© January 10, 2011 Secret Records (CD) 500/200rpm SECBX025-4 mono digital
IKE TURNER - THAT KAT SURE COULD PLAY! - THE SINGLES 1951 TO 1957

Ike Turner with Howlin' Wolf, Houston Boines, Charley Booker, Drifting Slim, Johnny Ace, The Prisonaires, Little Milton, Raymond Hill, Baby Face Turner, The Flairs, Johnny Wright, Billy Gayles, The Rockers, The Kings Of Rhythm, The Delta Cats, Ike Turner Orchestra and more.

In the fifties Ike Turner was a mighty busy man. As well as running his full time blues band The Kings of Rhythm and making hit records with them on Chess, he was working as a session musician for Sam Phillips at Sun Records in Memphis as well as working as an artist and repertoire man discovering talented blues musicians and recording them for Joe Bihari's Modern Records of Los Angeles. On top of all that, he was cross-crossing the south on scouting expeditions and making recordings in Tennessee, Mississippi, Arkansas, Missouri and Ohio setting up his equipment in everything from state of the art studios and YMCA gyms to radio stations, black clubs, private houses and even a disused Greyhound Bus Station in Clarksdale where in March 1954 he produced some terrific blues blasters from Clayton Love, Dennis Binder and Lonnie The Cat!

The 118 tracks cover just seven hectic years in his life as a band leader and session man and producer on some of the most loved records in blues history. It's amazing to think that Ike was involved in sessions that produced Jackie Brenston's ''Rocket 88'', Howlin' Wolf's ''How Many More Years'' and ''Riding In The Moonlight'', Boyd Gilmore's ''All In My Dreams'' and ''Ramblin' On My Mind'', Elmore James' ''Please Find My Baby'' and ''Hand In Hand'', Billy Emerson's ''If Lovin' Is Believing'', B.B. King's ''Three O'Clock Blues'', Bobby Bland's ''Drifting From Town To Town'' and Roscoe Gordon's ''No More Doggin'''! It's a selection of some truly marvellous blues music from all across the board from the raw rural blues of Charley Booker, the uptown boogie of Jackie Brenston to the big beating rhythm and blues of Clayton Love and the pioneering guitar wrangling of Boyd Gilmore - and Ike Turner's stamp is all over them. This man is pure blues royalty! Wonderful music on four CDs with two booklets - one a full discography of the singles and the other eight pages of copious notes by Fred Rothwell.

For Chess/RPM//Sun recordings click on the available > buttons <

Disc 1 Contains

1 - Rocket 88 (Jackie Brenston & His Delta Cats) (2:48) > Chess 1458-A <
(Jackie Brenston) (Jackie Brenston & His Delta Cats) (Carlin Music)
Recorded March 5, 1951 at Memphis Recording Service, 706 Union Avenue, Memphis, Tennessee
Jackie Brenston (vocal), Ike Turner (piano), Raymond Hill (tenor saxophone),
Willie Kizart (guitar), Willie Sims (drums), Unknown (claves)
Sam Phillips (producer)

2 - Come Back Where You Belong (1) (Jackie Brenston & His Delta Cats) (2:43) > Chess 1458-B <
(Jackie Brenston) (Copyright Control)
Recorded March 5, 1951 at Memphis Recording Service, 706 Union Avenue, Memphis, Tennessee
Jackie Brenston (vocal), Ike Turner (piano), Raymond Hill (tenor saxophone),
Willie Kizart (guitar), Willie Sims (drums), Unknown (claves)
Sam Phillips (producer)

3 - I'm Lonesome Baby (2-3) (Ike Turner & His Kings of Rhythm) (3:02) > Chess 1459-B <
(Ike Turner) (Copyright Control)
Ike Turner (vocal and piano), Jackie Brenston (baritone saxophone),
Raymond Hill (tenor saxophone), Willie Kizart (guitar),
Willie Sims (drums), Unknown (claves)
Sam Phillips (producer)

