records on Aladdin.

The Billboard Review (2-20-54):

JIMMY LIGGINS — Specialty 454
Going Away (74)
The ork's persistent delivery of a strong riff sparks the Liggins' reading of a good blues item.
(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)

The Billboard Review (8-14-54):

JIMMY LIGGINS — Aladdin 3250
Talking That Talk (68)
Liggins asks his girl to stop talking wise talk and living it up so much on this new slicing. The tune is routine and Liggins' vocal is only fair.
(NOTE: Ratings had a range of 0-100 with 60-69 considered as "satisfactory".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Going Away" - Jimmy Liggins - Specialty XSP-484 - 1954.
2. "Talking That Talk" - Jimmy Liggins - Aladdin 3250 - 1954.

BOTH SONGS played in sequence.


EARL KING:

Earl King, from New Orleans, was a singer, guitarist, and composer. His first record was released in 1953 on the Savoy label, as "Earl Johnson". He moved to Specialty Records the following year, along with a name change to "Earl King". In 1955, he went to Ace Records where he stayed for the next five years.

Above: Label images for both sides of Specialty XSP/SP-495, recorded in May 1954 and released in 1954. This is the first of three releases that Earl King had on Specialty Records , all in 1954. The composer on both sides is Enotris Johnson. She was also a co-writer of "Long Tall Sally", "Jenny Jenny", and "Miss Ann", all performed by Little Richard on Specialty.

EARL KING

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "A Mother's Love" - Earl King And His Band - Specialty XSP-495 - 1954.
2. "I'm Your Best Bet, Baby" - Earl King And His Band - Specialty SP-495 - 1954.

BOTH SONGS played in sequence.

EXTRA RECORD — EARL KING:
Above Left: Label image for Ace 517, released in 1956. Prior to joining the Ace label, Earl King recorded for King Records (1955-1956).

Above Right: Photo of Earl King.

CASH BOX, August 13, 1955:
....John Vincent, formerly of Specialty Records, formed Ace Records with home offices in Jackson, Miss. John has already set up national distribution and may have a hit with his first release, “Those Lonely, Lonely Nights” by Earl King. The new label has also signed to its roster Big Boy Crudup, Lightning Slim, Kenzie Moore, Joe Dyson, Lou Nillet, and Jimmy and Jack....

Cash Box Review (6-9-56):

EARL KING — Ace Records 517
It Must Have Been Love (C)
Earl King wails a slow tempo blues telling of his deep love which has been rejected. It is a mournful opus well done and will no doubt sell well in the southern markets.
(NOTE: A rating of C was considered as "fair".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] "It Must Have Been Love" - Earl King - Ace 517 - 1956.


PERCY MAYFIELD:

Percy Mayfield was a singer and composer. He grew up in Louisiana, started his singing career in Texas, and then moved to Los Angeles in the early 1940s.

CASH BOX, September 9, 1950: SPECIALTY SIGNS MAYFIELD
HOLLYWOOD—Art Rupe, Prexy of Specialty Records, announced the inking of Percy Mayfield, the blues-with-a-beat singer, to an exclusive contract. Since coming to California in 1941, Mayfield, who also wields a composer's pen, has sung with a number of bands. When Art Rupe heard him at a dine-and-dance emporium just outside of Los Angeles, he signed him up on the spot. Mayfield's initial numbers under the Specialty banner are "Please Send Me Someone To Love" backed by "Strange Things Happening".

CALIFORNIA EAGLE, January 3, 1952: MAYFIELD WINS CASH BOX AWARD
Cash Box magazine, bible of the juke box industry, has awarded Percy Mayfield runner-up honors as the most popular jazz and blues artist of 1951. An unknown less than three years ago, Mayfield is one of the nation's top rung vocalists today.

He soared to overnight fame by virtue of his recording "Two Years Of Torture". "Please Send Me Someone To Love" proved another smash hit for the bronze balladeer.

Mayfield and his orchestra are presently filling one-nighter and club dates from Canada to Mexico. They recently returned from a boffo tour of the South and Midwest.

Not only does Percy warble but he writes all his own numbers as well. He's one of Specialty Records ace contract performers.

Possessing a deep throated romantic voice, Mayfield charms the femme fans young and old. He likewise boasts a vast male following.

(NOTE: Mayfield composed both "Two Years Of Torture" and "Please Send Me Someone To Love".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
"Two Years Of Torture" - Percy Mayfield - King 4480-AA (Original Recording By "Recorded In Hollywood Records") - 1951.

Above Left: Photo of Percy Mayfield.

Above Right: Label image for Specialty SP-537, recorded on October 18, 1954 and released in 1954. Percy is backed up vocally on both sides by His Maytones.

Above Left: THE BILLBOARD, January 8, 1955. Seems like Specialty at first thought the "My Heart Is Cryin'" was the side to push, but changed their mind when the other side was getting more atttention.

Above Right: THE BILLBOARD, January 15, 1955.

CASH BOX, January 1, 1955:
....Specialty Records are closing out the year with three big sellers. First is Percy Mayfield's "You Were Lyin' To Me". Next comes their latest by Roy Milton titled "Tell It Like It Is". The third number that is clicking saleswise is a spiritual by The Harmonettes "You Must Be Born Again". Art Rupe has been busy getting ready a new batch of releases for the first of the year which he admits are pretty terrific....

