And if you peruse this thread (a long one admittedly) you’ll find they do, to some extent at least — along with surf rock, Phil Spector, early soul (James Brown, Bobby Bland), girl groups, etc. Jazz was at a peak. There were a handful of late doo wop and rockabilly numbers, and a few early garage band tracks as well. It was a period of transition, a lot richer than most realize.
“My Testament” — Big Brown & The Gamblers (1960) From the Belgian singer to the aggressive horns, this is borderline unhinged. Palette PB 40088 D [Germany], 1960
'Why should I suffer withe the blues?' by the Canes (1962) b/w 'I'll never give her up (my friend)' co-written by Chips Moman & Steve Cropper https://www.youtube.com/watch?v=XZKNhImf_HU&ab_channel=JohnManship The Canes - Why Should I Suffer With The Blues / I'll Never Give Her Up (My Friend) This site indicates that the Canes were the group previously known as the Vel-Tones (the first black artists to record for the pre-Stax label Satellite) THE VEL-TONES Marv Goldberg believes they were the group previously known as the 4 Kings with Lorece Thompson from the group the Largoes (aka the Largos) singing lead Marv Goldberg's R&B Notebooks - 4 KINGS They were probably named after a local DJ Dick "Cane" Cole
'I Wonder Why' by the Largos featuring Lorece Thompson (1961) The Largos - I Wonder Why / Saddle Up Later released an LP in 1963 Lorece Thompson And The Largos - Beale Street Today
'Cuttin' In' by Johnny (Guitar) Watson (1961) Johnny (Guitar) Watson - Cuttin' In / Broke And Lonely r&b #6 in 1962; his biggest hit of the 1960s Cover versions of Cuttin' In written by Johnny "Guitar" Watson | SecondHandSongs
“In Between Tears” — The Equallos (1962) The Chicago-based Equalos were Arthur Ford, Dave Hoskin. and brothers Occie and Willie Logan. Normally Willie handled the lead vocal, but bass vocalist ‘O.C.’ is featured here. M and M M-30, 1962
'I know I'm gonna love you anyway' by J.R. LaRue & the Goldtones (1962) J.R. LaRue & The Goldtones - Jane Released on label based in Bakersfield, California.
'It's love that really counts (in the long run)' by the Shirelles (1962) First recorded by Dionne as a demo (her version later released on the 1963 LP "Presenting Dionne Warwick"). The label indicates that this was the Shirelles' A-side, but it only "bubbled under" in Billboard at #102 with the labelled B-side ('Stop the Music' produced and co-written by Van McCoy) peaking at #36 The Shirelles - It's Love That Really Counts / Stop The Music R.I.P. Burt
'Hey Hey Pretty Baby' by Dave Dixon (1961) https://www.45cat.com/record/hb2546 recorded in Memphis ca. August, 1960; musicians included Willie Mitchell, and two future members of the MGs - Lewie Steinberg, and Al Jackson An original member of Huey "Piano" Smith's Clowns, Dave Dixon later sang backing vocals on "Gris Gris" Dr John's first LP.