4 - Heartbroken And Worried (2) (Ike Turner & His Kings of Rhythm) (3:03) > Chess 1459-A <
(Ike Tuner) (Copyright Control)
Ike Turner (vocal and piano), Jackie Brenston (baritone saxophone),
Raymond Hill (tenor saxophone), Willie Kizart (guitar),
Willie Sims (drums)
Sam Phillips (producer)

5 - My Real Gone Rocket (Brenston, Jackie & His Delta Cats) (2:29) > Chess 1469-A <
(Jackie Breston) (Modern Music Publishing)
Recorded May or June 1951 at Memphis Recording Service, 706 Union Avenue, Memphis, Tennessee
Jackie Brenston (vocal and tenor saxophone), Ike Turner (piano),
Raymond Hill (tenor saxophone), Willie Kizart (guitar),
Willie Sims (drums), Unknown (trumpet)
Sam Phillips (producer)

6 - Independent Woman (1) (Jackie Brenston & His Delta Cats) (2:52) > Chess 1472-B <
(Jackie Brenston) (Jackie Brenston & His Delta Cats) (Tristan Music Limited)
Recorded March 5, 1951 at Memphis Recording Service, 706 Union Avenue, Memphis, Tennessee
Jackie Brenston (vocal), Ike Turner (piano), Raymond Hill (tenor saxophone),
Willie Kizart (guitar), Willie Sims (drums), Unknown (trumpet)
Sam Phillips (producer)

7 - How Many More Years (Howlin' Wolf) (2:42) > Chess 1479-B <
(Chester Burnett) (Tristan Music Limited)
Recorded July 1951 at Memphis Recording Service, 706 Union Avenue, Memphis, Tennessee
Howlin' Wolf (vocal and harmonica), Ike Turner (piano),
Willie Johnson (guitar), Willie Steele (drums),
Sam Phillips (producer)

8 - Riding In the Moonlight (Howlin' Wolf) (3:04) RPM 333
(Chester Burnett-J. Sanders) (Universal Music Publishers)
Recorded September 1951 at KWEM Radio Studio, West Memphis, Arkansas
Howlin' Wolf (vocal and harmonica), Ike Turner (piano),
Willie Johnson (guitar), Tommy Bankhead (guitar),
Willie Steele (drums)

9 - Dry Up Baby (2) (Bobby Bland) (2:00) > RPM 848-B <
(Jules Taub) (Universal Music Publishers)
Recorded November 1951 at Tuff Green's House, 1293 Quin Avenue, Memphis, Tennessee
Robert Bland (vocal), Ike Turner (piano), Matt Murphy (guitar), Unknown (saxophone),
Richard ''Tuff'' Green (bass), Earl Forrest (drums)

10 - Crying All Night Long (1) (Bobby Bland) (3:02) > RPM 848-A <
(Jules Taub) (Universal Music Publishers)
Recorded November 1951 at Tuff Green's House, 1293 Quin Avenue, Memphis, Tennessee
Robert Bland (vocal), Ike Turner (piano), Matt Murphy (guitar), Unknown (saxophone),
Richard ''Tuff'' Green (bass), Earl Forest (drums) (handclaps)

11 - Three O'Clock Blues (B.B. King) (3:01) > RPM 339-A <
(Jules Taub-Riley B. King) (Universal Music Publishers)
Recorded September 1951 at YMCA, 254 South Lauderdale, Memphis, Tennessee
Riley B. King (vocal and guitar), Calvin Newborn (guitar), Richard Sanders (saxophone), Ike Turner (piano), James Walker (bass), Earl Forest (drums)

12 - Boogie Woogie Woman (B.B. King) (2:47) RPM 374
(Jules Taub-Riley B. King) (Universal Music Publishers)
Recorded September 1952 at YMCA, 254 South Lauderdale, Memphis, Tennessee
Riley B. King (vocal and guitar), George Coleman (tenor saxophone), Ike Turner (piano), Floyd Jones (trumpet), Richard ''Tuff'' Green (bass), Ted Curry (drums)