(NOTE: Roy Milton's "Tell It Like It Is" is featured further down this page.)

CASH BOX, January 8, 1955:
....Percy Mayfield's "You Were Lyin' To Me" is reported to be breaking big throughout the country. Arl Rupe, Specialty Records head, says that it is Percy's strongest side to date....

Above Left: Photo of Percy Mayfield.

Above Right: Photo of Percy Mayfield And His Maytones (courtesy of Jean-Christophe Piazza).
The Maytones were actually three members of The Meadowlarks: Ronald Barrett, Donald Julian, and Earl Jones.

Click HERE for an article about The Meadowlarks by Marv Goldberg. (Will open in a separate window)

Above: Label images for both sides of Specialty 607, recorded on April 2, 1957 and released in 1957. Percy is backed by an uncredited vocal group on both sides of this record.

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "My Heart Is Cryin'" - Percy Mayfield With His Maytones - Specialty SP-537 - 1954.
2. "You Were Lyin' To Me" - Percy Mayfield With His Maytones - Specialty XSP-537 - 1954.
3. "Please Believe Me" - Percy Mayfield (With Vocal Group) - Specialty 607 - 1957.
4. "Diggin' The Moonglow" - Percy Mayfield (With Vocal Group) - Specialty 607 - 1957.

ALL FOURSONGS played in sequence.


WILLIE JOHNSON:

Willie Johnson, from Houston, Texas, was a singer, pianist, composer, and orchestra leader. He recorded for the Groovy, Savoy, Specialty, Imperial, and Sittin' in with labels.

Above: Label images for both sides of Specialty XSP/SP-493, recorded in March 1954 and released in 1954. This was Willie Johnson's only record on Specialty.

The Billboard Review (5-15-54):

WILLIE JOHNSON — Specialty 493
Say Baby (75)
Wild rocker receives a spirited rendition from the chanter as he asks his pretty baby to go out for a big night. The ork realty pounds it out behind him.
That Night (71) A slow-tempo ballad receives an adequate reading from the chanter here.
(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)

Cash Box Review (5-29-54):

WILLIE JOHNSON — Specialty 493
That Night (B)
Deep voiced Willie Johnson sings a hearty slow tempo blues with sad romantic lyrics. A good effort with resulting wax commercial. Sings enough off key to make it.
Say Baby (B) A fast tempo jump socked out with zest. Willie shouts out the assets his baby owns.
(NOTE: A rating of B was considered as "very good".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Say Baby" - Willie Johnson And His Band - Specialty XSP-493 - 1954.
2. "That Night" - Willie Johnson And His Band - Specialty SP-493 - 1954.

BOTH SONGS played in sequence.

EXTRA RECORD — WILLIE JOHNSON:
Above Left: THE BILLBOARD, February 28, 1953.

Above Right: Label image for Savoy 881-A, recorded on December 18, 1952 and released in 1952. Willie Johnson had two records released on the Savoy label, both in 1952.

While the flip-side label also shows "...With Thelma", she is nowhere to be heard in the song. It's possible that "Thelma" is Thelma "Dolly" Cooper, who was recording for Savoy about the same time, but no conclusive evidence could be found either way.


THE BILLBOARD — MARCH 14, 1953

CASH BOX, November 15, 1952:
....Savoy Records has pacted three new blues singers, Dolly Cooper, Henry Manse, and Willie Johnson....

Cash Box Review (1-24-53):

WILLIE JOHNSON WITH THELMA — Savoy 881
Don't Tell Mama (C+)
Willie Johnson teams with cute voiced Thelma and the pair dish up a pert side that just touches on the suggestive.
(NOTE: A rating of C+ was considered as "good".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
"Don't Tell Mama" - Willie Johnson With Thelma - Savoy 881-A - 1952.


GUITAR SLIM:

Guitar Slim (real name Eddie Jones), born in Mississippi, was a New Orleans singer, guitarist, composer, and band leader. He recorded for the Imperial, J-B/Bullet, Specialty, and Atco labels. Guitar Slim was billed as the "New Mr. Blues". "The Things That I Used To Do", composed and recorded by him, was a number one rhythm and blues hit.

CALIFORNIA EAGLE, April 14, 1955: GOOD "PLUNKING" BALLHALL MUSIC
Guitar Slim, that long fellow of the guit-box, will be falling into the 5-4 Ballroom this weekend to the delight of all. Slim has received wide acclaim from critics and audiences alike all over the country. His versatility is amazing, to say the least. He plays slow, blue, hot, sweet, for dancing, for listening, for foot stomping. Backed by his great band, he is a master showman....

CASH BOX, November 21, 1953:
Art Rupe of Specialty Records announced the signing of Eddie “Guitar Slim” Jones from New Orleans. Art’s pretty wife, Lee Rupe, says that the boy plays a mean guitar and sings a mean blues, so watch out for his first releases!

Above Left: Label image for Specialty XSP-482, recorded on October 26, 1953 and released in 1953. This is the first of eight records that Guitar Slim had released on the Specialty label (1953-1956).

