“TAMLA MOTOWN – The Stories Behind The UK Singles” – A Review of the 2009 Paperback Book by TERRY WILSON.

“…And The Lord God Looked Down On Motown in Detroit And Verily Thought…I Must Set Up A British Branch…”

Did you know that following the departure of his principal hit-writers Holland Dozier and Holland, Berry Gordy wanted to reinstate the Supremes as a number act after a year of dullard releases, so he locked all his remaining writers in a hotel room and told them they weren't coming out until they penned a winner for his wife. They promptly raided the hotel bar and got completely pissed in retaliation. But the following morning they threw out the number one hit "Love Child" anyway. Or that Stevie Wonder's manager sang his newly released "Higher Ground" single into his ear in 1973 as Stevie lay dying on a hospital bed having had a freak accident where a huge log crashed through his windscreen and into his skull - and it brought him back. Or did you know that the original version of Marvin Gaye's masterpiece "What's Going On" had a question mark removed from the end of the title - so that you didn't know whether he was asking a question or making a statement? Neither did I...

A book like this is a treasure trove of such juicy trivia, but it wouldn't amount to more than a long list of staid statistics if the rest of the text weren't imbibed with wit, affection and a genuine thirst for knowledge and understanding - on every single entry. Americans know that Brits are soul mad, but this book proves it like no other. There's stuff in here that even the guys who wrote the music don't know about!

First, in order to convey just how deep this work goes, let's get to the details.

It's a tall paperback with over 700 pages. The 72 singles from 1959 to mid 1965 issued on London (4), Fontana (4), Oriole (19) and Stateside (45) are all here - each given an individual essay on their release and history. Topping the essay over each single is other relevant info - Timing, Writers, Producers, Recording Date, UK Release Date, B-side, UK Chart Position, US catalogue number, US release date and finally the US chart position attained in both Billboard's Pop and R&B charts.

The two-word 'Tamla Motown' identity was started by Gordy specifically to deal with UK issues (it was either the single word 'Motown', 'Tamla' or 'Gordy' in the USA). Its first 7" single release came in March 1965 on TMG 501 - The Supremes' "Stop! In The Name Of Love". While it topped the charts in the States, it made Number 7 in the UK (the title was a remark made by a producer to his argumentative girlfriend). From this point on page 68, the releases stretch all the way to page 606 and the February 2006 release of Stevie Wonder's "From The Bottom Of My Heart" on TMG 1513. Every single one!

This is then followed by the ARTIST SUMMARY section - which gives you their releases at a glance - 1 for Jerry Butler and 9 for The Commodores and so forth - very handy. There's then a section on STATISTICS, FACTS and FEATS; followed by AN ALPHABETICAL LIST OF TRACKS; followed by a section on MOTOWN EPs and 12" SINGLES. Then there's a section on the off-shoot labels, Rare Earth, Mo-West and Gaiee labels...and a COLLECTORS section dealing with label bags, different texts, matrix numbers etc. and finally a REFERENCES section that in itself goes on for pages.

Some entries are long - "Tears Of A Clown" by SMOKEY ROBINSON & THE MIRACLES (an instrumental first presented to Smokey by Stevie Wonder at a Christmas party), others are short because they deserve to be "A Little Bit For Sandy" by PAUL PETERSEN (a child actor originally on The Donna Reed Show) - it was produced by R DEAN TAYLOR and sank without a trace. The social consciousness period of Norman Whitfield's 1970s productions (Temptations, Undisputed Truth) I found fascinating and full of amazing info. In fact I can't imagine the thousands of hours it must have taken to assemble all this information, cross check every entry and then present the whole lot in an interesting way. His assessment of Marvin's "What's Going On" as a song that "says so little, yet means so much to so many people..." is both insightful and true.

I would say - however - that a very real down point is the complete lack of visuals. There should have been 10 or 12 pages of colour pictures, label variations, rare picture sleeves, early issues - but maybe on the next run.

Also, I went into 5 West End book stores and none had it for sale let alone knew of its existence - and Cherry Red books need to address that pronto - because it's criminal to see a book of this stature go unnoticed - reviewed online by some Irish nutter in a second-hand record shop in London. I would also prep a 'download' version for the net with better front artwork and a slew of picture pages from collectors with a far cheaper price to make it more accessible.

Those minor nitpicks aside, both Cherry Red and the author are to be congratulated for this wonderful tome.

I can tell you now with all confidence that even as Moses was parting the Red Sea with the sound of hooves and chariots in his shell-likes, he was secretly thinking, I can't wait for 2009 and Terry Wilson's detailed book about Tamla Motown in England...

To say I'm impressed folks is like saying the Sistine Chapel is an ok painting.

Well done to all concerned - and recommended the most.

"The International". A Review of the 2008 film now on a 2009 BLU RAY.

"…There’s What People Are Given…And Then There’s The Truth…"

The movie opens with a close-up of Clive Owen's bedraggled and unshaven face staring intently on a dodgy transaction that's taking place in a car park in the pouring rain across the street from him.
As it cuts to his British colleague in a German car (played by an excellent Ian Burfield- his fate is depicted above) negotiating the release of dangerous information from a nervous businessman in the driver's seat, you are immediately aware of a number of things - the stunning picture quality, the clever story and the cool cast. "The International" is beautiful to look at on BLU RAY and it's what you'd expect from a film like this - a well-paced espionage Bourne-like thriller that's both entertaining and striving to say something (though not always achieving either).