13 - Ramblin' On My Mind (Take 3) (Boyd Gilmore) (2:48) Modern 860
(Boyd Gilmore) (Kobalt Music Publishing Limited)
Recorded January 23, 1952 at Club Casablanca, 1102 Nelson Street, Greenville, Mississippi
Boyd Gilmore (vocal and guitar), Ike Tuner (piano), Jesse ''Cleanhead'' Love (drums)

14 - Going Home (Houston Boines) (2:18) Blues & Rhythm 7001
(Jules Taub-Houston Boines) (Modern Music Publishing)
Recorded January 23, 1952 at Club Casablanca, 1102 Nelson Street, Greenville, Mississippi
Houston Boines (vocal), Charlie Booker (guitar), Ike Turner (piano),
Jesse ''Cleanhead'' Love (drums)

15 - Relation Blues (Houston Boines) (2:37) Blues & Rhythm 7001
(Jules Taub-Houston Boines) (Modern Music Publishing)
Recorded January 23, 1952 at Club Casablanca, 1102 Nelson Street, Greenville, Mississippi
Houston Boines (vocal), Charlie Booker (guitar), Ike Turner (piano),
Jesse ''Cleanhead'' Love (drums)

16 - Whole Heap Of Mama (1) (Brother Bell) (2:35) Blues & Rhythm 7002
(Jules Taub-Johnny O'Neal) (Universal Music Publishers)
Recorded January 23, 1952 at Club Casablanca, 1102 Nelson Street, Greenville, Mississippi
Johnny O'Neal (vocal), Ike Turner (piano), Raymond Hill (tenor saxophone),
Willie Kizart (guitar), Edwin Nash (bass) Willie Sims (drums)

17 - If You Feel Froggish (Brother Bell) (3:03) Blues & Rhythm 7002
(Johnny O'Neal-Jules Taub) (Copyright Control)
Recorded January 23, 1952 at Club Casablanca, 1102 Nelson Street, Greenville, Mississippi
Johnny O'Neal (vocal), Ike Turner (piano), Raymond Hill (tenor saxophone),
Willie Kizart (guitar), Edwin Nash (bass) Willie Sims (drums)

18 - Rabbit Blues (Charley Booker) (2:20) Blues & Rhythm 7003
(Jules Taub-Charlie Booker) (Copyright Control)
Recorded January 23, 1952 at Club Casablanca, 1102 Nelson Street, Greenville, Mississippi
Charlie Booker (vocal and guitar), Houston Boines (harmonica), Ike Turner (piano),
Jesse ''Cleanhead'' Love (drums)

19 - No Ridin' Blues (Charley Booker) (2:53) Blues & Rhythm 7003
(Jules Taub-Charlie Booker) (BMG Music Publishing)
Recorded January 23, 1952 at Club Casablanca, 1102 Nelson Street, Greenville, Mississippi
Charlie Booker (vocal and guitar), Houston Boines (harmonica), Ike Turner (piano),
Jesse ''Cleanhead'' Love (drums)

20 - No More Doggin' (1) (Rosco Gordon) (2:39) > RPM 350-A < 
(Jules Taub-Rosco Gordon) (Universal Music Publishers)
Recorded March 192 Probably at YMCA, 254 South Lauderdal, Memphis, Tennessee
Rosco Gordon (vocal and piano) Ike Turner (guitar), Willie Wilkes (tenor saxophone),
Richard Sanders (baritone saxophone), John Murry Daley (drums)

21 - Maria (Rosco Gordon) (2:31) > RPM 350-B <
(Rosco Gordon) (BMG Music Publishing)
Recorded March 192 Probably at YMCA, 254 South Lauderdale, Memphis, Tennessee
Rosco Gordon (vocal and piano) Ike Turner (guitar), Willie Wilkes (tenor saxophone),
Richard Sanders (baritone saxophone), John Murry Daley (drums)