Above Right: Label image for Imperial 5310, recorded on May 16, 1951, but not released until 1954. Perhaps Imperial wanted to take advantage of Guitar Slim's fame from his late 1953 hit "The Things That You Do To Me".

CASH BOX, December 26, 1953:
WOW!! Just gotta use this expression to describe the excitement created when Specialty Records, Guitar Slim, and company dropped their latest wax ditty "The Things I Used To Do" in the Harlem area. The way the guys and dolls are crowding the uptown retailers for this waxing is really amazing, and thought Art Rupe would be happy to know that unless something comes from way out of deep left field soon, and mighty soon, this waxing could very easily be the big one for Xmas and the holiday season.

CASH BOX, January 30, 1954:
....Art Rupe, prexy of Specialty Records, sits back to await results after getting out his latest monthly releases. While waiting he’s still plenty busy though getting together material for the next batch. Art is plenty pleased to see the sales figures on Guitar Slim’s "The Things That I Used To Do"....

THE BILLBOARD, February 6, 1954:
....Bob Astor and Milt Shaw, of Shaw Artists, visited New Orleans a few weeks ago, and while there pacted blues singer Guitar Slim, whose Specialty cutting of "The Things I Used to Do" is now in first place on Billboard's r.&b, juke box chart....

The Billboard Review (10-9-54):

GUITAR SLIM AND HIS PLAYBOYS — Imperial 5310
Standin' At The Station (77)
The Southern blues chanting style stands out as usual on this Guitar Slim reading. The guy's many fans will want this. Good wax here.
(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)

Cash Box Review (10-16-54):

GUITAR SLIM AND HIS PLAYBOYS — Imperial 5310
Standin' At The Station (B+)
Slim sings the blues on this slow beat platter. Slim said goodbye to his baby and hung his head and cried. Slim sings with feeling as he portrays the woebegone and disillusioned male.
(NOTE: A rating of B+ was considered as "excellent".)
Above: Two photos of Eddie "Guitar Slim" Jones.
Above Left: ARIZONA REPUBLIC, April 21, 1955.

Above Right: ARIZONA REPUBLIC, November 24, 1955.

CASH BOX, March 31, 1956:
....Atlantic's veepees, Jerry Wexler and Ahmet Ertegun, flew to New Orleans last week to cut the first dates with their newly signed veteran artist, Guitar Slim....

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "The Things That I Used To Do" - Guitar Slim And His Band - Specialty XSP-482 - 1953.
2. "Standin' At The Station" - Guitar Slim & His Playboys - Imperial 5310 - 1955.

BOTH SONGS played in sequence.


ROY MILTON — 1953-1955:

Roy Milton and his band continued as a big part of Specialty Records' success. The label released seven of his records in the time period 1953-1955. Milton left Specialty to join Dootsie Williams' DooTone label in 1955.

CASH BOX, February 27, 1954:
....In Atlanta Roy Milton and his band with Camille Howard at The Royal Peacock Club, Roy advises he has some groovy things coming up on Specialty....

ARIZONA REPUBLIC, April 29, 1954: THE ROYAL ROOM HAS ROY MILTON AND BLUES CREW
Roy Milton, "Mr. Blues" himself, is currently appearing at Hollywood's Royal Room, complete with Camille Howard and singer Mickey Champion.

Milton has a long string of wax hits, from his first great, "R.M. Blues", on to his newest, "Make Me Know It" and "Bird In The Hand". Camille Howard, long associated with "Mr. Blues", is one of the nation's top ladies of piano and song and a recording favorite herself....

CASH BOX, December 4, 1954:
....Art Rupe, prexy of Specialty Records, has released three new numbers that look like sure fire hits.... Roy Milton "How Can I Leave Without You" b/w “Tell It Like It Is”....

CASH BOX, January 1, 1955:
....Specialty Records are closing out the year with three big sellers.... Next comes their latest by Roy Milton titled "Tell It Like It Is"....

Above: Label images for both sides of Specialty XSP/SP-455, recorded in January 1953 and released in 1953.
Above Left: Roy Milton And His Band performing. Milton is at the drums. Camille Howard is at piano at far left. Not sure about the female singer. It might be Lillie (Lil) Greenwood. If anyone can positively identify her, please let us know. In any case, that is a fantastic outfit that she is wearing!

Above Right: SAN FRANCISCO EXAMINER, March 13, 1954. Lillie (Lil) Greenwood
(NOTE: Lillie was vocalist with Roy Milton's band circa 1950-52.)

ARIZONA REPUBLIC, February 15, 1952: TAN TROUPE TERRIFIC TALLIES TRIUMPH!!
Roy Milton And His Orchestra, a smash hit last week at the Apollo Theatre in New York, is currently turning them away at the Howard Theatre in Washington, D.C. This musical aggregation features Camille Howard and Lillie Greenwood.

Milton, who moves up to the top of the Sepia Song Hit Parade with his Specialty recording of "Best Wishes" has been a consistent crowd-pleaser. Booked into Atlanta's Peacock Club and two weeks at Gleason's in Cleveland, Ohio, this terrific tan troupe, that has already tallied a triumph, may go on to break attendance records on its current tour.

