Not exactly a one-hit wonder, the Meadowlarks will still always (and always) be remembered for "Heaven And Paradise." A tremendous hit on both coasts (although never a national charter), it assured the Meadowlarks a place in our pantheon of R&B gods.
Originally the trio of Don Julian (tenor), Ronald Barrett (tenor), and Earl Jones (baritone/bass), the Meadowlarks began their career around 1953, at Fremont High in Los Angeles. For a hot minute, they were known as the Soulinaires, but that quickly fell by the wayside, since it seemed to suggest that they were a gospel group. Instead, they turned to a more mundane (but recognizable) "bird-group" name. Each member was tasked with coming up with a name to be voted on. It was Ron Barrett (the brother of Fanita Barrett James, a member of the Dreamers, the Blossoms, and Bob B. Soxx & Blue Jeans) who hit the dictionary and found "meadowlarks." (Note: they were not the Meadowlarks on Imperial, who recorded "Brother Bill" in 1951.)
To improve their harmony, they worked closely with Cornell Gunter (of Flairs fame). They also made judicious use of the relatively cheap record-your-voice machines that were around in those days. Don Julian said "I used to get to school early so I could sing in the hall and hear it echo." As well as being singers, Don and Ron were also musicians. Don had taken a few months' worth of piano lessons from Joe Liggins and was then "coerced" by the Cadets' Pete Fox into taking up the guitar. Ron Barrett played the drums.
After a while, the Meadowlarks added bass Randall "Randy" Jones. Then, there was a guy that Randy hung around with named Billy Pruitt. Billy, a second tenor, was older than the others and somewhat wilder (he actually smoked!) He attended rehearsals and considered himself part of the group, although the others weren't happy with him.
In late 1953, Cornell Gunter took them to the Bihari Brothers' Modern Records for an audition. (Cornell's Flairs recorded for Modern's Flair subsidiary.) On December 5, the Meadowlarks recorded a couple of songs for Modern (to be released on RPM, another subsidiary). Both "Love Only You" (a rip-off of "Gee") and "Real Pretty Mama" were led by Ronald Barrett. The group on these sides consisted of Don Julian, Ronald Barrett, Earl Jones and Randy Jones.
In January 1954, RPM issued "Love Only You"/"Real Pretty Mama." The disc was reviewed on January 9 (with "Love Only You" getting a "good" review). Other reviews that week were for the Crickets' "Changing Partners," Wynonie Harris' "Quiet Whiskey," the Quails' "Lonely Star," and Little Willie Littlefield's "Don't Take My Heart, Little Girl."
The Meadowlarks had a second session for RPM in early 1954, at which they recorded "Pass The Gin," and "LFMST Blues." This time, Billy Pruitt showed up to make it a quintet. It's possible that, at this session, they backed up Zola Taylor on "Oh! My Dear" and "Make Love To Me," since the master numbers are just about contiguous.
"Pass The Gin"/"LFMST Blues" was released in March 1954. "LFMST" stood for Lord Find My Sweet Theresa, and was clearly a take-off on the Lucky Strike ad campaign LSMFT: Lucky Strike Means Fine Tobacco. It was written by Randy Jones after breaking up with a girl named Theresa. Strangely, Don Julian wrote "Pass The Gin" (strange both because he didn't drink and because he preferred to sing ballads). The song was inspired by one of Don's relatives, who got drunk and started acting crazy.
Both sides got "fair" reviews on March 20, along with Eugene Fox's "Sinner's Dream," Wally Wilson's "The Hunt," Jimmy Witherspoon's "24 Sad Hours," and the Sparrows' "Hey!".
Nothing world-shaking happened with either RPM recording, and the Meadowlarks got the feeling that the Biharis weren't doing much to promote the songs.
On the home front, the guys were getting more and more annoyed with Billy Pruitt and kept thinking of ways to cut him out of the group. This usually took the form of simply forgetting to tell him where and when rehearsals were and soon enough he got the hint.
Three of the Meadowlarks (Don Julian, Ronald Barrett, and Earl Jones) somehow got to do some recording for Specialty Records, where (on October 18, 1954) they backed up Percy Mayfield on three tunes: "My Heart Is Cryin'," "You Were Lyin' To Me," and "Baby You're Rich." On the records, the group was credited as the "Maytones." On "You Were Lyin' To Me," however, the group isn't obvious at all; it's really a duet between Percy Mayfield and an uncredited woman (thanks to Billy Vera's ears), who could be the Joy Hamilton with whom Percy sang "Sugar Mama - Peachy Papa" a bit earlier in the year.
