Wilson Pickett was an American singer and songwriter. A major figure in the development of American soul music, Pickett recorded over 50 songs which made the US R&B charts, many of which crossed over to the Billboard Hot 100. Among his best-known hits are "In the Midnight Hour", "Land of 1,000 Dances", "Mustang Sally", "Funky Broadway". Pickett was inducted into the Rock and Roll Hall of Fame in 1991, in recognition of his impact on songwriting and recording. Pickett was born March 18, 1941 in Prattville and sang in Baptist church choirs, he was the fourth of 11 children and called his mother "the baddest woman in my book," telling historian Gerri Hirshey: "I get scared of her now. She used to hit me with anything, stove wood — and cried for a week. Stayed in the woods, me and my little dog." Pickett left to live with his father in Detroit in 1955. Pickett's forceful, passionate style of singing was developed in the church and on the streets of Detroit, under the influence of recording stars such as Little Richard, whom he referred to as "the architect of rock and roll."In 1955, Pickett joined the Violinaires, a gospel group.
The Violinaires played with another gospel group on concert tour in America. After singing for four years in the popular gospel-harmony group, lured by the success of gospel singers who had moved to the lucrative secular music market, joined the Falcons in 1959. By 1959, Pickett recorded the song "Let Me Be Your Boy" with the Primettes as background singers; the song is the B-side of his 1963 single "My Heart Belongs to You". The Falcons were an early vocal group bringing gospel into a popular context, thus paving the way for soul music; the group featured notable members. Pickett's biggest success with the Falcons was "I Found a Love", co-written by Pickett and featuring his lead vocals. While only a minor hit for the Falcons, it paved the way for Pickett to embark on a solo career. Pickett had a solo hit with a re-recorded two-part version of the song, included on his 1967 album The Sound of Wilson Pickett. Soon after recording "I Found a Love", Pickett cut his first solo recordings, including "I'm Gonna Cry", in collaboration with Don Covay.
Pickett recorded a demo for a song he co-wrote, "If You Need Me", a slow-burning soul ballad featuring a spoken sermon. Pickett sent the demo to a producer at Atlantic Records. Wexler gave it to the label's recording artist Solomon Burke, Atlantic's biggest star at the time. Burke admired Pickett's performance of the song, but his own recording of "If You Need Me" became one of his biggest hits and is considered a soul standard. Pickett was crushed; when Pickett—with a demo tape under his arm—returned to Wexler's studio, Wexler asked whether he was angry about this loss, but denied it saying "It's over". Pickett's version was released on Double L Records and was a moderate hit, peaking at #30 R&B and #64 pop. Pickett's first significant success as a solo artist came with "It's Too Late," an original composition. Entering the charts on July 27, 1963, it peaked at #7 on the R&B chart. Compiling several of Pickett's single releases for Double L, It's Too Late showcased a raw soulful sound that foreshadowed the singer's performances throughout the coming decade.
The single's success persuaded Wexler and Atlantic to buy Pickett's recording contract from Double L in 1964. Pickett's Atlantic career began with the self-produced single, "I'm Gonna Cry". Looking to boost Pickett's chart chances, Atlantic paired him with record producer Bert Berns and established songwriters Barry Mann and Cynthia Weil. With this team, Pickett recorded "Come Home Baby," a duet with singer Tami Lynn, but this single failed to chart. Pickett's breakthrough came at Stax Records' studio in Memphis, where he recorded his third Atlantic single, "In the Midnight Hour"; this song was Pickett's first big hit, peaking at #1 R&B, #21 pop, #12. It sold over one million copies, was awarded a gold disc; the genesis of "In the Midnight Hour" was a recording session on May 12, 1965, at which Wexler worked out a powerful rhythm track with studio musicians Steve Cropper and Al Jackson of the Stax Records house band, including bassist Donald "Duck" Dunn. Wexler said to Cropper and Jackson, "Why don't you pick up on this thing here?"