Above: Label images for both sides of Specialty XSP/SP-489, released in 1954. "A Bird In The Hand" was recorded on October 15, 1953, the flip-side on February 21, 1954. Roy Milton continues to compose most of his songs. The band does the vocalizing on "A Bird In The Hand".
Above Left: ATLANTA CONSTITUTION, August 5, 1954.

Above Middle: SACRAMENTO BEE, September 17, 1953.

Above Right: ARIZONA REPUBLIC, May 15, 1953.

Above: Label images for both sides of Specialty SP/XSP-538, recorded on and released in 1954. Roy Milton Is backed vocally by The Meltones, but wonder why they aren't named "The Miltones". Perhaps an error when printing the labels? "How Can I Live Without You" was composed by Cecil "Count" Carter, who was an orchestra leader, who recorded for Federal Records.

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "A Bird In The Hand" - Roy Milton And Band (Vocal By The Band) - Specialty SP-489 - 1954.
2. "Make Me Know It" - Roy Milton And Band - Specialty XSP-489 - 1954.
3. "How Can I Live Without You?" - Roy Milton And The Meltones - Specialty XSP-538 - 1954.
4. "Tell It Like It Is" - Roy Milton And His Band - Specialty SP-538 - 1954.

ALL FOUR SONGS played in sequence.

EXTRA RECORD — ROY MILTON:

CASH BOX, April 9, 1955:
....It is rumored that Roy Milton may soon make a major change in labels. Roy, at this writing, is with the Specialty stable. Label-switching, which dates back as far as Thomas Edison days, seems to be a healthy situation, however, for there is always rejuvenated interest among all concerned....

Above Left: THE BILLBOARD, May 14, 1955. Notice "A Double Headed Hit" and the double picture of Roy's head.

Above Right: Label image for DooTone 363-A, released in 1955. Here Roy Milton is backed vocally by The Miltones. Seems like they got The Miltones' name right this time.

Above: 1955 photo of Roy Milton and his party friends celebrating Milton's 20th anniversity in show business.
(Back Left-Right) Dootsie Williams (owner of DooTone Records), Camille Howard, Joe Adams (deejay), Roy Milton, Mickey Champion, Floyd Turnham (saxophonist), Clifford Scott (saxophonist), Jackie Kelson (saxophonist), Andy ??, and (Front Center) Johnny Otis.

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
"Fools Are Getting Scarcer" - Roy Milton And His Band (Vocal By Roy Milton And The Miltones) - DooTone 363-A - 1955.

Above: THE BILLBOARD, May 14, 1955: TAYLOR MADE PARADE
Charles of Charles Ltd., fabulous downtown Los Angeles men's clothier, shows bandleader Roy Milton and his Solid Senders orchestra garments he created for the band's new uniforms. Two complete sets were styled and delivered by Charles this week in time for the group's Easter parade dance. Pictured, left to right, Charles Gillum, Jack Kelson, James Daun, Roy "5-4" Milton, Charles Lawrence Cato, Floyd Turnham, and Clifford Scott."

CAMILLE HOWARD:

Camille Howard, pianist and singer, had a long and successful career with Specialty Records. She and Roy Milton were the two main artists that positioned Specialty in with the top independent labels of the time. In 1953, she left Specialty and moved to King Records (Cincinatti) on their Federal label. However, she continued to work engagements with Roy Milton And His Band. She went to Vee-Jay Records (Chicago) in 1956.

ARIZONA DAILY STAR, February 3, 1957:
....Now in her second year as a "single" attraction, Camille was featured artist for 10 years with the Roy Milton band, one of the great rhythm and blues orchestras.

She is a native of Galveston, Texas, and her sister, still a piano teacher in the Gulf-washed island city, taught her to play. Vocally she taught herself as a child, later studying both instrument and voice at Gray Conservatory in California.

Camille was singing professionally in Galveston by the time she was 15 years old and can recall that her Dad came each night to pick her up and escort her home. Now a California resident, Camille Howard is a "show-biz" veteran and has appeared all over the U.S.....

CASH BOX, April 18, 1953: KING, FEDERAL ADD ARTISTS
LOS ANGELES, CALIF.—Ralph Bass, artist and repertoire director of King and Federal Records, this past week announced the addition of a flock of new talent to the firm’s rhythm and blues roster. Signed to term recording contracts were Camille Howard, Jimmy Nelson, Eleanor Franklin, Happy David, and Cecil "Count" Carter.

Of the new artists signed, Camille Howard is the most prominent, having achieved fame via her Specialty Records through the years.

Above Left: TUCSON DAILY CITIZEN, January 26, 1957: PIANO BAR OPENS
Camille Howard, pianist-vocalist, is the featured entertainer in the new piano bar which will be opend tonight at the Panda Steak House.... Popular with dics jockeys for her bouncy technique, Miss Howard records [sic recorded] for the Specialty label. She has also played successful supper club engagements in most sections of the country. At the Panda, she will entertain from 8 p.m. to 1 a.m....

Above Right: Label image for Federal 12134, released in 1953. As shown on the label, Camille Howard is credited as composer of this song.