Roughly based on true events that rocked the banking system in the 80s and 90s, "The International" has been given a contemporary upgrade by Director TOM TYKWER and Writer ERIC SINGER - and in light of the avalanche of less-than-honest activities surrounding the recent global meltdown, it doesn't look the least bit out of place. In fact "The International" looks like it's arrived just in time - and with a really good point to make. Is it really the terrorists we need to be scared of - or the shady filth in suits that finance them? And what are their ultimate motives?

Clive Owen and Naomi Watts play Louis Salinger and Eleanor Whitman, two investigators from either side of the pond with a similar burning goal - for years they've been trying to expose a European bank they believe to be the number one choice for 90% of the world's dirty money. Toppling governments, controlling populations - it's a cesspool of hurt for ordinary people everywhere - and has clients said to include 'everyone' from Hezbollah to the CIA. But when Salinger and Whitman try to get close to an 'insider' who could give them a case, that person and their entire family gets removed by a no-loose-ends professional - and the agents subsequent investigations into the dead bodies then gets bogged down in endless amounts of convenient red tape and police bureaucracy.

After a while it becomes obvious that it's time to take chances, live dangerously and go outside the law. And on the movie goes to Istanbul and a newspaper collage in the end credits that depressingly reads more like the truth rather than fiction...

As you can imagine the cast is huge and the locations many. Keeping with buildings - the pristine yet detached architecture peppering so many affluent cities around the world especially in their financial sectors is used as a sort of subtext - as Agent Salinger climbs the steps of yet another sleek but soulless headquarters, he's little David making his way towards a mighty Goliath and with no real certainty that he's going to wound the beast, let alone kill the piece of shit.

Owen is a great leading man if not too ludicrously handsome to be believable, while Watts is an actress of calm beauty and intelligence that most leading men would want to work with. Ulrich Thomas is superb as the intelligent yet clinically detached head of the shady bankers conglomerate that talk on laptops and meet in museums. Felix Silis and Jack McGee (the Chief in Rescue Me) turn up as low-level detectives in New York just doing their job with tenaciousness and heart, while Watts plays it straight throughout - a woman who is committed, but scared out of her wits for herself and her young family (the writing is thankfully too intelligent to set up the inevitable romance between her and the lead).

But the movie's secret weapon is Armin Mueller-Stahl. Stahl is the kind of actor who has monumental gravitas - he makes every sentence seem like an event - he's like a European Anthony Hopkins. Armin plays Wilhelm Wexler - a man who exudes old-world power and corruption stretching back a lifetime. But Salinger detects something else in Wexler's advanced years - here is a once-principled man who started out with ideals and dreams, but has ended up defending a nightmare that kills real people in the real world and with sickening passionless detachment. There's a brilliantly written face-to-face showdown between Owen and Mueller-Stahl - a meeting of two minds - both of whom are tired of being beaten to a pulp by a huge lie. Wilhelm wants redemption - a way of making his life count - and perhaps both men are smart enough to work out a way of mutual interest.

The BLU RAY has a commentary by the Director that's fantastically detailed; there's a very interesting "Making Of" feature which has location footage in Berlin, New York, Istanbul, Milan and even a deserted warehouse in Germany where the spectacular Guggenheim Museum set was built for a huge shoot out between Salinger and the assassin he's trying to keep alive - the excellent Irish actor Brian F. O'Byrne.

If I was to put up a failing - it would be that there's too much style over substance - and you just don't care enough for the characters to have the movie make a real impact on you. And some of the shoot-outs border on the silly rather than the believable - put in there to up the action quotient and provide enticing trailer fodder. Or perhaps its just that the subject matter is frankly too real for most of us...and it's outcome too depressing...

For all that "The International" is an impressive and entertaining thriller - not great - but definitely worth a punt.

And could someone please give Clive Owen ugly tablets - it only seems fair to the rest of us mere mortals...

"Forever: The Complete Motown Albums Volume 1" by THE MARVELETTES (May 2009 US Hip-O Select/Motown 3CD Set of Remasters - Limited Edition of 5000) - A Review by Mark Barry...

This Review Along With 100s Of Others Is Available in my

SOUNDS GOOD E-Book on all Amazon sites

SOUL, FUNK and JAZZ FUSION - Exception CD Remasters  

Just Click Below To Purchase for £3.95

Thousands of E-Pages - All Details and In-Depth Reviews From Discs 

(No Cut and Paste Crap)

"…When You Give More Than You Get…"

Released May 2009 as a 3CD non-numbered Limited Edition of 5000 - "Forever: The Complete Motown Albums Volume 1" by THE MARVELETTES is yet another superlative trawl through the Tamla Motown archives by the award-winning Hip-O Select label of the USA. And as it's been given a European release this time (Hip-O stuff is normally US-only and therefore a pricey import) which is rare.

Long-time label associate ELLEN FITTON has remastered the first generation master tapes with typically superb results. The fully featured 30-page booklet is a treat to look at and an informative read - while the 3-way gold card digipak lends the whole package an element of real class. 