He performed a dance step. Cropper explained in an interview that Wexler told them that "this was the way the kids were dancing. We'd been one-beat-accenters with an afterbeat. Pickett recorded three sessions at Stax in May and October 1965, he was joined by keyboardist Isaac Hayes for the October sessions. In addition to "In the Midnight Hour," Pickett's 1965 recordings included the singles "Don't Fight It," "634-5789" and "Ninety-Nine and a Half". All but "634-5789" were original compositions which Pickett co-wrote with Eddie Floyd or Steve Cropper or both. For his next sessions, Pickett did not return to Stax, as the label's owner, Jim Stewart, had decided in December 1965 to b
Hot Pants (James Brown song)
"Hot Pants" is a funk song by James Brown. Brown recorded the song in 1971 and released it that year as a three-part single on his People Records label, distributed by his primary label King, it was a number-one R&B hit and reached number fifteen on the Billboard Hot 100 pop chart in the U. S. along with reaching number ten on the Cashbox magazine charts. "Hot Pants" was Brown's final release under King's purview. The song's lyrics are an ode to the captivating power of the title garment, which members of the band first saw on their 1970 European tour. Like much of Brown's funk repertoire, "Hot Pants" has been extensively sampled in hip hop productions, notably by Eric B. & Rakim on the title track of Paid in Full. James Brown - lead vocalwith the J. B.'s: Fred Wesley - trombone Jimmy Parker - alto saxophone St. Clair Pinckney - tenor saxophone Bobby Byrd - organ Hearlon "Cheese" Martin - guitar Robert Lee Coleman - guitar Fred Thomas - bass John "Jabo" Starks - drums Johnny Griggs - congas Soon after moving to Polydor, Brown re-recorded "Hot Pants" for inclusion on the Hot Pants album to be released on his new label.
The 8:42 long album version, never released as a single, was recorded on July 12, 1971, at Rodel Studios, Washington, D. C. with the same personnel as the previous recording. It was included on the 1986 compilation album In the Jungle Groove. Several of Brown's associates recorded hot pants-themed songs. Bobby Byrd recorded "Hot Pants - I'm Coming, I'm Coming, I'm Coming", released on Brownstone Records in 1972; this version of the song was frequently sampled for its drum loop. Notable sampling songs include "Fight The Power" by Public Enemy, "Fools Gold" by The Stone Roses, "Papua New Guinea" by Future Sound of London, "Step Back In Time" by Kylie Minogue and "Good Vibrations" by Marky Mark and the Funky Bunch; the song was featured on the Grand Theft Auto: San Andreas soundtrack on the Master Sounds 98.3 station. Byrd's wife Vicki Anderson recorded an answer song, "I'm Too Tough For Mr. Big Stuff", for Brownstone; the J. B.'s recorded the instrumental "Hot Pants Road" as the B-side of their 1971 hit "Pass the Peas".
James Brown's 1998 release "Funk on Ah Roll" reuses/resamples the guitar and horn parts of "Hat pants". Song Review at Allmusic List of songs that sample "Hot Pants"
Mr. Big Stuff
"Mr. Big Stuff" is a song by American singer Jean Knight; the song was recorded in 1970 at Malaco Studio in Jackson, Mississippi at the same session as "Groove Me" by King Floyd. Knight's single was released by Stax Records because of the persistence of Stax publisher Tim Whitsett, "Groove Me" by King Floyd, which Whitsett urged Malaco to release became a hit. Both songs are defined by off-beat bass lines and tight arrangements by Wardell Quezergue. Released on Knight's 1971 debut album of the same title, it became; the song spent five weeks at no. 1 on the Billboard Soul Singles chart and peaked at no. 2 on the Billboard Hot 100 Singles chart, behind "How Can You Mend a Broken Heart" by The Bee Gees. Billboard ranked it as the No. 18 song for 1971. The song went the no. 1 Soul Single of the year. Knight performed the song on Soul Train on December 1971 during its first season. "Mr. Big Stuff" became one of Stax Records' more recognizable hits, it was featured in the 2007 mini-series The Bronx Is Burning.
It was nominated for Best Female R&B Vocal Performance at the 1972 Grammy Awards. No credits are listed for the Malaco studio musicians on the record. According to Rob Bowman's liner notes from the 1999 box set The Last Soul Company: Malaco, A Thirty Year Retrospective, the musicians for this session included: Vernie Robbins – bass James Stroud – drums Wardell Quezergue – organ Jerry Puckett – guitar Jimmy Honeycutt - saxophoneDuring this time at Malaco, horn lines were played by saxophonist Hugh Garraway and trumpeter Perry Lomax. American all-female heavy metal band Precious Metal released a cover of the song from their self-titled 1990 album. Donald Trump and future president of the United States made an appearance in the music video for the band's cover. However, Trump wanted a $250,000 payment instead of the agreed-upon $10,000 appearance fee. After the band refused to pay for his appearance, Trump was replaced in the final version of the music video. Martha Wash covered the song for the soundtrack of the film Disney's D2: The Mighty Ducks.