The first two of these were released in November 1954 and reviewed (both "good" on December 18). Other reviews that week went to the Charms' "Ling, Ting, Tong," the Counts' "Let Me Go, Lover," the Rivileers' "For Sentimental Reasons," the Chordcats' "A Girl To Love," the 5 Scamps' "With All My Heart," and the Jewels' "Living From Day To Day."
"Baby You're Rich," backed with the Percy Mayfield solo, "The Voice Within," was issued in January 1955 and reviewed on March 12, along with Gene & Eunice's "This Is My Story," the Dodgers' "Drip Drop," the Moonlighters' "New Gal," the 5 Royales' "Mohawk Squaw," the Dukes' "Oh Kay," and the Gentlemen's "Baby Don't Go."
Randy Jones was pretty much gone from the group at this point. He was older than the others, and was married (the rest were still in high school). Randy joined the Flairs (around August 1954), as the replacement for Richard Berry. In April 1955, Randy would end up in the Penguins, as a replacement for Bruce Tate; he'd remain with them for the rest of the decade.
Randy, a bass, was replaced by Glenn Reagan, a white second tenor who sat next to Ron in the Fremont High school a cappella choir. To fill the gap, Earl Jones moved down to bass. Actually, Glenn and Ron had very similar voices and would switch off parts.
One evening, while getting ready to go out on his first date, Don was daydreaming in the bathtub and came up with "Heaven And Paradise," two places where he wanted to go; places where no one else had been.
They took "Heaven And Paradise" to Dootone Records at 95th and Central (there was no shortage of recording companies in Los Angeles) and owner Dootsie Williams liked it enough to record them. "Dootsie had the beat," said Don. "He didn't have slow draggy songs. He emphasized diction for his performers." It was recorded, probably in January 1955 at the legendary garage studio of Ted Brinson (who would start the tape recorder and then run into the studio to play bass). At any rate, that was the month that Dootsie Williams announced the signing of the Meadowlarks, the Swans, and Stormy Herman.
Dootone released "Heaven And Paradise"/"Embarrassing Moments" in February 1955. Before it was even reviewed, the Meadowlarks were part of the "Ookey Ook" dance contest that Dootsie Williams held at L.A.'s Savoy Ballroom to try to cash in on the Penguins' new recording of the same name. Also present were the Johnny Otis Orchestra, the Medallions, Marie Adams, and Junior Ryder. Not present were the Penguins, who had jumped ship to record for Mercury Records.
"Heaven And Paradise" was reviewed (both sides "good") on April 9. Other reviews that week were for Bo Diddley's "Bo Diddley," the Nutmegs' "Story Untold," the Sheiks' "Walk That Walk," Charlie White's "Good Golly, Miss Molly," the Twilighters' "It's True," the Mellows' "I Still Care," the Ramblers' "Bad Girl," and the Rivileers' "Don't Ever Leave Me." By April 23, the trades listed it as a Tip in the Los Angeles area.
The disc did well locally (as well as in New York), and, on the strength of it, the Meadowlarks toured the California coast. On May 21, they appeared at the Trianon Ballroom in San Diego along with Marvin & Johnny, Jesse Belvin, and the Joe Houston Orchestra. They also appeared on the Al Jarvis TV show.
In July, they appeared on Gene Norman's Jazz Concert at the Shrine Auditorium in L.A. The Meadowlarks shared the stage with the Medallions, the Jewels, the Voices, and Marvin & Johnny.
Around this time, Dootsie Williams decided to build his own studio so he wouldn't have to rely on Ted Brinson. He kept encouraging the Meadowlarks to come in to rehearse so that he could practice with his new recording equipment. Many of their songs were done a cappella, and, unknown to the guys, Dootsie later put music behind them and released them. The Meadowlarks, in fact, recorded so much material initially that Dootsie was able to release it throughout the 50s. Ron Barrett, who left the group in the spring of 1955, is nevertheless on most of the released material.
The next Meadowlarks' session produced "Always And Always" and "I Got Tore Up" (another one of those drinking songs). They also featured Don's piano playing. These were released in June 1955 and reviewed on July 2. Other reviews that week went to the Cardinals' "Two Things I Love," the Tenderfoots' "Sindy," the Jacks' "Since My Baby's Been Gone," the Chromatics' "Don't Know Why I Cry," the Larks' "Honey From The Bee," and the Smoothtones' "Bring Back Your Love (To Me)."