22 - Good Morning Baby (Driftin' Slim) (2:51) RPM 370
(Elmon Mickie) (Universal Music Publishers)
Recorded March 21, 1952 at Martin Scroggin's Music Center,
1206 West Washington Avenue, North Little Rock, Arkansas
Elmon Mickie (vocal), Sonny Blair (harmonica), Ike Turner (piano),
Edgar ''Baby Face'' Turner (guitar), Bill Russell (drums),
Unknown (vocal interjection)

23 - My Sweet Woman (1) (Driftin' Slim) (2:55) RPM 370
(Jules Taub-Elmon Mickie) (Universal Music Publishers)
Recorded March 21, 1952 at Martin Scroggin's Music Center,
1206 West Washington Avenue, North Little Rock, Arkansas
Elmon Mickie (vocal), Sonny Blair (harmonica), Ike Turner (piano),
Edgar ''Baby Face'' Turner (guitar), Bill Russell (drums)

24 - Please Send My Baby Back (Step Back Baby) (Sunny Blair) (2:17) Meteor 5006
Sonny Boy Williamson) (Wabash Music Company)
Recorded March 21, 1952 at Martin Scroggin's Music Center,
1206 West Washington Avenue, North Little Rock, Arkansas
Sunny Blair (Sullivan Jackson) (vocal and harmonica), Ike Turner (piano),
Edgar ''Baby Face'' Turner (guitar), Bill Russell (drums)

25 - Bad Woman, Bad Whiskey (Junior Parker) (3:01) Modern 864
(Jules Taub-Herman Parker) (Universal Music Publishers)
Recorded April 1952, Unknown Place West Memphis, Arkansas
Herman Parker (vocal), Ike Turner (piano),
Raymond Hill (tenor saxophone),
L.C. Dranes (drums)

26 - You're My Angel (1) (Junior Parker) (1:57) Modern 864
(Jules Taub-Herman Parker) (Universal Music Publishers)
Recorded April 1952, Unknown Place West Memphis, Arkansas
Herman Parker (vocal), Ike Turner (piano),
Raymond Hill (tenor saxophone),
Dranes (drums)

27 - Good Lovin' (Bobby Bland) (2:25) Modern 868
(Jules Taub-Robert Bland) (Universal Music Publishers)
Recorded April 1952, Unknown Place West Memphis, Arkansas
Robert Bland (vocal), Ike Turner (piano), Matt Murphy (guitar),
L.C. Dranes (drums)

28 - Drifting From Town To Town (Bobby Bland) (3:04) Modern 868
(Jules Taub-Robert Bland) (Universal Music Publishers)
Recorded April 1952, Unknown Place West Memphis, Arkansas
Robert Bland (vocal), Ike Turner (piano), Matt Murphy (guitar),
L.C. Dranes (drums)

29 - You're Driving Me Insane (Ike Turner & Ben Burton & His Orchestra) (2:21) RPM 356
(Jules Taub-Ike Turner) (Copyright Control)
Recorded April 1952 Unknown Place, Memphis, Tennessee
Ike Turner (vocal and piano), Ben Burton (bass)
Unknown (saxophones, trumpet and drums)

Disc 2 Contains

1 - Trouble And Heartaches (Ike Turner & Ben Burton & His Orchestra) (2:35) RPM 356
(Jules Taub-Ike Turner) (Universal Music Publishers)
Recorded April 1952 Unknown Place, Memphis, Tennessee
Ike Turner (vocal and piano), Ben Burton (bass)
Unknown (saxophones, trumpet and drums)

2 - All In My Dreams (Boyd Gilmore) (3:11) Modern 872
(Jules Taub-Boyd Gilmore) (Universal Music Publishers)
Recorded April 13, 1952 at Unknown Location, Clarksdale, Mississippi
Boyd Gilmore (vocal and guitar), James Scott (guitar),
Ike Turner (piano), Jesse ''Cleanhead'' Kove (drums)