The 87-tracks of "Forever: The Complete Motown Albums Volume 1" by THE MARVELETTES offers Soul fans a huge treasure trove of early Motown girl group music for a very reasonable price. So here's a detailed breakdown for Hip-O Select B-0011516-2 (Barcode 602517756052) - all catalogue numbers are USA (unless otherwise stated):

Disc 1 (78:41 minutes):

1. Angel

2. I Want A Guy

3. Please Mr. Postman

4. So Long Baby

5. I Know How It Feels

6. Way Over There

7. Happy days

8. You Don't Want Me No More

9. All The Love I Got

10. Whisper

11. Oh I Apologize

Tracks 1 to 11 are the debut LP "Please Mr. Postman" issued on Tamla 228 in November 1961

12. Mashed Potato Time

13. Love Letters

14. The One Who Really Loves You

15. Twistin’ The Night Away

16. Hey! Baby

17. Twistin’ Postman

18. Good Luck Charm

19. Slow Twistin’

20. Lover Please

21. Dream Baby (How Long Must I Dream)

Tracks 12 to 21 are the LP "Smash Hits Of '62" [aka "The Marvelettes Sing"] issued on Tamla 229 in April 1962

22. Playboy

23. Mix It Up

24. Beechwood 4-5789

25. I’m Hooked

26. I Think I Can Change You

27. Forever

28. Someday, Someway

29. Goddess Of Love

30. You Should Know

31. (I’ve Got To) Cry Over You

Tracks 22 to 31 are their 3rd album "Playboy" issued on Tamla 231 in July 1962

Disc 2 (74:01 minutes):

1. Strange I Know

2. I Forgot About You

3. Looking Up My Heart

4. Which Way Did He Go

5. Silly Boy

6. It’s Gonna Take A Whole Lot Of Doing (To Undo The Damage You’ve Done)

7. Smart Aleck

8. My Daddy Knows Best

9. Too Strong To Be Strung Along

10. Why Must You Go

Tracks 1 to 10 are the LP "The Marvelous Marvelettes" issued on Tamla 237 in February 1963

11. Beechwood 4-5789 (Live)

12. Strange I Know (Live)

13. Someday, Somehow (Live)

14. Locking Up My Heart (Live)

15. Twistin' Postman (Live)

16. Tossin' And Turnin' (Live)

17. So Long Baby (Live)

18. Playboy (Live)

Tracks 11 to 18 are the LP "On Stage: Recorded Live" issued on Tamla 243 in July 1963

Track 19 is "Strange I Know (Live)", a Previously Unreleased Unedited Version

Track 20 is "Medley: Please Mr. Postman/Playboy/Strange I Know/Someday, Someway" from the LP "Recorded Live: The Motortown Revue Vol.2" issued on Motown 615 in April 1964

Track 21 is "Tie A String Around Your Finger", a non-album track, the B-side to "My Daddy Knows Best" issued on Tamla 54082 in July 1963

Tracks 22 and 23 are "Too Hurt To Cry, Too Much In Love To Say Goodbye" b/w "Come On Home" - both are credited to THE DARNELLS and are non-album tracks issued on Gordy 7024 in November 1963

Track 24 is "Finders Keepers, Losers Weepers" issued in the UK only on Tamla Motown TMG 1000 in August 1975

Track 25 is "Knock On My Door", first issued on the compilation "Never Before Released Masters From Motown's Brightest Stars" on Motown in 1986

Tracks 26 and 27 are "On The Other Side Of Town" and "Because I Love Him", both are exclusive to the UK-only CD compilation "Essential Collection" issued by Sequel Records in 2000

Track 28 is "Little Girls Grow Up" first issued on the UK-only 2CD set "A Cellarful Of Motown, Vol.3" in 2007

Disc 3 (72:19 minutes):

1. Don’t Mess With Bill [Stereo]

2. You’re My Remedy [Stereo]

3. Locking Up My Heart [Stereo]

4. As Long As I Know He’s Mine [Stereo]

5. Too Many Fish In The Sea [Stereo]

6. Danger: Heartbreak Dead Ahead [Stereo]

7. Please Mr. Postman [Stereo]

8. Playboy [Stereo]

9. Strange I Know [Stereo]

10. Forever [Stereo]

11. Twistin' Postman [Stereo]

12. Beechwood 4-5789 [Stereo]

Tracks 1 to 12 are the album "Greatest Hits" [Stereo Version] issued on Tamla 253 in February 1966

Tracks 13 and 14 are "As Long As I Know He's Mine" b/w "He Won't Be True (Little Girl Blue)" - a non-album 7" single issued October 1963 on Tamla 54088

Track 15 is "He's A Good Guy (Yes he Is)" - a non-album track issued as the A of a 7" single in January 1964 on Tamla 54091

Tracks 16 and 17 are "You're My Remedy" b/w "A Little Bit Of Sympathy, A Little Bit Of Love" - a non-album 7" single issued June 1964 on Tamla 54097

Tracks 18 and 19 are "Too Many Fish In The Sea" b/w "I'll Keep On Holding on" - a non-album 7" single issued October 1964 on Tamla 54105

Tracks 20 and 21 are "I'll Keep On Holding On" b/w "No Time For Tears" - a non-album 7" single issued May 1965 on Tamla 54116

Tracks 22 and 23 are "Danger: Heartbreak Dead Ahead" b/w "Your Cheating Ways" - a non-album 7" single issued July 1965 on Tamla 54120

Tracks 24 and 25 are "Don't Mess With Bill" b/w "Anything You Wanna Do" - a non-album 7" single issued November 1965 on Tamla 54126

Track 26 is "I Should Have Known Better" - previously unreleased track first issued on the 1979 Natural resources US LP "From The Vaults"

Tracks 27 and 28 are "I Just Can't Let Him Down" and "Maybe I Dried My Tears (For The Last Time)" - previously unreleased tracks first appeared on the UK-only CD compilation "Essential Collection" on Sequel Records in 2000

One of the big surprises for me is the non-descript looking "Greatest Hits" set from early 1966 - all 13 tracks are in STEREO and barring some bad distortion at the beginning of the opening track "Don't Mess With Bill", the sound on the other 12 is really FABULOUS. "Danger: Heartbreak Ahead" in particular is now filled with that wonderful Sixties Motown joy. Another treat is the rare non-album B-side "Tie A String Around Your Finger" - as lovely a ballad as HDH have ever produced. And for British fans there's the £100+ single rarity "Finders Keepers, Losers Keepers" - recorded in 1964, but only released on a UK 45 on Tamla Motown TMG 1000 in 1975 when the whole Northern Soul club scene was in full flight in Britain. "Which Way Did He Go" from "The Marvelous Marvelettes" (their 1st LP in the UK) is another track that sounds truly fantastic.