Soon after that, Ronald Barrett left the Meadowlarks for the Dootones. Ron was friendly with H.B. Barnum, who suggested (along with Dootsie Williams) that Ron join his new group. Ron had become uncomfortable with the Meadowlarks because Dootsie got it into his head that he didn't want to deal with the whole group, just one member. That one member was, of course, Don Julian. While they still shared all money (what little there was of it) equally, it just seemed wrong for the group to have a leader.
The other members of the Dootones were tenor Charles Gardner, baritone H.B. Barnum, and bass Marvin Wilkins. They had a single session for Dootone, which produced: "Teller Of Fortune" (led by Charles), "Ay Si Si" (led by Marvin), "Down The Road" (led by Charles), and "Please Don't Stop Me" (led by H.B.). The first two of these were issued in June 1955, after which the Dootones were put behind Vernon Green (as the "Medallions") and sent off to do some local appearances, as well as a short tour of Canada. They never recorded together, however.
But the Dootones were really destined to fall apart. H.B. Barnum "was their backbone," according to Ron, and he just had too many irons in the fire to concentrate on them. For example, by September of 1955, H.B. had joined the Robins. By the end of their Spark days, the Robins were a sextet, and now, Carl Gardner and Bobby Nunn had quit to form the Coasters. Ron also became part of the Robins for their first Whippet session ("Cherry Lips" and "Out Of The Picture") and then went off to form a band with Richard Berry (with Ron on drums and Richard on piano).
Ronald Barrett was initially replaced in the Meadowlarks by tenor Benny Patrick, another member of the inexhaustible school choir. He was only with the group a short time, however, just long enough to have Dootone take a photo of his face and paste it over Ron's in the standard picture of the group. (Actually, even the original photo was a paste-up job; if you look closely, you can see that Don and Glenn had been cut out and moved around. Now, when the photo was re-done, Glenn's head was moved slightly closer to Earl's.) His replacement, in turn, was Freeman Broughton, who was with the Fremont Choraleers. The Meadowlarks' next record (which still had Ron Barrett) was "This Must Be Paradise" and "Mine All Mine," released in October 1955. The platter was reviewed on October 29, along with Shirley & Lee's "Lee's Dream," the Cadillacs' "Speedoo," the Turks' "Emily," Little Richard's "Tutti-Frutti," the Rolling Crew's "Home On Alcatraz," the Orioles' "Please Sing My Blues Tonight," the Diablos' "The Way You Dog Me Around," the Medallions' "My Pretty Baby," and the Sh-Booms' "Pretty Wild."
In early 1956, Glenn Reagan was drafted, and the Meadowlarks recalled Benny Patrick. This time, however, Dootone didn't bother with fixing up the photos.
Thus, by the time "Please Love A Fool"/"Oop Boopy Oop" was released in April 1956, the Meadowlarks were Don Julian, Earl Jones, Benny Patrick, and Freeman Broughton. However, since Dootsie was still merrily issuing older material that had Ron Barrett, there are only two known songs that Benny Patrick and Freeman Broughton were on: "Blue Moon" and "Untrue." Note that, even though Don Julian was lead singer of a touring group, he still found time to work, as a shipping clerk for Dootone Records, where he began learning about the other aspects of the music business.
"Please Love A Fool" was reviewed on June 30, along with the Pretenders' "I've Got To Have You Baby," the Cadets' "Stranded In The Jungle," the Valentines "Twenty Minutes (Before The Hour)," the Vocaltones' "Darling (You Know I Love You)," the Nitecaps' "Bamboo Rock And Roll," and the Tears' "Until The Day I Die."
A July 1956 Dootone release by the Medallions ("Shedding Tears For You"/"Pushbutton Automobile") was actually Medallions' lead singer Vernon Green, backed up by the Meadowlarks: Don Julian, Earl Jones, Benny Patrick, and Freeman Broughton.
The next Meadowlarks record was "I Am A Believer," backed with "Boogie Woogie Teenage," issued in October 1956 and reviewed On October 20. Other reviews that week were for to Ann Cole's "In The Chapel," the Angels' "The Glory Of Love," James Brown's "Chonnie On Chon," the Keystoners' "The Magic Kiss," the Parakeets' "Yvonne," the Cubs' "Why Do You Make Me Cry," the Youngsters' "You're An Angel," the Romancers' "This Is Goodbye," and Boogaloo & His Gallant Crew's "Cops & Robbers."