3 - Take A Little Walk With Me (Boyd Gilmore) (2:31) Modern 872
(Robert Lockwood) (Universal/MCA Music Limited
Recorded April 13, 1952 at Unknown Location, Clarksdale, Mississippi
Boyd Gilmore (vocal and guitar), James Scott (guitar),
Ike Turner (piano), Jesse ''Cleanhead'' Kove (drums)

4 - Charley's Boogie Woogie (Charlie Booker) (2:29) Modern 878
Charlie Booker) (Universal Music Publishers)
Recorded April 13, 1952 at Unknown Location, Clarksdale, Mississippi
Charlie Booker (vocal and guitar), James Scott (guitar),
Ike Turner (piano), Jesse ''Cleanhead'' Kove (drums)

5 - My Heart Belongs To You (Bonnie Turner & Ike Turner) (2:51) RPM 362
Arbee Stidham) (Carlin Music)
Recorded April 1952 Possibly Tuff Green's House, 1293 Quinn Avenue, Memphis, Tennessee
Bonnie Turner (vocal), Ike Turner (vocal and piano), Calvin Newborn (guitar),
Unknown (saxophones), Richard ''Tuff'' Green (bass),
Phineas Newborn Sr. (drums)

6 - Looking For My Baby (1) (Bonnie Turner) (2:30) RPM 362
(Jules Taub-Ike Turner) (Universal Music Publishers)
Recorded April 1952 Possibly at Tuff Green's House, 1293 Quinn Avenue, Memphis, Tennessee
Bonnie Turner (vocal), Ike Turner (vocal and piano), Calvin Newborn (guitar),
Unknown (saxophones), Richard ''Tuff'' Green (bass),
Phineas Newborn Sr. (drums)

7 - You Didn't Want Me (B.B. King) (2:32) RPM 363
(Jules Taub-Riley B. King) (Universal Music Publishers)
Recorded September 1952 at Tuff Green's House, 1293 Quinn Avenue, Memphis, Tennessee
Riley B. King (vocal), Bill Harvey (tenor saxophone), George Coleman (alto saxophone),
Floyd Jones (trumpet), Ike Turner (piano), Richard ''Tuff'' Green (Bass),
Ted Curry (drums)

8 - You Know I Love You (B.B. King) (3:05) RPM 363
(Jules Taub-Riley B. King) (Universal Music Publishers)
Recorded September 1952 at Tuff Green's House, 1293 Quinn Avenue, Memphis, Tennessee
Riley B. King (vocal), Bill Harvey (tenor saxophone), George Coleman (alto saxophone),
Floyd Jones (trumpet), Ike Turner (piano), Richard ''Tuff'' Green (Bass),
Ted Curry (drums)

9 - Mid Night Hour Journey (1) (Johnny Ace) (3:30) Flair 1015
(Joe Josea) (Copyright Control)
Recorded September 1952 at YMCA, 254 South Lauderdale, Memphis, Tennessee
Johnny Ace (vocal), Ike Turner (piano), George Coleman (alto saxophone),
Bill Harvey (tenor saxophone), Unknown (guitar), Onzie Horne (vibraphone),
Richard ''Tuff'' Green (bass)

10 - Trouble And Me (2) (Earl Forest) (2:57) Flair 1015
(Joe Josea) (Copyright Control)
Recorded September 1952 at YMCA, 254 South Lauderdale, Memphis, Tennessee
earl Forest (vocal), Ike Turner (piano), George Coleman (alto saxophone),
Bill Harvey (tenor saxophone), Unknown (guitar), Onzie Horne (vibraphone),
Richard ''Tuff'' Green (bass)

11 - Everybody's Talking (Mary Sue) (2:43) Modern 880
Joe Josea-Ike Turner) (Modern Music Limited
Recorded April 1952 at Tuff Green's House, 1293 Quinn Avenue, Memphis, Tennessee
Bonnie Turner (vocal), Ike Turner (piano), Calvin Newborn (guitar),
Richard ''Tuff'' Green (bass), Phineas Newborn Sr. (drums)