I'd admit that the Live Album is not something I'll ever listen to again - and after 80 slices of non-stop upbeat 60t's sunshine - the whole thing can grate the nerves a bit...but I know there's gems on here that I'll be dipping into for years to come. "Limited Edition" is stamped on the rear of the digipak in gold - so get this while you can...

PS: Volume 2 will feature their sophisticated mid to late Sixties stuff and is to follow soon. And for those interested in the excellent Hip-O Select label - I've posted a list of 25 recommended purchases in Listmania. And see also my review of Terry Wilson's astonishing 2009 UK paperback "TAMLA MOTOWN - The Stories Behind The UK Singles" - over 700 pages of soul joy and info... 

“Shall We Dance” – Peter Chelsom’s 2004 Movie. A Review of the 2008 BLU RAY Reissue.

“…. It’s Quite Possible We Could Find Your Husband Knee Deep In Potpourri…It’s Quiet Possible…But Unlikely…”

Whenever I'm asked by friends for a movie to lift up a dreary Monday evening after a tough day at the job, I reach for "Shall We Dance".
They then look at the outer sleeve with sneering suspicion, shake their heads and check my pulse.
Richard Gere and J-Lo! Ballroom Dancing!! Are you mad!!!
But they always come back a few days later saying how much they genuinely loved it...

Susan Sarandon and Richard Gere play Beverly and John Clark who are happily married and living in their affluent suburban mansion. They've a well-balanced life with an equally well-balanced daughter and all seems to be in order. But his job as a Chicago Estate Lawyer dealing with other people's wills has become tedious and their same-old existence at home quietly stagnant. One evening heading home after work on the overhead L train, John looks up into "Miss Mitzi's Dancing School" and sees a beautiful woman standing at the window (Jennifer Lopez). Several evenings and sightings later, he finally gets off the train, goes in and unwittingly enrols in Ballroom Dancing classes - and of course everything changes...

Peter Chelsom's 2004 remake of the 1996 Japanese film "Shall We Dansu?" is as lovely as film gets (pictured in English above) - and its transition to BLU RAY is a real triumph.

The picture is GLORIOUS throughout - far better than the DVD - beautifully framed by cinematographer John De Borman. There are so many scenes now where the detail hits you - the texture of his coat on the train home - the look of the wet streets outside the studio - his tie as he stands by the fridge in his perfect kitchen, the scuffed and scratched wooden floorboards of the Mitzi's studio - Stanley Tucci's character Link wiping false tan off his face (his Latin lothario look) as he discusses his secret passion for the Rumba and Tango with work colleague John - it 'all' looks so clear.

As with all great films, there's a combination of things that make it work. First up is the fabulous support cast who very nearly steal the film from the leads - Stanley Tucci and Lisa Ann Walter in particular are like Bette Midler and husband - ball-breakingly funny, ratty with each other, but ultimately human and touching. There's the huge but lovable Omar trying to lose a few pounds to propose to his girlfriend (Omar Miller from 8 Mile), the macho and deceptively deep Chic played brilliantly by Bobby Cannavale (from The Station Agent) who wants to score with women (or so he thinks) - Susan Sarandon admirably downplaying the acting hysterics as John's suspicious wife who then hires Richard Jenkins (the dead father in Six Feet Under) and Nick Cannon to investigate...and on it goes to revelations none of them were expecting...

John O'Connell did the choreography (Strictly Ballroom and Moulin Rouge) with Richard Gere admirably putting in 4 months of intensive training to get it right. Then there's the score by John Altman during the dance numbers which is such great fun - itself sided by Gabriel Yared's beautiful piano refrain infusing so many of the quieter scenes with an old-school romance and class. And of course the movie's trump-card - the elegant, sexy and sleek Jennifer Lopez who's in her element as Paulina the spurned Ballroom champion. She wins praise from her co-cast and director - and rightly so.

The Special Features on the BLU RAY are:
1. Audio commentary by the Director Peter Chelsom
2. Deleted Scenes (About 17 Minutes) With Commentary by Peter Chelsom
3. Behind The Scenes Of "Shall We Dance" - interviews with all the cast, director, producers etc
4. Beginners Ballroom
5. The Music Of (John Altman and Gabriel Yared who did the principal score; Mya's version of David Bowie's "Let's Dance" and The Pussycat Dolls update of Dean Martin's "Sway" including behind the scenes at the video shoot and interviews with Mya and Nicole Kea

Like "The Full Monty", "Sleepless In Seattle" or "When Harry Met Sally" - "Shall We Dance" is a bit of a modern day gem. Ok it won't make the top 50 best films every made - but it will talcum powder its way into your heart and stay there. And on BLU RAY it's a winner.

Recommended.

PS: Peter Chelsom has made other really great films worth checking out - "Hear My Song", "The Mighty", "Serendipity" and the wonderfully quirky "Funny Bones" which is set in his hometown of Blackpool in coastal England

LOUIS JORDAN Discography (USA Decca Records 1939 to 1954) Referencing The "Let The Good Times Roll" Bear Family 9CD Box Set of 1992.