CASH BOX, January 17, 1953:
....Camille Howard, of the Specialty label, and booked by the Ben Waller Agency on the west coast and Universal in the east, continues to bang out those wonderfully fast and hard drivin’ boogie woogie tunes on her same little piano....

CASH BOX, May 5, 1956:
....Abner announces that Vee-Jay has just had Camille Howard, Sonny Til and The Orioles sign on the dotted line to exclusive recording contracts. Releases of these stars will be issued in about two weeks....
(NOTE: Camille had only one record on Vee-Jay, that in May 1956.)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
"Hurry Back Baby" - Camille Howard - Federal 12134 - 1953.


TONY ALLEN — THE CHIMES:

Tony Allen, from New Orleans, was a "rock 'n' roll" singer and composer. He was signed by Specialty in 1955 producing the hit "Nite Owl" on his first record with them. At the time that "Nite Owl" became a hit, Allen was working at a pressing plant, pressing records, including his own Specialty release. After leaving Specialty, he had releases on Ultra/Dig (1955-56), Ebb (1957), Aladdin (1957), Imperial (1958), Dot (1958), and several other labels later on.

Above: Label images for both sides of Specialty SP/XSP-560, recorded in October 1955 and released in 1955. The labels show "The Champs", but the vocal group backing Allen was actually The Chimes.

THE BILLBOARD, December 10, 1955 : NITE OWL
Another disk that has developed slowly, but is now coming forward by leaps and bounds. Territories that reported heavy volume this week included New Orleans, New York, Pittsburgh, Baltimore, Durham, Cleveland, and Buffalo.

CASH BOX, December 24, 1956:
....Tony Allen and the Champs appeared on the Johnny Otis TV show and sang their current hit "Nite Owl" on the Specialty label....

The Billboard Review (10-15-55):

TONY ALLEN — Specialty 560
I (72)
A slow, groovy swinger that is quite toothsome [attractive]. Allen's vocal is mannered and stylized in the mode of certain lead singers popular today. He hasn't quite made this his own yet, but he's a talent to watch.
Nite Owl (70) A weeper that has owlish sound effects to stimulate interest, and tho Allen again turns in an okay reading, the material is rather stereotyped.
(NOTE: Ratings had a range of 0-100 with 70-79 as "good".)

Cash Box Review (2-18-56):

TONY ALLEN — Specialty 560
Nite Owl (B+)
Tony Allen and The Champs come up with a really strong entry here. It’s a slow beat wailing side with Allen turning in a strong chanting performance. Good gimmick is the hoot-hoot of the owl. Strong beat. Watch this deck very carefully. It has solid commercial appeal.
I (B) The flip is another strong side. A pretty, slow beat ballad, effectively presented. It may step out on its own. Two top sides—both offering hit qualities.
(NOTE: A rating of B was considered as "very good" and B+ as "excellent".)
Above Left: CASH BOX, January 7, 1956.

Above Right: CASH BOX, December 3, 1955.

Above Left: Photo of Tony Allen.

Above Right: Label image for Specialty XSP-570, recorded in January 1956 and released in 1956.

The Billboard Review (2-16-56):

TONY ALLEN — Specialty 570
Check Yourself, Baby (74)
Allen chants a good blues, backed with a vocal chorus and honking horns. A very amusing lyric.
(NOTE: Ratings had a range of 0-100 with 70-79 as "good".)

(NOTE: The flip-side, "Especially", was rated "66" (satisfactory).)

Cash Box Review (2-18-56):

TONY ALLEN — Specialty 570
Especially (B+)
Tony Allen comes off "Nite Owl" with a slow, pretty ballad. The romantic lyrics are tenderly offered with a chant backing. Sweetly done. Good wax.
(NOTE: A rating of B+ was considered as "excellent".)

(NOTE: The flip-side is "Check Yourself, Baby", by "Tony Allen And The Chimes", which was also rated "B+".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Nite Owl" - Tony Allen And The Champs - Specialty SP-560 - 1955.
2. " I " - Tony Allen And The Champs - Specialty XSP-560 - 1955.
3. "Especially" - Tony Allen And The Chimes - Specialty XSP-570 - 1956.
4. "Check Yourself, Baby" - Tony Allen And The Chimes - Specialty SP-570 - 1956.

ALL FOUR SONGS played in sequence.

Above: Label images for both sides of Specialty SP/XSP-555, recorded in July 1955 and released in 1955.

The Chimes consisted of Horace "Pookie" Wooten (lead tenor), David Cobb (second tenor), Charles Jackson (tenor), and John Talbert (bass).

CASH BOX, September 10, 1955:
....According to Jim Warren at Central Sales, Specialty Records has a two-sided hit on their hands with The Chimes' recording of "Zindy Lou" with "Tears On My Pillow" on the flip side....

The Billboard Review (9-10-55):

THE CHIMES — Specialty 555
Tears on My Pillow (74)
A strong reading by the boys on an effective weeper with moving lyrics.
Zindy Lou (73) A catchy rhythm item that moves right along, with a personable warbling stint by the Chimes.
(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Tears On My Pillow" - The Chimes - Specialty SP-555 - 1955.
2. "Zindy Lou" - The Chimes - Specialty XSP-555 - 1955.