Canadian singer Sheree Jeacocke included a cover of the song on her 1995 EP Jeacocke. R&B duo Nikki & Rich recorded a cover of the song for the 2011 film Hop. Britta Phillips, as the character Billy, did a cover on this in the 1988 movie Satisfaction; the 2005 movie Kinky Boots featured a cover of the song by American soul singer Lyn Collins. The Poets of Rhythm recorded a version titled "Funky Booty" in 2005. On the March 29, 2014 episode, the female cast members of Saturday Night Live performed this for a sketch with guest host Louis C. K.. John Holt recorded a reggae version in 1971, changing the lyrics to "Sister Big Stuff". Prince Buster would record his own version of the song the following year. In 1987, rapper Heavy D recorded "Mr. Big Stuff", which became a hit. Though his version was different from the original version, Knight's hook line was prominently featured throughout the song. In 1994, the song was prominently interpolated into TLC's "Switch" on their CrazySexyCool album. A sample of the composition was used for the self-titled song by Queen Latifah and Free, included on the soundtrack of the 1996 movie The Associate.
"Mr. Big Stuff" was sampled in 2000 by Everclear in the song "AM Radio" from their album Songs from an American Movie Vol. One: Learning How to Smile. Girl Talk sampled a portion of this song on his track, "Let It Out" from the album All Day Beastie Boys sampled the famous "Who do you think you are?" Lyric in their song "Johnny Ryall" from Paul's Boutique. R&B and soul artist John Legend sampled "Mr. Big Stuff" for the lead single "Who Do We Think We Are" from his fourth album Love in the Future. Lyrics of this song at MetroLyrics
Sly and the Family Stone
Sly and the Family Stone was an American band from San Francisco. Active from 1966 to 1983, it was pivotal in the development of funk, soul and psychedelic music, its core line-up was led by singer-songwriter and multi-instrumentalist Sly Stone, included Stone's brother and singer/guitarist Freddie Stone and singer/keyboardist Rose Stone, trumpeter Cynthia Robinson, drummer Greg Errico, saxophonist Jerry Martini, bassist Larry Graham. It was the first major American rock group to have a racially integrated and female lineup. Formed in 1966, the group's music synthesized a variety of disparate musical genres to help pioneer the emerging "psychedelic soul" sound, they released a series of Top 10 Billboard Hot 100 hits such as "Dance to the Music", "Everyday People", "Thank You", as well as critically acclaimed albums such as Stand!, which combined pop sensibility with social commentary. In the 1970s, it transitioned into a darker and less commercial funk sound on releases such as There's a Riot Goin' On and Fresh, proving as influential as their early work.
By 1975, drug problems and interpersonal clashes led to dissolution, though Sly continued to record and tour with a new rotating lineup under the name "Sly and the Family Stone" until drug problems forced his effective retirement in 1987. The work of Sly and the Family Stone influenced the sound of subsequent American funk, soul, R&B, hip hop music. Music critic Joel Selvin wrote, "there are two types of black music: black music before Sly Stone, black music after Sly Stone". In 2010, they were ranked 43rd in Rolling Stone's 100 Greatest Artists of All Time, three of their albums are included on Rolling Stone's 500 Greatest Albums of All Time; the band was inducted into the Rock and Roll Hall of Fame in 1993. Sylvester Stewart was born into the Dallas, family of K. C. and Alpha Stewart, followers of the Church of God in Christ who encouraged musical expression in the household. After the Stewarts moved to Vallejo, the youngest four children formed "The Stewart Four", who released a local 78 RPM single, "On the Battlefield of the Lord" b/w "Walking in Jesus' Name", in 1952.
