Sunday, November 8, 2009

May, 1958

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Friday, November 6, 2009

The Shirelles

I didn’t know The Shirelles much, if at all, before picking up an album called 16 Greatest Hits in that magic section of Country Music Centre which was labeled “50s and 60s.” The LP actually had 13 hits on it, plus a remake of I Met Him On A Sunday (the original was on Decca, the reissues were all from Scepter), plus Boys, plus What Is Love. A few years later I picked up Juke Box Giants, the Shirelles edition, and I filled in some more songs, and Sha La La came from somewhere else, and so did the Decca tracks, which are the first 2 here.

The Shirelles were not the first girl group, and I won’t explain what I mean by “girl group,” except to say that none of the following qualify: The Chordettes, The Fontane Sisters, The Lennon Sisters, The De Castro Sisters, The Andrews Sisters. But The Chantels, they qualify. They hit the charts before The Shirelles did, but The Chantels didn’t have much of a chart career, 8 chart records to The Shirelles’ 25, and they kept changing singers, so they didn’t develop a musical personality. The Shirelles, they had personality and then some. They were the ur-teenagers. All their songs were about the trials and tribulations of being a teenager in love, no apologies to Dion & The Belmonts, and they were never cloying or patronizing.

As I say, they had 25 records in the charts, 12 of those in the top 40, and most between 1958 and 1964. In 1967 they had one more hit, called Last Minute Miracle, which I guess it was, though it wasn’t really much of a hit (it reached number 99 and stayed on the top 100 for 2 weeks).

I’ve managed to accumulate 18 of those 25 songs, and here they are.



The Shirelles:



• I Met Him On A Sunday – The group members take turns singing on this story of the life of a romance, telescoped into one week. Typical story? Girl meets guy, girl dates guy, guy does not live up to expectations, girl ditches guy. “I said ‘bye bye baby’” she sings, after being stood up once too often. Good for her. This was their first hit, and their only one on Decca, but it’s generally overlooked because it did not make the top 40, and, except in a remake, is not included on the typical compilation. From the spring of 1958.
• My Love Is A Charm – The idea of having someone you can count on, someone who may not be physically present, but who is there nonetheless, that’s what this is about. Another Decca single, but it wasn’t a hit.
• Dedicated To The One I Love – Another song of longing and separation. What is clear in this record, which set it apart from so many others like it, is that the singer is a teenager. It’s not in the lyrics, just listen. It was a hit later for The Mamas And The Papas, with Michelle Phillips singing lead. The Shirelles put this on the chart originally in the summer of 1959, when it reached number 89. It was reissued in 1961, and it reached number 3, and that was in the winter of that year.
• Will You Love Me Tomorrow – Carole King wrote this, with her then husband Gerry Goffin, and what we have here is a teenage cliché elevated to the level of transcendental art. It’s doomed, the whole thing is doomed, don’t believe him we want to tell her, but that’s not how it feels, and in the end we make ourselves believe things that are not always good for us. But at the moment it’s real, and it’s wonderful, and that’s part of our reality too. From the winter of 1961. Number 1. Covered by: Cher, The Four Seasons, Roberta Flack, Carole King on Tapestry. Most covers don’t work, because most singers who do it are adult and sound like adults, even (especially) composer Carole King. Perversely, I am partial to Frankie Valli’s rendition with The Four Seasons, but I know that’s nuts.
• Sha La La – From the spring of 1964, right in the middle of the British invasion. It’s generally said that Manfred Mann covered this and took the hit away, but their version was out half a year later. It’s true, though, the MM had the hit. “When I see you walking down the street…”
• Mama Said – This one just tugs at your heart strings. Nothing I can explain to you; you have to hear it yourself. From the summer of 1961.
• Foolish Little Girl – Romantic mistakes abound. You don’t know what you’ve got till it’s gone. Questions of love vs. pride, learning from one’s mistakes etc. Heavy stuff. From the spring of 1963.
• Boys – This was the B side of something, I can’t remember what. The Beatles covered it, and that’s what made it famous, although it doesn’t make a lot of sense for a boy to sing it.
• Tonight’s The Night – So many songs with this title. The Comets did one, that’s Bill Haley’s group, about partying. And everyone knows Rod Stewart’s song, which is salacious and juvenile. This one, though, come straight from the heart. Gorgeous. How can 2 songs with the same title, and the same subject matter, be so different. "I don't know," she sings, "I might love you so." From the autumn of 1960.
• Soldier Boy – There were no major wars going on in the spring of 1962 when this song reached number 1, no draft. They do a lot of unison singing on this, and it’s another winner.
• Everybody Loves A Lover – Doris Day did this, but you’d barely recognize it. I don’t know if there is a better song about the exhilaration that accompanies falling in love. From the winter of 1963.
• What A Sweet Thing That Was – From the summer of 61. Will you love me tomorrow later. B side of A Thing Of The Past.
• Baby It’s You – An early Burt Bacharach song, about standing up to confrontation. I don’t care what they say, she sings, and she doesn’t. The Beatles covered this on their first album, and Smith, with Gayle McCormick singing, put it back on the chart in 1969 in a slightly psychedelicized, veery hysterical version. From the winter of 62.
• A Thing Of The Past – The inevitable happens; love dies. That’s a painful process, and it’s what they are singing about here. From the summer of 1961.
• Don’t Say Goodnight And Mean Goodbye – “Something’s wrong, I can see it in your eye.” Of course you can, another song of dying love. From the summer of 1963.
• What Is Love – This is a remake of the Playmates hit from 1957, regendered.
• Blue Holiday – Like other things in life, holidays happen, and they are not always good, even though they are meant to be.
• It’s Love That Really Counts – Maybe, but sometimes love is not enough. covered by The Fourmost from Liverpool.
• Please Tell Me
• Welcome Home Baby – From The summer of 62
• Stop The Music – This party is falling flat. From the fall of 1962.
• Thank You Baby – It was good while it lasted. A breakup song heavy on the sarcasm. From the summer of 1964.
• Big John – When you gonna marry me? she says. I think she’s in trouble. “Folks’ll say you jilted me.” I bet they will. From the fall of 1961.
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Thursday, November 5, 2009