BOTH SONGS played in sequence.

EXTRA RECORD — TONY ALLEN:
Above Left: Label image for Ultra 104 Label Image, released in 1955. Johnny Otis is credited as composer of this song along with Tony Allen. Otis was one of the owners of the Ultra label.

Above Right: Photo of Tony Allen.

Above Left: CASH BOX, March 31, 1956. The Ultra label name was changed to "Dig" in early February 1956. Aladdin Records was affilated with the Dig label. Aladdin's owners Leo and Eddie Mesner were also part-owners of Dig, along with Johnny Otis and Frank Gallo.

Above Right: CASH BOX, February 18, 1956.

CASH BOX, February 18, 1956:
....Leo Mesner announced a change in name on his new label from Ultra to Dig Records. Two of the first releases by Tony Allen and Preston Love have taken off fast....

Cash Box Review (2-4-56):

TONY ALLEN — Ultra 104
It Hurts Me So (B+)
Tony Allen bounces through a melodic rhythm piece effectively. Good performance that bears watching. The better side.
(NOTE: A rating of B+ was considered as "excellent".)

(NOTE: The flip-side is "Check Yourself", a duet by "Tony And Barbara", which was rated "B" [very good].)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
"It Hurts Me So" - Tony Allen - Ultra 104 - 1955.


MARVIN AND JOHNNY:

Marvin And Johnny, at different times, were a single artist, duet, trio, or more, but always included Marvin Phillips. Marvin was a singer, saxophonist, composer, and bandleader. His most-often singing partner was Emory Perry. Marvin and Emory had been saxophonists together in a band.

Marvin joined the Imperial label in 1951, as part of the singing group "Three Dots And A Dash". This group also included Jesse Belvin, Richard Lewis, Jimmy Huff, and Undine Harris.

Marv Goldberg has compiled a discography that identifies the voices heard on any record by Marvin & Johnny. His information has been used on this page. (His webpage will open in a separate window)

Above: Label images for both sides of Specialty XSP/SP-554, released in June 1955. The vocal on both sides is by Marvin Phillips And His Band. Not sure if the composer of "Ding Dong Baby", W. E. Buyem is an actual specific person or a play on words.

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Ding Dong Baby" - Marvin & Johnny (Vocal By Marvin Phillips And His Band) - Specialty XSP-554 - 1954.
2. "Mamo Mamo" - Marvin Phillips (Vocal By Marvin Phillips And His Band) - Specialty SP-554 - 1954.

BOTH SONGS played in sequence.

Above: Label images for both sides of Modern 974, released in October 1955. The vocal on both sides is by Marvin Phillips, Jesse Belvin, and Emory Perry.

CALIFORNIA EAGLE, May 12, 1955: TRIPLE FEATURE ON THE WEEKEND AT 5-4 BALLROOM
Joe Houston, the wild man of the tenor sax, will come into Jimmy Nelson's 5-4 Ballroom this weekend for a three day stay. The show will feature Marvin & Johnny, the sensational singing duo that helped start the swing to rhythm & blues.

Marvin originally started out with a fellow named Jesse Belvin. They called themselves Jesse & Marvin. They were immediately successful with a recording called "Dream Girl" [on Specialty SP-447]. When this one died down a little, the flip side, "Daddy Loves Baby", became a smash hit.

About this time Jesse and Marvin split up and Jesse recut "Dream Girl" [on Recorded In Hollywood 120] by himself. It sold almost as fast as the one he had cut with Marvin. Marvin soon got himself another partner and everybody was happy.

And the marvelous part about the 5-4's weekend treat is that Jesse Belvin is going to be included in the show....

FROM MARV GOLDBERG: Other than the underlined parts, the above is pretty true. (Although both had been with the Three Dots And A Dash prior to Jesse & Marvin and Marvin was with the Men From Mars on Swing Time.) Jesse & Marvin seem to have actually broken up because Jesse was drafted, but I'm not sure why he recorded "Dream Girl" as a soloist (it didn't become a hit). "Daddy Loves Baby" was probably big in LA, but it was never a national hit.

Above Left: Photo of (L-R) Marvin Phillips And Emory Perry.

Above Right: Photo of (Top-Bottom) Marvin Phillips And Emory Perry.

Above Left: Photo of Jesse Belvin, who was a singer, pianist, and songwriter.

Above Right: Label image for Modern 941, released in September 1954. Even though the labels on both sides state "Vocal Duet", Marvin Phillips is singing solo on both.


CASH BOX — JUNE 19, 1954

CASH BOX SLEEPER OF THE WEEK — NOVEMBER 6, 1954
Above Left: Just a reminder that this article is about Specialty Records and their artists.

Above Right: It seems the reviewer didn't realize that both sides of this record are by a solo artist.

CASH BOX, June 19, 1952:
....A new artist on Specialty is Jesse Belvin, whose first release is "Confusin’ Blues" and "Baby, Don’t Go"....

CASH BOX, October 9, 1954:
....Marvin and Johnny are out with a follow-up to their current hit "Tick Tock" on Modern. Titles are "Sugar" b/w "Kiss Me"....