Although Freeman Broughton had been with the Meadowlarks for a year, he still found time to sing in school. He was in the Fremont a cappella chorus, and, along with three other members of the chorus, he formed a vocal group. The others were: Lorenzo "Bobby" Adams (a tenor who was also a member of the Calvanes), Sidney Dunbar (a bass who would join the Calvanes in 1961, when they recorded as the "Nuggets"), and Eddie Taylor (baritone). They rehearsed a couple of songs and, in November 1956, sang "Three Coins In The Fountain" on a TV talent show (where they were introduced simply as "A group from John C. Fremont High School").
The last record released by Dootsie Williams (on Dooto) was "Blue Moon," backed with the older "Big Mama Wants To Rock," released in September 1957. For whatever reason, this became the only Meadowlarks disc that Dootsie didn't send out for review (even though he was hyping it in the trades). Chances are it would have been reviewed on October 14, along with the Medallions' "Unseen," the 5 Satins' "Our Anniversary," the Crawford Brothers' "I Ain't Guilty," the Titans' "Sweet Peach," the El Dorados' "A Rose For My Darling," and the Hollywood Flames' "Buzz-Buzz-Buzz."
Two other Meadowlarks cuts ("Untrue" and "Thrill Me Night And Day") wound up on Dooto EPs and LPs. Unfortunately, Dootone didn't use meaningful master numbers, so it's impossible to know when any of these songs was actually recorded. However, Ron Barrett wasn't on "Untrue," so it was done relatively late in the group's Dootone career.
Freeman Broughton graduated Fremont High in 1957, but by that time the popularity of the Meadowlarks had waned. Since his taste in music began shifting to jazz (hitting its peak with the Peter Gunn craze in 1959), he quit the group sometime in early 1958. He doesn't know if he was replaced or if the group just wandered apart at that time.
After the Dootone/Dooto sides, Don Julian became a soloist for a while, before getting together another set of Meadowlarks to record for Art Laboe's Original Sound label in late 1958. This group consisted of Lloyd Powers (tenor), Danny Paul (tenor), Robert Paul (baritone), and, once again, Earl Jones (bass). (The Pauls were white, making this another integrated Meadowlarks group.) They turned out "Please"/"Doin' The Cha Cha Cha) in December 1958.
Laboe must have been happy to sign the Meadowlarks, since "Heaven And Paradise" was one of the featured songs on his first "Oldies But Goodies" album, which was riding high on the charts at the end of 1958. (He broadcast, over KPOP, from a drive-in restaurant in L.A., where customers could request their favorites from the comfort of their cars. Incidentally, this was the first album which featured songs from more than a single record company).
By the time of the second Original Sound release in 1960 ("There's A Girl"/"Blue Mood"), the Meadowlarks were Don Julian (lead), Leon Brown (tenor), Clydie King (she was "Little Clydie," who had done "A Casual Look"), and Earl Jones (bass).
After this, Earl Jones quit the Meadowlarks. The group had been touring extensively with Johnny Otis, and Earl was finding it was difficult: "We'd ride in a station wagon all day and stay up all night," he says. Fortunately, he found another love: motorcycles. While he'd had a 56 BSA up to this point, now he got himself a full-dress Harley. From then on, he'd ride instead of sing. (This passion was something that he shared with Ron Barrett, who'd bought a Triumph motorcycle on the same day Earl had bought the BSA.)
A December 1961 Meadowlarks release was "It's Stompin' Time" (parts 1 and 2), on the Interlude label. This was possibly done in the same vein as the Flairs/Flares' "Foot Stomping" (which had their old pal Randy Jones as bass). This was the first of their 60s dance tunes (which became almost the reason for their existence from now on). In June of 1963, Ron Barrett had his own stomp record on Rendezvous: "Everybody Stomp" (the flip was "Spooky Movies").
Then Don went over to Rudy Harvey's Dynamite label for a couple of 1962 releases: "Popeye (With A Touch Of The Twist)"/"Heaven Only Knows" and "Slauson Shuffle" (parts 1 and 2). This group of Meadowlarks consisted of Don Julian, Thomas Turner (second tenor), Ted Walters (first tenor), and Danny Saunders (bass). By now, Don not only had the Meadowlarks group, but a backup band, also called the Meadowlarks (later re-named the Larks). Aside from the singles, they released an LP full of oldies for Harvey's Amazon label in 1963. These included remakes of "Heaven And Paradise" and "Always And Always," as well as "For Your Love," "Sincerely," "Cherry Pie," "You Cheated," and "This I Swear."