April, 1958

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Wednesday, November 4, 2009

Duane Eddy

I had 2 Duane Eddy albums and a few singles. Some of the singles came from Sound Exchange. Pepe, Peter Gunn, Yep! all came from 45s. One of the albums was $1,000,000 Worth Of Twang, an old collection on Jamie, and I got an old copy, an old beat up copy, picked it up at Pyramid Records like so many others.

The RCA stuff, that came from a new LP, a reissue produced by Ethel Gabriel, or so it said on the cover. I got that at Gambles, a department store which is now Zellers, and used to be Clark’s, before it was Gambles.

Clark’s was a pioneer single floor “discount” department store, a novelty in its day, though the concept has now been reduced to obscenity by Wal-Mart. I bought a few albums there in its various incarnations; besides Duane Eddy I remember buying Joe Cocker and Fragile by Yes, but that narrative will have to wait.

The RCA album was actually well-done. It had a remake of Rebel Rouser, which I suppose was unnecessary, and deceptive (it fooled me until I learned better). Besides that it had all 7 of Eddy’s RCA top 100 singles. The other collection was, as I say, released many many years ago, when Eddy was still recording for Jamie, and so it could not and did not have all his Jamie hits, which number 20. It has 11 of said 20. I have the 3 others I mentioned before. That leaves; Ramrod, Theme From Dixie, Shazam!, My Blue Heaven, Ring Of Fire, Drivin’ Home, and The Son Of Rebel Rouser.

But Duane Eddy, he played guitar. He was billed as “Duane Eddy and his Twangy Guitar” and I read somewhere that he achieved the twang effect by playing through some kind of metal pipe, like a wide water pipe or something. It’s hard for me to believe, though, that all his records were made that way. Perhaps he stumbled on it accidentally, and his producer found a way to do it electronically.

His producer, the man behind the sound, was Lee Hazelwood, who would later be the man behind Nancy Sinatra, going as far as to sing duets with her.

Eddy doesn’t sound like a brilliant guitarist. The hook here is not virtuosity; it’s style, production, attitude. What you hear is rock and roll, pure fun, no compromise – his music features catchy tunes, kick ass sax, piano, a liberal sprinkling of yelps. It’s got that anyone-can-do-it feel about it, but anyone didn’t do it. Duane Eddy did.

Oh, and by the way, he plays the guitar solo on Rock And Roll Lullaby by B. J. Thomas.