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Let Me Know" - Marvin And Johnny (Vocal By Marvin Phillips, Jesse Belvin, and Emory Perry) - Modern 974 - 1955.
2. "Ain't That Right " - Marvin And Johnny (Vocal By Marvin Phillips, Jesse Belvin, and Emory Perry) - Modern 974 - 1955.
3. "Sugar" - Marvin And Johnny (Vocal By Marvin Phillips) - Modern 941 - 1954.

ALL THREE SONGS played in sequence.

Above: Label images for both sides of Imperial 5115, recorded in January 1951 and released in February 1951. On this record, the Three Dots And A Dash consist of Marvin Phillips, Richard Lewis, Jimmy Huff, and Undine Harris. Huff is credited as composer on both sides.

POMONA PROGRESS BULLETIN (Pomona, CA), October 11, 1951: BOOKED FOR DANCE
Big Jay McNeeley and his Cool Cat Deacons will play for a Columbus Day Dance this Friday at Betty's Barn, Baldwin Park. This will be McNeeley's first dance engagement in the Southern California area since his return from the East. The group includes the Three Dots And A Dash and Jesse Belvin, recording stars.

Above Left: COVINA ARGUS-CITIZEN (Covina, CA), November 16, 1951:

Above Middle: Photo of Big Jay McNeeley, who was a saxophonist, composer, and orchestra leader. He also recorded for the Savoy and Aladdin labels.

Above Right: Label image for Imperial 5130, released in 1951. Vocal is by Jesse Belvin. James Huff, of the Three Dots And A Dash, is credited as composer of this song.

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "All That Wine Is Gone" - Jesse Belvin And Three Dots And A Dash (Jay McNeeley And His Orchestra) - Imperial 5115 - 1951.
2. "Don't Cry Baby" - Jesse Belvin And Three Dots And A Dash (Jay McNeeley And His Orchestra) - Imperial 5115 - 1951.
3. "Sad Story" - Jesse Belvin (Jay McNeeley And His Orchestra) - Imperial 5130 - 1951.

ALL THREE SONGS played in sequence.


SPECIALTY RECORDS - PART ONE FEATURES ATLAS RECORDS, JUKE BOX RECORDS, ROY MILTON RECORDS, MILTONE RECORDS, THE SEPIA TONES, MARION ABERNATHY, BUDDY BANKS, ROY MILTON AND HIS SOLID SENDERS, JIMMIE GRISSOM, EFFIE SMITH, FRANKIE AND HER BOYS, AND MP4 VIDEO OF ROY MILTON/JUNE RICHMOND.

SPECIALTY RECORDS - PART TWO FEATURES STERLING RECORDS, LILLETTE AND HER ESCORTS, DOLORES BROWN, EARLY SPECIALTY RECORDS, THE "SPECIAL" LABEL, ROY MILTON AND HIS SOLID SENDERS, "WHEN I GROW TOO OLD TO DREAM", JUMP JACKSON AND HIS BAND, CAMILLE HOWARD, AND "RED LIGHT".

SPECIALTY RECORDS - PART THREE FEATURES EARLY SPECIALTY RECORDS (CONT'D), ROY MILTON AND HIS SOLID SENDERS, JOE LUTCHER, CAMILLE HOWARD, BUDDY BANKS AND HIS BUDDIES, BABY DAVIS, FLUFFY HUNTER, JOE LIGGINS AND HIS HONEYDRIPPERS, LIONEL HAMPTON AND THE HAMPTONES, "THE HONEYDRIPPER", FIDELITY RECORDS, THE FOUR FLAMES, BUMBLE BEE SLIM, AND THE VICTORIANS.

SPECIALTY RECORDS - PART FOUR FEATURES "THE HUCKLEBUCK" (FIVE VERSIONS), ROY MILTON (1952), "OH BABE!" (FIVE VERSIONS), KING PERRY, LLOYD PRICE, MERCY DEE, AND KENZIE MOORE (JOE DYSON'S BAND).

SPECIALTY RECORDS - PART SIX FEATURES VERNON GREEN AND THE PHANTOMS, LITTLE RICHARD, WYNONA CARR, LARRY WILLIAMS, DON AND DEWEY, SAM COOKE, THE SOUTHERN HARMONIZERS, THE SOUL STIRRERS, SISTER WYNONA CARR, THE MEDITATION SINGERS, THE ORIGINAL GOSPEL HARMONETTES, THE PILGRIM TRAVELERS, AND ALEX BRADFORD AND THE BRADFORD SPECIALS.


Listen to all of this article's audio selections using Windows Media Player:
[Audio restoration by Dave Saviet.]