"The Booglay" and "Lie" came out on Magnum in May 1964. They did nothing, but things were about to change. By now, the Meadowlarks were a trio: Don Julian, Ted Walters, and Charles Morrison. Just to do something different, Don switched names with the band. Now the singers were called the Larks and the band was the Meadowlarks. [They just do it to confuse us, folks.]
In the summer of 1964, the Larks hooked up with Money Records (run by Ruth Dolphin, the widow of John Dolphin, who'd had his own Money records in the 50s, before being murdered by someone he'd stiffed out of a payment). In September, "The Jerk"/"Forget Me" was released and immediately started climbing the charts. By the time it peaked, it had reached #9 on the R&B charts and #7 on Pop. Finally, after ten years, a national chart hit for Don Julian! For a change, this led to some real touring: all over the U.S. and Canada. ("Forget Me" is a pretty ballad that's somewhat reminiscent of "Heaven And Paradise" - an odd sound for late 1964.)
However, this doesn't sit well with Ron Barrett. He recalls how he connected with a woman he'd known years before. She was currently living in New Orleans and showed off a dance that people were doing in the Big Easy. It was a little bit of terpsichore called the Jerk. Ron was impressed and decided to write a tune to go with it. He put it together, recorded it on a home tape recorder, and gave it to Don. When the record came out, Ron's name was nowhere in sight.
The Larks followed this up with a series of dance records (for example, "Mickey's East Coast Jerk," "Soul Jerk," "Philly Jerk" [on Don's own Jerk label], "The Duck," "Can You Do The Duck," "Let Me See You Philly," and "The Skate"). This isn't really my kind of music and, other than "The Jerk" (which I honestly can't even remember), I've never heard any of them.
In 1965, Don released "Just Tryin' To Make It" (parts 1 and 2) on Utopia, but as the Meadowlarks. (Since I've never heard this, it might be an instrumental, featuring his band.) Most of the records in the 60s were by the Larks, but a couple of them said "Meadowlarks." Don's own label, Jerk Records, alternated releases with Money.
The aggregation stayed together through the rest of the 60s and into the early 70s. In 1973, Don broke into pictures. He wrote the soundtrack for the 1973 film "Savage!" ("Men call him Savage, women call him all the time".... Ok, ok, you can stop laughing now.) Some of this music (titles listed in the discography) also ended up in the 1975 film, "T.N.T. Jackson."
In 1968, the Larks had recorded a tune called "Shorty The Pimp." It featured the voice of Richard Berry (along with Don Julian, Ted Walters, and Sonny Chaney, formerly of the Jaguars), and was the last known release on Jerk. Now, in 1973, someone decided to make a film with that title. The Larks/Meadowlarks were used in the flick as a lounge band, but for whatever reasons the picture was never released.
Finally, Don Julian became part of the California oldies scene, and his final recordings were done for the Classic Artists label in 1989.
Don Julian, mainstay of the Meadowlarks, died in November 1998 of pneumonia. The music world is poorer for his passing. Randy Jones, who had been singing with a revitalized Jacks/Cadets group, died in 2002. Ron Barrett, along with his son, Ron, Junior, runs the Star Revue Talent Agency, with offices in Los Angeles and Hawaii. Earl Jones and Glenn Reagan are both still alive, too. Freeman Broughton now lives in Las Vegas; the whereabouts of Benny Patrick are unknown.
Special thanks to Victor Pearlin. Discography by Ferdie Gonzalez.