LOUIS JORDAN USA Discography on Decca Records (1939 to 1954) with reference to their track placing on the 1992 Bear Family 9CD Box Set “Let The Good Times Roll – The Complete US Decca Recordings 1938-1954” (99 Entries)

Numbers 1 to 66 were originally released on 10” Decca 78’s in the USA – thereafter 7”
[1/5] after a title equates to Disc 1, Track 5 – [2/2] is Disc 2, Track 2 etc

- LOUIS JORDAN and his TYMPANY FIVE – USA 78”s/45's DISCOGRAPHY -

RODNEY STURGIS featuring Lovie Jordan’s Elks Rendez-Vous Band
(Sturgis on Vocals, Louis Jordan on Clarinet, Alto & Baritone Sax)

1. Decca 7550
(Both A&B recorded in December 1938 - released January 1939)
A: Toodle-Loo On Down [1/1]
B: The Girl That Wrecked My Life [not on the box because Jordon isn’t on this]

LOUIS JORDAN and HIS TYMPANY FIVE

2. Decca 7556
(Both A&B recorded December 1938 - released February 1939)
A: Honey In The Bee Ball [1/4]
B: Barnacle Bill The Sailor [1/5]

RODNEY STURGIS featuring Lovie Jordan’s Elks Rendez-Vous Band
(Sturgis on Vocals, Louis Jordan on Clarinet, Alto & Baritone Sax)

3. Decca 7579
(Both A&B recorded December 1938 - released March 1939)
A: So Good [1/2]
B: Away From You [1/3]

LOUIS JORDAN and HIS TYMPANY FIVE

4. Decca 7590
(Recorded March 1939 - released 1939)
A: Flat Face (Instrumental) [1/6]
B: Doug The Jitterbug [1/10]

5. Decca 7609
(Recorded March 1939 – released 1939))
A: Keep A-Knockin’ [1/7]
B: At The Swing Cat’s Ball [1/11]

6. Decca 7623
(Both A&B recorded March 1939 – released 1939)
A: Sam Jones Done Snagged His Britches [1/8]
B: Swinging In A Cocoanut Tree (Instrumental) [1/9]

7. Decca 7675
(Both A&B recorded October 1939 – released 1939
See also No. 65 – it was reissued in 1950 on Decca 25473)
A: Honeysuckle Rose [1/13]
B: But I’ll Be Back [1/15]

8. Decca 7693
(Both A&B recorded October 1939 – released 1939)
A: ‘Fore Day Blues [1/14]
B: You Ain’t Nowhere [1/16]

9. Decca 7705
(Recorded January 1940 - released in 1940
A side has vocals by YACK TAYLOR
See also No. 57 – B was reissued on Decca 24643 in 1949)
A: Hard Lovin’ Blues [1/21]
B: You Run Your Mouth And I’ll Run My Business [1/19]

10. Decca 7719
(Recorded September 1939 - released 1939)
A: You’re My Meat [1/17]
B: Jake, What A Snake (Instrumental) [1/12]

11. Decca 7723
(Recorded January 1940)
A: I’m Alabama Bound [1/20]
B: June Tenth Jamboree [1/18]

12. Decca 7729
(Recorded March 1940; A-side Vocals by DAISY WINCHESTER)
A: You Got To Go When The Wagon Comes [1/22]
B: After School Swing Session (Swinging with Symphony Sid) [1/27]

13. Decca 7745
(Recorded March 1940; A-side has Vocals by MABEL ROBINSON)
A: Lovie Joe [1/23]
B: Somebody Done Hoodooed The Hoodoo Man [1/24]

14. Decca 3253
(Recorded March 1940 – released 1940 [break in number run]
A-side features KENNETH HOLLON on Clarinet. Sax & Possible Vocals)
A: Bounce The Ball (Do Da Little Um Day) [1/25]
B: Don’t Come Crying On My Shoulder [2/3]

15. Decca 7777
(Recorded March 1940 – released 1940)
A: Never Let Your Left Hand Know What Your Right Hand’s Doin’ [2/2]
B: Penthouse In The Basement [1/26]

16. Decca 3360
(Recorded April 1940 – released 1940)
A: Oh Boy, I’m In The Groove [2/1]
B: Waitin’ For The Robert E. Lee [2/4]

17. Decca 8500
(Recorded September 1940 – released 1940)
A: Do You Call That A Buddy (Dirty Cat) [2/7]
B: Pompton Turnpike [2/6]

18. Decca 8501
(Recorded September 1940 – released 1940)
A: I Know You, I Know What You Wanna Do [2/8]
B: A Chicken Ain’t Nothin’ But A Bird [2/5]

19. Decca 8525
(Both A&B recorded January 1941 – released 1941
A was reissued in 1950 on Decca 25473 (see 65)
B was reissued in 1950 on Decca 25394 (see 64))
A: T-Bone Blues [2/11]
B: Pinetop’s Boogie Woogie (Instrumental) [2/9]

20. Decca 8537
(Recorded January 1941 – recorded 1941]
A: The Two Little Squirrels (Nuts To You) [2/10]
B: Pan Pan [2/12]

21. Decca 8560
(Both A&B recorded April 1941 – released 1941
A was reissued in 1950 on Decca 25394)
A: Saxa-Woogie [2/14]
B: Brotherly Love [2/15]

22. Decca 8581
(Recorded April 1941 – released 1941)
A: Boogie Woogie Came To Town [2/17]
B: Saint Vitus Dance [2/13]

23. Decca 8593
(Recorded November 1941 - released 1942
Both tracks later appeared on his first 78’s album set called “Louis Jordan”
a 4 x 78” box set on Decca A-459 issued in 1946
“Kiss” and “Outskirts” (in that order) are the 1st 78” (Decca 23628)
There was a follow-up “I’m Gonna Leave You On The Outskirts…” see 8638)
A: I’m Gonna Move To The Outskirts Of Town [2/26]
B: Knock Me A Kiss [2/22]