While attending high school and Freddie joined student bands. One of Sylvester's high school musical groups was a doo-wop act called The Viscaynes; the Viscaynes released a few local singles, Sylvester recorded several solo singles under the name "Danny Stewart". By 1964, Sylvester had become Sly Stone and a disc jockey for San Francisco R&B radio station KSOL, where he included white performers such as The Beatles and The Rolling Stones in his playlists. During the same period, he worked as a record producer for Autumn Records, producing for San Francisco-area bands such as The Beau Brummels and The Mojo Men. One of the Sylvester Stewart-produced Autumn singles, Bobby Freeman's "C'mon and Swim", was a national hit. Stewart recorded unsuccessful solo singles while at Autumn. In 1966, Sly Stone formed a band called Sly & the Stoners, which included acquaintance Cynthia Robinson on trumpet. Around the same time, Freddie founded a band called Freddie & the Stone Souls, which included Gregg Errico on drums, Ronnie Crawford on saxophone.
At the suggestion of Stone's friend, saxophonist Jerry Martini and Freddie combined their bands, creating Sly and the Family Stone in November 1966. At first the group was called Sly Brothers and Sisters but after their first gig at the Winchester Cathedral, a night club in Redwood City, they changed the name to Sly & the Family Stone. Since both Sly and Freddie were guitarists, Sly appointed Freddie the official guitarist for the Family Stone, taught himself to play the electronic organ. Sly recruited Larry Graham to play bass guitar. Vanetta Stewart wanted to join the band as well, she and her friends, Mary McCreary and Elva Mouton, had a gospel group called The Heavenly Tones. Sly recruited the teenagers directly out of high school to become Little Sister and the Family Stone's background vocalists. After a gig at the Winchester Cathedral, CBS Records executive David Kapralik signed the group to CBS's Epic Records label; the Family Stone's first album, A Whole New Thing, was released in 1967 to critical acclaim from musicians such as Mose Allison and Tony Bennett.
However, the album's low sales restricted their playing venues to small clubs, caused Clive Davis and the record label to intervene. Some musicologists believe the Abaco Dream single "Life And Death In G & A", recorded for A&M Records in 1967 and peaking at #74 in September 1969, was performed by Sly and the Family Stone. Davis talked Sly into writing and recording a record, he and the band reluctantly provided the single "Dance to the Music". Upon its February 1968 release, "Dance to the Music" became a widespread ground-breaking hit, was the band's first charting single, reaching #8 on the Billboard Hot 100. Just before the release of "Dance to the Music", Rose Stone joined the group as a vocalist and a keyboardist. Rose's brothers had invited her to join the band from the beginning, but she had been reluctant to leave her steady job at a local record store; the Dance to the Music album went on to decent sales, but the follow-up, was not as successful commercially. In September 1968, the band embarked to England.
It was cut short after Graham was arrested for possession of marijuana and because of disagreements with concert promoters. In late 1968, Sly and the Family Stone released the single "Everyday People", which became their first No. 1 hit. "Everyday People" was a protest against prejudice of all kinds and popularized the catchphrase "different stroke
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
"Stick-Up" is the 1971 follow up single to The Honey Cone's #1 pop and R&B hit "Want Ads". The song hit #1 on the R&B charts for two weeks and reached #11 on the Hot 100, remaining there for three weeks. Song overview on Allmusic Lyrics of this song at MetroLyrics
Johnnie Harrison Taylor was a three-time Grammy-nominated American recording artist and songwriter who performed a wide variety of genres, from blues and blues, gospel to pop, doo-wop, disco. Johnnie Taylor was born in Arkansas, he grew up in West Memphis, performing in gospel groups as a youngster. As an adult, he had one release, "Somewhere to Lay My Head", on Chicago's Chance Records label in the 1950s, as part of the gospel group Highway QCs, founded by a young Sam Cooke. Taylor's singing was strikingly close to that of Cooke, he was hired to take Cooke's place in the latter's gospel group, the Soul Stirrers, in 1957. A few years after Cooke had established his independent SAR Records, Taylor signed on as one of the label's first acts and recorded "Rome Wasn't Built In A Day" in 1962. However, SAR Records became defunct after Cooke's death in 1964. In 1966, Taylor moved to Stax Records in Memphis, where he was dubbed "The Philosopher of Soul", he recorded with the label's house band, which included Booker T. & the M.