Duane Eddy:



• Rebel Rouser – Rebel Rouser is in a class of its own among rock and roll instrumentals. My best guess is a 2/4 time signature, and the result is a constant groove. It’s the sax that’s shouting in your ear to get up and dance, and it’s the “twangy” guitar that dances you round the room. From the summer of 1958.
• Cannonball – Could be about diving, could be about artillery, could just be a great groove. From the winter of 1958 / 1959.
• The Quiet Three – The title suggests a movie soundtrack, but I have no idea. There are strings on this, and it shows a more mellow side of Eddy’s artistry. From the summer of 1959, the B side of 40 Miles Of Bad Road.
• Bonnie Came Back – My Bonnie, Duane Eddy style. Personally I don’t think there’s any way to save this song, My Bonnie it is, and My Bonnie it will always be. The Beatles couldn’t save it either. Ray Charles had a crack at it too. From the winter of 1960.
• Because They’re Young – This is almost a ballad; maybe it is a ballad. From the summer of 1960.
• Theme For Moon Children – The title gives it a slightly otherworldy feel, which maybe it would have anyway, and maybe it wouldn’t…
• Movin’ And Groovin’ – Rebel Rouser gets all the credit, but this piece of non-stop groove was Eddy’s first hit, such as it was (it only reached number 58 on Billboard). From the winter of 1958.
• The Lonely One – Propelled by some unusual but subtle percussion, this was a hit in the winter of 1959.
• Forty Miles Of Bad Road – A song for Montreal potholes, with a lot of yelping. From the summer of 1959.
• Some Kinda Earthquake – This sounds more like a major headwind than an earthquake. From the fall of 1959.
• First Love, First Tears – Most of his songs were original, but obviously a few were not. This sounds like it must have been by someone else, with words. He slows things down here, the strings aren’t exactly Mantovani, but they are more up front and centre, and the chorus sounds like it’s straight out of Les Baxter. The B side of Some Kinda Earthquake, a hit in the fall of 1959.
• Kommotion – Not the CCR song (that’s Commotion, anyway). Strings again, but country sounding. From the fall of 1960.
• Your Baby’s Gone Surfin’ – Given surf music’s penchant for reverb, it was only to be expected that Duane Eddy would dive into the surf music phenomenon. But apart from the title and the lyrics (yes there are lyrics on this one, the matchless vocals of The Rebels) it’s not clear that this really qualifies as surf music. No matter, it is what it is. A hit in the fall of 1963.
• Rebel Rouser – The RCA remake, virtually indistinguishable from the original.
• Boss Guitar – Here is where it becomes self-referential. In application development we call it “reflection.” Another song with female chorus, this one from the winter of 1963.
• My Baby Plays The Same Old Song On His Guitar All Night Long – Sounds like a complaint, doesn’t it. But the lyrics are ambiguous, the comfort of repetition vs. the monotony.
• Fireball Mail – Duane shares the spotlight with someone playing some mean electric picking on this remake of an old country standard, done by Roy Acuff, among others. Chug chug a chug, sing the girls, in case you didn’t get that it was about a train…
• High Noon – The Tex Ritter hit (also by Frankie Laine). Just the music and some oohs and ahhs, though.
• Dance With The Guitar Man – Alternatively titled (Dance With The) Guitar Man, this piece of 100% groove reached number 12 in the winter of 1962 / 1963. “We’re gonna dance” sing the girls, “dance to the guitar man, here he comes now!” and Duane comes with that twang, and it sends shivers up your spine…
• Yep! – That’s what they keep yelling. Typical Eddy. A hit in the spring of 1959.
• Peter Gunn – Written and originally performed by Henry Mancini for the 1959 TV show, Peter Gunn was a hit for Ray Anthony before Eddy put it back on the chart in the fall of 1960, rocking it up like it was meant to be done. ELP had a good time with this one also.
• Pepe – From the winter of 1961.
• The Ballad Of Paladin – The theme from the TV show Have Gun Will Travel, it was Johnny Western who sang this every week. It’s probably better without the words anyway. Eddy sticks pretty close to the original, with all the drama intact. The tune, by the way, was lifted from Hummingbird (the Les Paul & Mary Ford / Frankie Laine hit from 1955). From the summer of 1962.
• Deep In The Heart Of Texas – A hit for Bing Crosby. He probably picked it up from Gene Autry. From the spring of 1962.
• Lonely Boy, Lonely Guitar – Music as therapy. From the summer of 1963.
• Limbo Rock – The hit version of this was by The Champs. Chubby Checker did the version with words.
• Wildwood Flower – Not the Jim Stafford song. This is an old country classic.
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Tuesday, November 3, 2009

Frankie Avalon

Not Frankie Frankie Avalon was one of the Bobbies: Bobby Vee, Bobby Rydell, Bobby Curtola, Bobby Vinton, Bobby Sherman. His name wasn’t Bobby, but he was one of the Bobbies nonetheless.