“You Don’t Know My Mind” — Jimmy Martin & The Sunny Mountain Boys (1960) Jimmy Martin was known as the “King of Bluegrass” (I can only imagine because Bill Monroe was already the “Father of Bluegrass”). Martin joined Monroe's Blue Grass Boys in 1949, and his high voice blended with Monroe's tenor to create his famed "high, lonesome sound." He left to form his own band, the Sunny Mountain Boys, in 1955. Martin was a featured guest on several tracks on the Nitty Gritty Dirt Band's 1972 magnum opus Will The Circle Be Unbroken. Here's another terrific version of this song from A Tribute to Jimmy Martin "The King of Bluegrass" Vol. 1 with Audie Blaylock on vocals and guitar, Paul Williams on mandolin and vocals, and Kenny Ingram on banjo, among others. Decca 9-31157, 1960
'Talk to the Angels' by Lou Josie (1961) Lou Josie - Jeannie / Talk To The Angels He recorded in a number of genres including rockabilly and surf/hot hod; was a member of the touring (and later recording) B Bumble & the Stingers; co-wrote 'Hey Harmonica Man' recorded by Little Stevie Wonder; and wrote 'Midnight Confessions' recorded by the Grass Roots. But I don't believe he was one of the writers of 'Soul Finger' by the Bar-Kays as claimed on a number of sites, one stating that this was under the name J.King (he did use the name Jimmy King for a couple of singles, but I think the Bar-Kays' credit relates to their guitarist Jimmy (or Jimmie) King who died in the airplane crash with Otis Redding) LOU JOSIE Lou Josie Lou Josie Jimmy King (5) Jimmy King (2)
“Fool I Am” — Pat Ferguson (1960) US female rockabilly singer born Patty Philpott in Memphis. Stomper Time S-1300, 1960
'Make Life Real' by Glenna Dene; music by the Rock-Its (1961) Glenna Dene - Make Life Real The second of her two singles
'The Wind' by the Calveys featuring Gino Romano (1961) song first recorded by Nolan Strong and the Diablos in 1954 The Calveys Featuring Gino Romano - The Wind / I Need Love Detroit
I wouldn’t Dream of It stands out for me among the tracks I have had a chance to listen to. A little Googling only lead me to rabbit holes. “Joyce Heath Biography by Eugene Chadbourne The name of singer Joyce Heath sounds like a large landmark in honor of the great writer, a lusty sort who would undoubtedly have approved of songs such as "Shake Your Can." That's more than can be said for censors when the song was released in the late '50s. Altogether, Heath recorded a dozen ditties in the company of both producers and musicians who had been active in classic blues for several decades, including piano accompanist Al Williams. During the popular heyday of this style, the Roaring Twenties, there had been very little in the way of legal obscenity issues. By the time Heath -- who may not have even existed -- plugged in her "Electrician Blues" in 1957, the listening audience itself had moved on to newer styles, including the subtler romantic glory of doo wop. The censors, of course, had no idea what was going on with the public and were no doubt encouraged furthermore by getting to take on independent labels, producers, and performers who were largely without resources.” The sheer amount of obscurity surround Heath indicates just how marginal her genre had become since the glory days of Bessie Smith. New York City's Mastertone studio logs indicate that the aforementioned pianist and other backup players worked with singer Heath on a summer of 1957 session. These songs wound up being released under the name of Angelina, a move sewing seeds of confusion rampantly in future eras when this stage name would be bandied about by a coven of performers ranging from a Brazilian pornography star to a hip-hop singer, none of whom have anything to do with Heath or a similar, perhaps really similar, vocalist of the same era named Inez Washington. Washington might have something to do with Heath, on the other hand: eventually credits from Davis, the original label releasing Angelina, indicated that it was Washington who had sung on the Angelina sides. There may have been a desire to create confusion with several legal battles about to start involving this type of material; regardless, there is enough confusion already involving who performed on some blues recordings to go around several times if all the censors fell into the ocean. Not just confusion, but outright secrecy as well: no wonder that the album by Heath, Washington, Angelina, or whoever was entitled Confidential.” You Can Have Her came to me from Gene McDaniels. Great lyric and delivery!
This thread with all the hidden gems I am hearing reinforces my conviction that what makes a record a hit is a complete mystery. I guess the economy can only support so many stars and most must remain unknown like the residents of The Country Churchyard in Gray’s Elegy. “Some mute inglorious Milton here may rest”
'Talk to Me Baby' by Huey P. Smith & the Clowns (1962) Huey P. Smith & The Clowns - Talk To Me Baby / If It Aint One Thing Its Another R.I.P. Huey RIP Huey "Piano" Smith
I think there were a number of factors that influenced whether or not any given record became a hit, but if there were a formula... During this era, there seemed to be a lot of small independent record labels that were operating on a shoestring budget, without manufacturing capability or distribution networks. Perhaps a number of potential hits got snuffed out as labels either folded or couldn't promote their artists, press enough records to meet demand, etc.?
'Private Eye' by Buddy Wilkins (1960) Buddy Wilkins - Private Eye / They're Gonna Investigate You Seems to be the only release by Buddy Wilkins, on a label founded by the saxophonist Al Sears which only released three singles. The song's writer Jesse Stone may have been involved with the label. Jesse Stone | Songwriters Hall of Fame