399 Love Only You/Real Pretty Mamma (both leads by Ronald Barrett) - 1/54
406 Pass The Gin/LFMST Blues - 3/54
537 My Heart Is Cryin'/You Were Lyin' To Me - 11/54
544 Baby You're Rich/The Voice Within [no group] - 1/55
359 Heaven And Paradise/Embarrassing Moments - 2/55
367 Always And Always/I Got Tore Up - 6/55
372 This Must Be Paradise/Mine All Mine - 10/55
EPD 203 - 1955
Heaven And Paradise/I Got Tore Up
Always & Always/Mine All Mine
394 Please Love A Fool/Oop Boopy Oop - 4/56
400 Shedding Tears For You/Pushbutton Automobile - 7/56
(the Meadowlarks backing Vernon Green, as the "Medallions")
405 I Am A Believer/Boogie Woogie Teenage - 10/56
203 - 1956
Heaven And Paradise/Always And Always
Embarrassing Moments/Thrill Me Nite And Day
EP-203-A - 1956
Heaven And Paradise/Thrill Me Night & Day
Always & Always/I Got Tore Up
424 Blue Moon/Big Mama Wants To Rock - 9/57
DOOTONE/DOOTO RECORDINGS ONLY ON LPs OR EPs:
Thrill Me Night And Day (on Dootone EP-203 - 1956)
Untrue (on Authentic AUL-224 The Best Vocal Groups In Rock And Roll - 1957)
03 Please/Doin' The Cha Cha Cha - 12/58
12 There's A Girl/Blue Mood - 9/60
101 It's Stompin' Time Pt. 1/Pt. 2 - 12/61
1012 Popeye (With A Touch Of The Twist)/Heaven Only Knows - 62
[also as Dynamite 1112]
1014 Slauson Shuffle, Pt. 1/Pt. 2 - 62
[also as Dynamite 1114]
AMAZON (part of Dynamite)
1009 The Greatest Oldies - Featuring The Meadowlarks - 63
Goodnight My Love You're Mine
You Cheated Thousand Stars [sic]
Hully Gully Night Owl
This I Swear Sincerely
For Your Love Always And Always
What I Say [sic] Heaven And Paradise
Cherry Pie Heaven Only Knows
101 Goodnight My Love/This I Swear
??? Heaven And Paradise/Heaven Only Knows
[Note: the above two singles were 60s counterfeits, created from the LP]
716 The Booglay/Lie - 5/64
106 Just Tryin' To Make It, Pt 1/Pt 2 - 65
JERK (Label owned by Don Julian)
100 Philly Jerk/How Can You Be So Foul - 66
101 Quickie Wedding/Our Love - 2/89
105 White Christmas/Merry Christmas Baby [no group] - 89
106 The Jerk/Forget Me - 9/64
110 Mickey's East Coast Jerk/Soul Jerk - 1/65
110 Mickey's East Coast Jerk/The Slauson Shuffle - 1/65
100 Philly Jerk/How Can You Be So Foul - 3/65
112 Heavenly Father/The Roman - 5/65
114 The Duck/Heaven Only Knows - 8/65
115 Can You Do The Duck/Sad Sad Boy - 10/65
116 Facts Of Life/Why'd You Put Me On - 65 [Backing Bobbi Row as the "English Men"]
117 What Chance Has A Man/Let Me See You Philly - 65
(These are Don Julian solos)
LP-1102 The Jerk - Ca. 65
Mickey's East Coast Jerk
Do The Jerk
You Must Believe Me
Jerk Once More
Slauson Shuffle # 1
Slauson Shuffle # 2
119 The Answer Came Too Late/Lost My Love Yesterday - 3/66
122 Philly Dog/Heaven Only Knows - 8/66
101/102 The Penguin/The Penguin (instrumental) - 66
101 Low Rider Girl/Everybody Let's Cruise - 66
103 The Skate/Baby My Love - 1/67
127 The Skate/Come Back Baby - 3/67
202 Shorty The Pimp, Pt 1/Pt 2 - 7/68
(vocal by Richard Berry)
101 Mashin' Time/Margo - 12/68
601 I Want You (Back)/I Love You - 71
028 I Want You (Back)/I Love You - 7/72
604 My Favorite Beer Joint, Pt. 1/Pt. 2 - 73
607 Shorty The Pimp, Pt 1/Pt 2 - 73
(vocal by Richard Berry)
THE SOUNDTRACK OF THE 1973 MOVIE SAVAGE!
Lay It On Your Head
Where I'm Coming From
It's A Sad Song
My Favorite Beer Joint
Just Kiss Me
THE SOUNDTRACK OF THE 1973 MOVIE SHORTY THE PIMP
Shorty The Pimp
Message From A Black Man
Schoolin' And Foolin'
Brother What It Is
(Ooh Baby) I Love You
Show And Tell
Check Out Your Mind
If There's A Hell Down Below, We're All Going To Go
Just Trying To Make It - Parts 1 & 2
A Woman Ain't Nothing But A Stone Trip
Inner City Blues (Make Me Wanna Holler)
I Love You
My Cherie Amour
The Look Of Love
What Does It Take (To Win Your Love)