He wasn’t the first; Tommy Sands came before him. So did Tab Hunter. Neither had a distinguished career as a hit-maker. Frankie was the first to last a few years, and put a few hits under his belt: 25 in the top 100, 14 in the top 40.

Some might say that Ricky Nelson was a Bobby, and he was a kind of teen idol, but he transcended that, even then. Or Bobby Helms – but he was somewhere else.

We like to hate the Bobbies. But I don’t hate the Bobbies. Not really. Not most of them. Not Frankie.

To be fair, he did do some dismal stuff. I have an album of his called Muscle Beach Party, on side 2 of which they have him performing standards like Moon River and Nevertheless, and he is totally out of his depth.

But a good producer can take a singer like Frankie Avalon, who has an aptitude for a certain type of song, and make it work. It was probably Dave Appel that produced Frankie Avalon, and he knew exactly how to present a song like Togetherness or Venus or Dede Dinah. And me, I can’t help liking it, no matter how much it sucks.

The picture is a Chuck Berry album, because I can’t find a picture of the Frankie Avalon album, but aside from the picture on the cover and the words “Chuck Berry” and the colour of the cover, it was exactly the same, part of the Quality Records series of Greatest Hits released around 1980, featuring reissues of artists on Chess, Buddah, Cadence, Cameo-Parkway, a few others, many of which were otherwise incredibly hard to find. Only in Canada.

10 tracks were from said Greatest Hits. The remaining tracks were from another Greatest Hits collection that I picked up on cassette at Pyramid.






Frankie Avalon:



• Venus – With an angelic female chorus, harpsichord flourishes, and a longing dreamy delivery, Venus stands as a monument in the annals of teen pop. The Venus of the title refers not to the planet, but to the goddess of love. A number 1 hit in the winter of 1959. And not the Shocking Blue song (duh).
• Why – This one’s a bit cloying, I have to admit, but still, I’ve heard worse. Not The Byrds song. Number 1 in the winter of 1960.
• Dede Dinah – Frankie’s first hit. This was in the winter of 1958. This rocks a bit, so he hadn’t settled into his final wimpy style. Also, he’s got a kind of nasal thing going on here, an effect he used on his first few records.
• Bobby Sox To Stockings – A song about growing up, sort of. Mostly it’s about dating and stuff. What symbols would they use now? What would the age be? They say kids grow up a lot faster. Soothers to cigarettes? From the summer of 1959.
• Ginger Bread – A song to a girl named Ginger Bread. I don’t know if Bread is her surname. She every teenage boy’s dream: naughty but nice. From the fall of 1958.
• A Boy Without A Girl – Like a fish without a bicycle? Like ham without eggs? A ballad from the summer of ’59 – the B side of Bobby Sox To Stockings.
• Just Ask Your Heart – A song about finding our real feelings… From the fall of 1959.
• I’ll Wait For You – A twist on the we-are-so-young theme. The male chorus sounds like it was lifted from a Frankie Laine session. From the winter of 1958 / 1959.
• Don’t Throw Away All Those Teardrops – The notion of throwing away tear drops, it’s interesting. On the surface it’s a sweet love song, but go deeper, there is crying, sadness, an attempt to find meaning through love. From the spring of 1960.
• Togetherness – It doesn’t get cornier than this, but you won’t find me dissing it. On the contrary, everything works here, the overblown vocal chorus, the silly lyrics (“between us we’ll have 20 fingers, 20 toes”), the xylophone lurking in the background, and, of course, Frankie’s understated singing. From the fall of 1960.
• What Little Girl – More uptempo, and more nasal. From the fall of ’58, the B side of I’ll Wait For You.
• You Are Mine – Everyone knows but you. Here is Frankie decked out with strings and all. It does not suit him. From the spring of ’62.
• Where Are You – The setting is perfect, the only thing missing is you. An old story. This is really syrupy, with strings worthy of Nelson Riddle. Frankie’s voice isn’t big enough for this, and the song isn’t all that strong. From the summer of 1960.
• Swinging On A Rainbow – Very jazzy, this one. One has to admire his ambition, or at least the ambition of those under whose control his career was. This is the B side of Why. From the winter of 1960.
• A Perfect Love – Good luck. From the winter of 1961.
• Two Fools – The song is a bit silly, but the sentiment of not being able to make a relationship work is very real. From the fall of ’59, the B side of Just Ask Your Heart.
• The Puppet Song – Ok here is where we really get flaky. This is from Pinocchio, and it’s children’s music, plain and simple. The B side of A Perfect Love, and a minor hit in the winter of 1961.