G.'s. His hits included "I Had a Dream", "I've Got to Love Somebody's Baby" and most notably "Who's Making Love", which reached No. 5 on the Billboard Hot 100 chart and No. 1 on the R&B chart in 1968. "Who's Making Love" sold over one million copies, was awarded a gold disc. In 1970, Taylor married Gerlean Rocket and they remained married until his death in 2000. During his tenure at Stax, he became an R&B star, with over a dozen chart successes, such as "Jody's Got Your Girl and Gone", which reached No. 23 on the Hot 100 chart, "Cheaper to Keep Her" and record producer Don Davis's penned "I Believe in You", which reached No. 11 on the Hot 100 chart. "I Believe in You" sold in excess of one million copies, was awarded gold disc status by the R. I. A. A. in October 1973. Taylor, along with Isaac Hayes and The Staple Singers, was one of the label's flagship artists, who were credited for keeping the company afloat in the late 1960s and early 1970s after the death of its biggest star, Otis Redding, in an aviation accident.
He appeared in the documentary film, released in 1973. After Stax folded in 1975, Taylor switched to Columbia Records, where he recorded his biggest success with Don Davis still in charge of production, "Disco Lady", in 1976, it spent four weeks at number one on the Billboard Hot 100 and six weeks at the top of the R&B chart. It peaked at No. 25 in the UK Singles Chart in May 1976. "Disco Lady" was the first certified platinum single by the RIAA. Taylor recorded several more successful albums and R&B single hits with Davis on Columbia, before Brad Shapiro took over production duties, but sales fell away. After a short stay at a small independent label in Los Angeles, Beverly Glen Records, Taylor signed with Malaco Records after the company's founder Tommy Couch and producing partner Wolf Stephenson heard him sing at blues singer Z. Z. Hill's funeral in spring 1984. Backed by members of the Muscle Shoals Rhythm Section, as well as in-house veterans such as former Stax keyboardist Carson Whitsett and guitarist/bandleader Bernard Jenkins, Malaco gave Taylor the type of recording freedom that Stax had given him in the late 1960s and early 1970s, enabling him to record ten albums for the label in his 16-year stint.
In 1996, Taylor's eighth album for Malaco, Good Love!, reached number one on the Billboard Top Blues Albums chart, was the biggest record in Malaco's history. With this success, Malaco recorded a live video of Taylor at the Longhorn Ballroom in Dallas, Texas, in the summer of 1997; the club portion of the Good Love video was recorded at 1001 Nightclub in Mississippi. Taylor's final song was "Soul Heaven", in which he dreamed of being at a concert featuring deceased African-American music icons from Louis Armstrong to Otis Redding to Z. Z. Hill to The Notorious B. I. G. among others. In the 1980s, Johnnie Taylor was a DJ on KKDA, a radio station in the Dallas area, where he had made his home; the station's format was R&B and Soul oldies and their on-the-air personalities were local R&B, Soul and jazz musicians. Taylor was billed as "The Wailer, Johnnie Taylor". Taylor died of a heart attack at Charlton Methodist Hospital in Dallas, Texas, on May 31, 2000, aged 66. Stax billed Johnnie Taylor as "The Philosopher of Soul".
He was known as "the Blues Wailer". He was buried beside Ida Mae Taylor, at Forrest Hill Cemetery in Kansas City, Missouri, his complex personal life was revealed after his death. Having six accepted children and three others with confirmed paternity born to three different mothers, the difficulties associated with executing his will were presented in the TV programme, The Will: Family Secrets Revealed: The Estate of Johnnie Taylor.. Taylor was given a Pioneer Award by the Rhythm and Blues Foundation in 1999. Taylor was a three-time Grammy Award nominee. Taylor has been nominated for three career Grammy Awards without a win. In 2004, the UK's Shapeshifters sampled Taylor's 1982 "What About My Love?", for their No. 1 hit single, "Lola's Theme". Wanted: One Soul Singer - Stax 715 Who's Making Love... - Stax 2005 Raw Blues - Stax 2008 Rare Stamps - Stax 2012 The Johnnie Taylor Philosophy Continues - Stax 2023 One Step Beyond - Stax 2030 Taylored in Silk - Stax 3014 Super Taylor - Stax 5509 Eargasm - Columbia 33951 Rated Extraordinaire - Columbia 34401 Reflections - RCA APL1-2527 Disco 9000 - Columbia 35004 Ever Ready - Columbia 35340 Sh