          1. "Hole In The Wall" - Floyd Dixon - Specialty SP-477 - 1953.
          2. "Old Memories" - Floyd Dixon - Specialty XSP-477 - 1953.
          3. "You Need Me Now" - Floyd Dixon With Eddie Williams And His Brown Buddies - Supreme 1546-A - 1949.
          4. "Prairie Dog Hole" - Floyd Dixon With Eddie Williams And His Brown Buddies - Supreme 1546-B - 1949.
          5. "Broken-Hearted Traveler" - Floyd Dixon With Johnny Moore's Three Blazers - Aladdin 3166 - 1950.
          6. "You Played Me For A Fool" - Floyd Dixon With Johnny Moore's Three Blazers - Aladdin 3166 - 1950.
          7. "Answer To Tear Drop Blues" - Jimmy Liggins And His Drops Of Joy - Specialty SP 362 A - 1950.
          8. "That Song Is Gone" - Jimmy Liggins And His Drops Of Joy - Specialty SP 362 B - 1950.
          9. "Down & Out Blues" - Jimmy Liggins And His Drops Of Joy - Specialty SP 397 A - 1951.
        10. "Lonely Nights Blues" - Jimmy Liggins And His Drops Of Joy - Specialty SP 397 B - 1951.
        11. "Going Away" - Jimmy Liggins - Specialty XSP-484 - 1954.
        12. "Talking That Talk" - Jimmy Liggins - Aladdin 3250 - 1954.
        13. "A Mother's Love" - Earl King And His Band - Specialty XSP-495 - 1954.
        14. "I'm Your Best Bet, Baby" - Earl King And His Band - Specialty SP-495 - 1954.
        15. "It Must Have Been Love" - Earl King - Ace 517 - 1956.
        16. "Two Years Of Torture" - Percy Mayfield - King 4480-AA (Original Recording By "Recorded In Hollywood Records") - 1951.
        17. "My Heart Is Cryin'" - Percy Mayfield With His Maytones - Specialty SP-537 - 1954.
        18. "You Were Lyin' To Me" - Percy Mayfield With His Maytones - Specialty XSP-537 - 1954.
        19. "Please Believe Me" - Percy Mayfield (With Vocal Group) - Specialty 607 - 1957.
        20. "Diggin' The Moonglow" - Percy Mayfield (With Vocal Group) - Specialty 607 - 1957.
        21. "Say Baby" - Willie Johnson And His Band - Specialty XSP-493 - 1954.
        22. "That Night" - Willie Johnson And His Band - Specialty SP-493 - 1954.
        23. "Don't Tell Mama" - Willie Johnson With Thelma - Savoy 881-A - 1952.
        24. "The Things That I Used To Do" - Guitar Slim And His Band - Specialty XSP-482 - 1953.
        25. "Standin' At The Station" - Guitar Slim & His Playboys - Imperial 5310 - 1955.
        26. "A Bird In The Hand" - Roy Milton And Band (Vocal By The Band) - Specialty SP-489 - 1954.
        27. "Make Me Know It" - Roy Milton And Band - Specialty XSP-489 - 1954.
        28. "How Can I Live Without You?" - Roy Milton And The Meltones - Specialty XSP-538 - 1954.
        29. "Tell It Like It Is" - Roy Milton And His Band - Specialty SP-538 - 1954.
        30. "Fools Are Getting Scarcer" - Roy Milton And His Band (Vocal By Roy Milton And The Miltones) - DooTone 363-A - 1955.
        31. "Hurry Back Baby" - Camille Howard - Federal 12134 - 1953.
        32. "Nite Owl" - Tony Allen And The Champs - Specialty SP-560 - 1955.
        33. " I " - Tony Allen And The Champs - Specialty XSP-560 - 1955.
        34. "Especially" - Tony Allen And The Chimes - Specialty XSP-570 - 1956.
        35. "Check Yourself, Baby" - Tony Allen And The Chimes - Specialty SP-570 - 1956.
        36. "Tears On My Pillow" - The Chimes - Specialty SP-555 - 1955.
        37. "Zindy Lou" - The Chimes - Specialty XSP-555 - 1955.
        38. "It Hurts Me So" - Tony Allen - Ultra 104 - 1955.
        39. "Ding Dong Baby" - Marvin & Johnny (Vocal By Marvin Phillips And His Band) - Specialty XSP-554 - 1954.
        40. "Mamo Mamo" - Marvin Phillips (Vocal By Marvin Phillips And His Band) - Specialty SP-554 - 1954.
        41. "Let Me Know" - Marvin And Johnny (Vocal By Marvin Phillips, Jesse Belvin, and Emory Perry) - Modern 974 - 1955.
        42. "Ain't That Right " - Marvin And Johnny (Vocal By Marvin Phillips, Jesse Belvin, and Emory Perry) - Modern 974 - 1955.
        43. "Sugar" - Marvin And Johnny (Vocal By Marvin Phillips) - Modern 941 - 1954.
        44. "All That Wine Is Gone" - Jesse Belvin And Three Dots And A Dash (Jay McNeeley And His Orchestra) - Imperial 5115 - 1951.
        45. "Don't Cry Baby" - Jesse Belvin And Three Dots And A Dash (Jay McNeeley And His Orchestra) - Imperial 5115 - 1951.
        46. "Sad Story" - Jesse Belvin (Jay McNeeley And His Orchestra) - Imperial 5130 - 1951.
 
          ALL FORTY-SIX ABOVE SONGS played in sequence.

          ALL TWENTY-EIGHT ABOVE SPECIALTY LABEL SONGS played in sequence.


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