Frankie
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Monday, November 2, 2009

Connie Francis

Connie Francis Somebody created a blog dedicated entirely to Connie Francis. I am in awe…

I grew up with Connie Francis in the house – two albums. One was called Connie Francis Sings Jewish Favorites, which was a bit odd, given that Connie Francis is not Jewish, but not that odd, given that many people who are not Jewish sing Jewish songs. The other album was called Silverkrin Shampoo Presents Sing Along With Connie Francis. Interestingly, these LPs, which seem like the product of a has-been, were actually released during the early 60s when Connie was still having hits.

Ok that’s not what I wanted to tell you about. This is about Connie Francis. Connie Francis. She was huge, Connie Francis was. Between 1958 and 1964 she had 35 top 40 singles, and between 1957 and 1969 she had 56 top 100 singles. But all I knew of Connie Francis was those two silly LPs that my parents had, and if I ever listened to them, it’s because I made a point of listening to every LP that my parents owned, just to say I had.

My collection started with a collection of 10 songs, an LP I picked up at The Country Music Centre on Selkirk Avenue, of which I’ve written previously. I can’t even remember the name of the LP, The Best Of Connie Francis or something no doubt; it had a horrible picture of her on thConnie Francise cover, I do remember that. I picked more songs though, many on old scratchy 45s, most, if not all, at Pyramid Records, of which I’ve written previously, and from The Very Best Of Connie Francis, which had 11 that were not on that first LP that I had, the one with the ugly cover. That’s it. The story of Connie Francis.



Connie Francis:



• Lipstick On Your Collar – The classic song of teenage two-timing. Judy’s Turn To Cry came later. The percussive organ here is what gives the game away. “Were you smoochin’ my best friend?” From the summer of 1959.
• Everybody’s Somebody’s Fool – From the summer of 1960, this was one of 3 Connie Francis hits to reach number 1 on Billboard. The song is about an obsessive self-destructive relationship. And that shopping centre organ makes it all seem so… what… kitchy? Not The Heartbeats song.
• Don’t Break The Heart That Loves You – A bit country, but just a bit. Features Connie’s multi-tracked vocals – shades of Patti Page. Another number 1 hit, this from the winter of 1962.
• My Heart Has A Mind Of Its Own – “ I hear your voice, and something stirs inside of me.” Number 1 in the fall of 1960.
• Among My Souvenirs – Connie laments a lost love. From early 1960. Marty Robbins did this.
• Where The Boys Are – This was a movie. The song, though its title wouldn’t suggest it, is a ballad – a ballad about finding Mr. Right. “My true love waits for meeee.” I don’t know where the boys are. In the locker room? In the bar? In the pool hall? From the winter of 1961.
• Vacation – A song about summer vacation. This is an unrecognized summer holiday song, to stand along Summer In The City, Sunshine Superman, Here Comes Summer, Summer Holiday, and a million Beach Boys songs. The sax break is classic. From the summer of 1962.
• Frankie – It isn’t specifically about Frankie Avalon, and it isn’t specifically not about Frankie Avalon. The song is about the end of the romance, but Connie and Frankie were not, as far as we know, real-life lovers. Movies and tabloids are something else. This summer of ’59 hit was the B side of Lipstick On Your Collar.
• My Happiness – A song of longing. Are they separated temporarily or permanently? Not sure. From the winter of 1959.
• Who’s Sorry Now – An I-told-you-so ballad, the song that put her on the map, though she’d had a song on the top 100 previously. From the winter of 1958.
• Follow The Boys – This is a bit odd. Really this is kind of a Where The Boys Are rewrite. From the spring of 1963.
• I’m Gonna Be Warm This Winter – Just to prove that Connie didn’t show any seasonal favouritism. From the winter of 1963.
• Second Hand Love – Love on the rebound, and it’s not working out. From the summer of 1962.
• You’re Gonna Miss Me – Someday, she says, you’re gonna miss me. I think the missing comes sooner as opposed to later. Definitely not the 13th Floor Elevators song. From the autumn of 1959.
• Many Tears Ago – Connie looks back at an old dysfunctional relationship. From late 1960.
• If My Pillow Could Talk – This hit from the summer of 1963 has a girl group sound to it, not surprising – it was, after all, the summer of 1963. And what would the pillow say? Well it would speak of tears and crying and stuff. I think if a pillow could talk it would say “Help! I’m suffocating…”
• Mama – Not the B. J. Thomas song. She sings this mostly in Italian, and it’s pretty MOR. The English part is pretty much what you’d expect. From the spring of 1960.
• Teddy – My friend’s brother was Teddy. He married a girl that he met at university. Thing is, I met her first, she joined me at a table at the cafeteria. Can I sit here, she said, and my eyes bugged out. Good looking she was. I didn’t want to marry her, though I let her sit at the table. Teddy married her, and for some reason they ended up in the newspaper, some kind of human interest article. I don’t think they stayed married though. I can’t tell you her name, because I don’t remember it. But the song: “Teddy,” unlike “Johnny” or “Bruce” doesn’t have that aura of macho. Still, he’s her guy. From the spring of 1960, the B side of Mama.
• When The Boy In Your Arms (Is The Boy In Your Heart) – I guess that’s ideal, and that’s what she sings about. The song, though, is presented philosophically, not personally. From the winter of 1960 / 1961.
• Baby’s First Christmas – The B side of When The Boy In Your Arms. Yuck. It doesn’t get more maudlin than this. From the 1960 season.
• Together – Not the Nilsson song, obviously. The catch here, of course, is that they did Connie Franciseverything together, even the breakup. From the summer of 1961.
• Breakin’ In A Brand New Broken Heart – A self pity song from the summer of 1961.
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Sunday, November 1, 2009

Elmore James

For so long Elmore James was naught but a name in a throwaway line in the last single by The Beatles. That was George Harrison, who, somewhat ironically perhaps, did not even play the slide guitar solo on For You Blue, who quipped “Elmore James got nothing on this, baby.”

But Elmore James was a real person, with feelings, and a mother, and a guitar. And his influence extended far and wide; just ask Jeremy Spencer. He never had any hits on top 40 radio, which isn’t surprising for a blues artist, and he is in good company: Muddy Waters, John Lee Hooker, Buddy Guy, Little Walter. But not so: B. B. King, Jimmy Reed, Slim Harpo, but they are the exceptions.

This CD collection is called Let’s Cut It, The Very Best Of Elmore James and I found it at the West Kildonan Library.



Elmore James



• Dust My Blues – This is Dust My Broom, originally recorded in 1951, and redone on the Flair label in 1955 as Dust My Blues. I don’t exactly what it means to dust one’s broom, nor to dust one’s blues, but this song, which is a prototype blues, performed in one form or another by everyone from Fleetwood Mac to Canned Heat, is nothing but an “I’m leaving my baby” song, anyway. Elmore James may have put this on the map, but Robert Johnson did it before him.
• Blues Before Sunrise – A clone of Dust My Blues, as are many of the tracks on this collection.
• No Love In My Heart – A fairly crude song of rejection, by the rejector.
• Standing At The Crossroads – On which the Elmore James riff is supplemented by horn charts. Another hard luck story.
• I Was A Fool – Another guy gets into a bad relationship. It was pretty bad apparently.
• Sunnyland
• Canton, Mississippi Breakdown
• Happy Home
• Wild About You Baby
• So Mean To Me
• Hawaiian Boogie – An instrumental, and not one that sounds all that Hawaaiian.
• Mean And Evil
• Dark And Dreary
• My Best Friend – Think of The Cars, My Best Friend’s Girl. I prefer The Cars, really.
• I Believe – Not the hymn. Just another Dust My Blues soundalike.
• Goodbye Baby – A slower blues here.
• Sho Nuff I Do
• Long Tall Woman – Maybe her name is Sally?
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