24. Decca 8605
(Recorded November 1941 - released 1942]
A: How ‘Bout That [2/19]
B: The Green Grass Grows All Around [2/23]

25. Decca 8627
(Recorded November 1941 - released 1942)
A: Mama Mama Blues (Rusty Dusty Blues) [2/21]
B: Small Town Boy [2/25]

26. Decca 8638
(Both A&B recorded July 1942 - released October 1942
Both the A&B formed a 78” in the 4x78” album box set “Louis Jordan” issued on Decca A-459 in 1946 (Decca 23628, 23629, 23630 and 26631)
A: I’m Gonna Leave You On The Outskirts Of Town [3/3]
B: It’s A Low-Down Dirty Shame [3/7]

27. Decca 8645
(Recorded July 1942 - released November 1942
B was also issued as Decca 23629 – see notes for 26)
A: What’s The Use Of Getting Sober (When You’re Gonna Get Drunk Again) [3/1]
B: The Chicks I Pick Are Slender, Tender And Tall [3/2]

28. Decca 8653
(Recorded July 1942 - released August 1943
A was also issued as Decca 23630 – see notes for 26)
A: Five Guys Named Moe [3/6]
B: That’ll Just ‘Bout Knock Me Out [3/4]

29. Decca 8654
(Recorded October 1943 – released December 1943)
A: Ration Blues [3/9]
B: Deacon Jones [3/11]

30. Decca 8659
(A Recorded October 1943, B March 1944 – released April 1944
B was also released on Decca 23630 – see notes for 26)
A: G.I. Jive [3/18]
B: Is You Is Or Is You Ain’t My Baby [3/10]

31. Decca 8668
(Recorded March 1944 - released February 1945)
A: Mop! Mop! [3/17]
B: You Can’t Get That No More [3/19]

32. Decca 8670
(Recorded January 1945 - released April 1945
Both A&B were reissued in 1947 on Decca 23932)
A: Caldonia [4/3]
B: Somebody Done Changed The Lock On My Door [4/4]

33. Decca 18734
(Recorded January 1945 - released January 1946)
A: Buzz Me [4/1]
B: Don’t Worry ‘Bout That Mule [4/9]

34. Decca 18762
(Recorded October 1945- released March 1946)
A: Salt Port, West Virginia [4/7]
B: Reconversion Blues [4/10]

35. Decca 18818
(Recorded January 1946 - released April 1946
Both A&B were reissued in 1947 on Decca 23931 – see 44)
A: Beware [4/12]
B: Don’t Let The Sun Catch You Cryin’ [4/13]

BING CROSBY with LOUIS JORDAN and his TYMPANY FIVE

36. Decca 23417
(Recorded July 1944 - released 1945.
There is a previously unreleased version of the A on the box set – it’s 3/23]
A: (Yip, Yip De Hootie) My Baby Said Yes [3/22]
B: Your Socks Don’t Match [3/24]

ELLA FITZGERALD and LOUIS JORDAN and his TYMPANY FIVE

37. Decca 23546
(Recorded October 1945 - released June 1946
There is also an unreleased version of “Petootie Pie” on the Box set – it’s 9/3)
A: Stone Cold Dead In The Market (He Had It Comin’) [9/1]
B: Petootie Pie [9/2]

LOUIS JORDAN and HIS TYMPANY FIVE

38. Decca 23610
(Recorded January 1946 - released August 1946)
A: Choo Choo Ch’Boogie [4/14]
B: That Chick’s Too Young To Fry [4/16]

Decca 23628, 23629, 23630 and 23631
(Each is one of 4 x 78”s in an album box set called “Louis Jordan”
It was issued on Decca A-459 in 1946)
23628 is “Knock Me A Kiss” and “I’m Gonna Move To…”
23629 is “The Chicks I Pick…” and “What’s The Use Of Getting Sober…”
23630 is “Is You Is…” and “Five Guys Named Moe”
23631 is “It’s A Low-Down Dirty Shame” and “Mama Mama Blues”

39. Decca 23669
(Recorded June 1946 - released October 1946)
A: Ain’t That Just Like A Woman (They’ll Do It Every Time) [4/15]
B: If It’s Love That You Want, That’s Me [4/18]

40. Decca 23741
(Recorded June 1946 - released December 1946)
A: Ain’t Nobody Here But Us Chickens [4/19]
B: Let The Good Times Roll [4/20]

41. Decca 23810
(A Recorded October 1946, B March 1944 - released Feb 1947)
A: Texas And Pacific [4/22]
B: I Like ‘Em Fat Like That [3/14]

42. Decca 23841
(Recorded January 1947 - released March 1947)
(There is a previously unreleased version of the A in the box set – it’s 4/27)
A: Open the Door, Richard! [5/2]
B: It’s So Easy [4/11]

43. Decca 23901
(Recorded October 1946 - released May 1947)
A: Jack, You’re Dead [4/23]
B: I Know What You’re Puttin’ Down [4/26]

44. Decca 23931
(Reissue of 35 – Decca 18818 – released 1947)
A: Beware [4/12]
B: Don’t Let The Sun Catch You Cryin’ [4/13]

45. Decca 23932
(Reissue of 32 – Decca 8670 – released 1947)
A: Caldonia [4/3]
B: Someone Done Changed The Lock On My Door [4/4]

46. Decca 24104
(A Recorded April 1947, B October 1946 - Released August 1947)
A: Boogie Woogie Blue Plate [5/3]
B: Sure Had A Wonderful Time [4/25]

47. Decca 24155
(A Recorded in June 1947, B in April 1947 – Released Oct 1947)
A: Look Out [5/8]
B: Early In The Morning [5/6]

48. Decca 24300
(A Recorded April 1947, B July 1945 – Released February 1948)
A: Barnyard Boogie [5/4]
B: How Long Must I Wait For You [4/5]

49. Decca 24381
(A Recorded Oct 1946, B in December 1947 – Released April 1948)
A: Reet, Petite And Gone [4/24]
B: Inflation Blues [5/14]

50. Decca 24448
(A in April 1947, B Recorded in Oct 1946 – Released July 1948)
A: Run Joe [5/7]
B: All For The Love Of Lil [4/21]

51. Decca 24483
(A Recorded in Dec 1947, B in Nov 1947 – Released Sept 1948)
A: Don’t Burn That Candle At Both Ends [5/20]
B: We Can’t Agree [5/11]

LOUIS JORDAN and his TYMPANY FIVE and MARTHA DAVIS

52. Decca 24502
(Both A&B recorded December 1947 – released October 1948
(Martha Davis is duet vocals on both A & B
The A-side is featured in the Danny Kaye movie “A Song Is Born”)
A: Daddy-O [5/22]
B: You’re On The Right Track, Baby [5/19]

LOUIS JORDAN and his TYMPANY FIVE

53. Decca 24527
(Both A&B recorded in December 1947 (different dates) – released Dec 1948)
A: Pettin’ And Pokin’ [5/18]
B: Why’d You Do It, Baby [5/21]

54. Decca 24571
(Both A&B recorded in November 1947 – released in March 1949)
A: Roamin’ Blues [5/13]
B: Have You Got The Gumption [5/10]

55. Decca 24587
(Both A&B recorded February 1949 – Released April 1949)
A: You Broke Your Promise [5/25]
B: Safe, Sane And Single [5/23]

56. Decca 24633
(A recorded April 1949 – B recorded April 1947 - released May 1949
The A only features BILL DOGGETT on Piano)
A: Cole Slaw (Sorghum Switch) [6/1]
B: Every Man To His Own Profession [5/5]

57. Decca 24643
(A is a reissue of Decca 7705 (Number 9)
B is a reissue of Decca 8501 (Number 18) – released 1949)
A: You Run Your Mouth And I’ll Run My Business [1/19]
B: A Chicken Ain’t Nothing But A Bird [2/5]

ELLA FITZGERALD and LOUIS JORDAN and his TYMPANY FIVE

58. Decca 24644
(A&B recorded April 1949 – released June 1949)
A: Baby It’s Cold Outside [9/4]
B: Don’t Cry, Cry Baby [9/5]

LOUIS JORDAN and his TYMPANY FIVE

59. Decca 24673
(A recorded April 1949 – B recorded November 1947 – released August 1949
Both feature BILL DOGGETT on Piano)
A: Beans And Corn Bread [6/2]
B: Chicky-Mo, Caney-Crow [5/12]

60. Decca 24725
(A&B recorded in August 1949 – released October 1949
Both feature BILL DOGGETT on Piano)
A: Saturday Night Fish Fry (Part 1) [6/10 for both]
B: Saturday Night Fish Fry (Part 2)

61. Decca 24815
(A recorded April 1949 – B in February 1949 – released January 1950
The A only features BILL DOGGETT on Piano)
A: School Days [6/7]
B: I Know What I’ve Got, Don’t Know What I’m Getting [5/24]

62. Decca 24877
(A recorded April 1949 – B in August 1949 – released March 1950
Both feature BILL DOGGETT on Piano)
A: Push-Ka-Pee She Pie (The Saga Of Saga Boy) [5/26]
B: Hungry Man [6/8]

63. Decca 24981
(Both A&B recorded April 1949 – released 1950
Both feature BILL DOGGETT on Piano)
A: Baby’s Gonna Go Bye Bye [6/4]
B: Heed My Warning [6/5]

64. Decca 25394
(A is a reissue of 19B – B is a reissue of 21A – released 1950)
A: Pinetop’s Boogie Woogie [2/9]
B: Saxa-Woogie [2/14]

65. Decca 25473
(A is a reissue of Decca 7675 (Number 7)
B is a reissue of Decca 8525 (Number 19) – released 1950)
A: Honeysuckle Rose [1/13]
B: T-Bone Blues [2/11]

66. Decca 27058
(A&B recorded April 1949 – released 1950
Both feature BILL DOGGETT on Piano)
A: Onion (Instrumental) [6/3]
B: Psycho-Loco (Instrumental) [6/6]

67. Decca 9-27114 [9 prefix indicates 7” 45RPM single]
(A&B recorded June 1950 – released August 1950)
A: Blue Light Boogie, Part 1 [6/13 for both]
B: Blue Light Boogie, Part 2

68. Decca 9-27129
(A&B recorded June 1950 – released 1950)
A: I Want A Roof Over My Head [6/11]
B: Show Me How (You Milk A Cow) [6/12]

ELLA FITZGERALD and LOUIS JORDAN and his TYMPANY FIVE

69. Decca 9-27200
(Both A&B recorded August 1950 – released November 1950)
A: I’ll Never Be Free [9/7]
B: Ain’t Nobody’s Business But My Own [9/6]

LOUIS JORDAN and his TYMPANY FIVE

70. Decca 9-27203
(Both A&B recorded August 1950 at different sessions – released October 1950
Both feature BILL DOGGETT on Piano)
A: Tamburitza Boogie [6/14]
B: Trouble Then Satisfaction [6/20]

LOUIS ARMSTRONG with LOUIS JORDAN and his TYMPANY FIVE

71. Decca 9-27212
A: (I’ll Be Glad When You’re Dead) You, Rascal You [6/23]
B: Life Is So Peculiar [6/22]

LOUIS JORDAN and his TYMPANY FIVE

72. Decca 9-27324
(Both A&B recorded in August 1950 – released January 1951)
A: Lemonade [6/16]
B: (You Dyed Your Hair) Chartreuse [6/15]

73. Decca 9-27424
(A recorded in December 1950 – B in August 1950 – released March 1951)
A: Tear Drops From My Eyes [6/24]
B: It’s A Great, Great Pleasure [6/17]

74. Decca 9-27547
(Both A&B recorded in March 1951 – released May 1951)
A: Weak Minded Blues [7/2]
B: Is My Pop In There? [7/3]

75. Decca 9-27620
(A recorded in March 1951 – B in August 1950 – released 1951)
A: I Can’t Give You Anything But Love, Baby [7/4]
B: You Will Always Have A Friend [6/18]

76. Decca 27648
(Both A&B recorded in June 1951 – released in 1951)
A: If You're So Smart, How Come You Ain't Rich? [7/5]
B: How Blue Can You Get [7/8]

77. Decca 27694
(Both A&B recorded in June 1951 – released 1951)
A: Please Don’t Leave Me [7/11]
B: Three-Handed Woman [7/14]

78. Decca 27784
(A recorded in June 1951 – B in July 1951 – released 1951)
A: Trust In Me [7/6]
B: Cook-A-Doodle Doo [7/16]

79. Decca 27806
(Both A&B recorded in June 1951 – released December 1951)
A: May Every Day Be Christmas [7/10]
B: Bone Dry [7/12]

80. Decca 27898
(A recorded November 1951 – B recorded June 1946 – released 1952)
A: Lay Something On The Bar (Besides Your Elbow) [7/26]
B: No Sale [4/17]

81. Decca 27969
(A recorded in June 1951 – B in November 1951 – released in 1952)
A: Louisville Lodge Meeting [7/7]
B: Work Baby Work [7/22]


82. Decca 28088
(Both A&B recorded in November 1951 – released in 1952)
A: Slow Down [7/21]
B: Never Trust A Woman [7/23]

83. Decca 28211
(Both A&B recorded in April 1952 – released in 1952)
A: Junco Partner [8/1]
B: Azure-Te (Paris Blues) [8/3]

84. Decca 28225
(A recorded in April 1952 – B in May 1952 – released 1952)
A: Oil Well Texas [8/3]
B: Jordan For President [8/6]

85. Decca 9-28355
(Both A&B recorded in November 1951 – released in 1952
A-side features VALLI FORD on Vocals)
A: All Of Me [7/24]
B: There Goes My Heart [7/25]

86. Decca 9-28444
(A recorded in January 1947 – B in December 1947 – released in 1952)
A: Friendship [5/1]
B: You’re Much Too Fat (And That’s That) [5/15]

87. Decca 9-28543
(Both A&B recorded in December 1952 – released in 1953)
A: You Didn’t Want Me Baby [8/10]
B: A Man’s Best Friend Is A Bed [8/11]

88. Decca 9-28664
(Both A&B recorded in February 1952 – released in 1953)
A: It’s Better To Wait For Love [8/13]
B: Just Like A Butterfly (That’s Caught In The Rain) [8/15]

89. Decca 9-28756
(Both A&B recorded in May 1953 – released in 1953)
A: Hog Wash [8/16]
B: House Party [8/17]

90. Decca 9-28820
(A recorded in April 1952 - B in July 1951 - released in 1953)
A: Time Marches On [8/2]
B: There Must Be A Way [7/18]

91. Decca 9-28883
(Both A&B recorded in May 1953 – released in 1953)
A: I Want You To Be My Baby [8/19]
B: You Know It Too [8/20]

92. Decca 9-28983
(A recorded in May 1952, B in June 1951 - released in 1953)
A: The Soon-A Baby [8/9]
B: Fat Sam From Birmingham [7/15]

93. Decca 9-29018
(Both A&B recorded in January 1954 – released in 1954)
A: Nobody Knows You When You’re Down And Out [8/23]
B: Lollypop [8/26]

94. Decca 9-29166
((Both A&B recorded February 1953 – released in 1953)
A: Only Yesterday [8/14]
B: I Didn’t Know What Time It Was [8/12]

95. Decca 9-29263
(Both A&B recorded in January 1954 – released in 1954)
A: If It’s True [8/24]
B: Wake Up Jacob [8/25]

96. Decca 9-29424
(Both A&B recorded in January 1954 – released in 1954)
A: Locked Up [8/21]
B: Perdido (Instrumental) [8/27]

97. Decca 9-29655
(A recorded in May 1953, B recorded November 1951 – released in 1954
A is a reissue of Decca 28883 (Number 91))
A: I Want You To Be My Baby [8/19]
B: Come And Get It (Instrumental) [7/19]

98. Decca 9-29860
(A recorded in January 1954 – B in May 1953 – released in 1954)
A: I Gotta Move [8/22]
B: Everything That's Made of Wood [8/18]

99. Decca 30223
(A recorded in May 1953. B in April 1947 – released in 1954
A is a reissue of 91 and 97; B is a reissue of 50)
A: I Want You To Be My Baby [8/19]
B: Run Joe [5/7]

Compiled 11 to 14 July 2009 - Posted 14 July 2009