12 - Love Is A Gamble (Mary Sue) (3:06) Modern 880
(Ike Turner) (Delta Music Incorporated
Recorded April 1952 at Tuff Green's House, 1293 Quinn Avenue, Memphis, Tennessee
Bonnie Turner (vocal), Ike Turner (piano), Calvin Newborn (guitar),
Richard ''Tuff'' Green (bass), Phineas Newborn Sr. (drums)

13 - Blue Serenade (Take 2)  (Baby Face Turner) (2:40) Modern 882
(Ike Turner) (Universal Music Publishers)
Recorded March 21, 1952 at Martin Scroggin's Music Center,
1206 West Washington Avenue, North Little Rock, Arkansas
Edgar ''Baby Face'' Turner (vocal and guitar), Sunny Blair (harmonica),
Ike Turner (piano), Bill Russell (drums)

14 - Gonna Let You Go (Baby Face Turner) (2:03) Modern 882 / Meteor 5006
(Jules Taub-Ike Turner) (Universal Music Publishers)
Recorded March 21, 1952 at Martin Scroggin's Music Center,
1206 West Washington Avenue, North Little Rock, Arkansas
Edgar ''Baby Face'' Turner (vocal and guitar), Sunny Blair (harmonica),
Ike Turner (piano), Bill Russell (drums)

15 - Please Find My Baby (Elmore James) (3:08) Flair 1022
(Jules Taub-Elmore James) (Universal Music Publishers)
Recorded January 25-26, 1952 at Club Desire, South Union Street, Canton, Mississippi
Elmore James (vocal and guitar), Ike Turner (piano), Unknown (drums)
Produced by Joe Bihari

16 - Softly And Tenderly (1-3) (The Prisonaires) (2:32) > Sun 189-B <
(Will Thompson) (Copyright Control)
Recorded August 3, 1953 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Johnny Brag (lead tenor vocal), John Drue (second lead tenor vocal ),
Ed Thurman (tenor vocal), William Stewart (baritone vocal and guitar),
Marcell Sanders (bass vocal), Ike Turner (piano)

17 - A Prisoner's Prayer (2) (The Prisonaires) (2:41) > SUN 191-A < 
(Daffin-Nash) (Carlin Music)
Recorded August 3, 1953 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Johnny Brag (lead tenor vocal), John Drue (second lead tenor vocal ),
Ed Thurman (tenor vocal), William Stewart (baritone vocal and guitar),
Marcell Sanders (bass vocal), Ike Turner (piano)

18 - Beggin' My Baby (Little Milton) (2:29) > Sun 194-A < 
(James Milton Campbell) (Copyright Control)
Recorded July 28, 1953 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Little Milton (vocal and guitar), Ike Turner (piano), C.W. Tate (tenor saxophone),
Jesse Knight Jr. (bass), Willie Sims (drums)
Produced by Sam Phillips

19 - Somebody Told Me (Little Milton) (2:59) > Sun 194-B <
(James Milton Campbell) (Campbell Conelly Limited)
Recorded July 28, 1953 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Little Milton (vocal and guitar), Ike Turner (piano), C.W. Tate (tenor saxophone),
Jesse Knight Jr. (bass), Willie Sims (drums)
Produced by Sam Phillips

20 - No Teasing Around (Billy Emerson) (3:01) > Sun 195-A < 
(William Enerdon) (Tristan Music)
Recorded January 11, 1954 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Billy Emerson (vocal and piano), Ike Turner (guitar), Eugene Fox (tenor saxophone),
Oliver Sain (alto saxophone), Jesse Knight Jr. (bass), Willie Sims (drums)

21 - If Lovin' is Believing (Billy Emerson) (2:13) > Sun 195-B <
(William Enderson) (Copyright Control)
Recorded January 11, 1954 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Billy Emerson (vocal and piano), Ike Turner (guitar), Eugene Fox (tenor saxophone),
Oliver Sain (alto saxophone), Jesse Knight Jr. (bass), Willie Sims (drums)

22 - If You Love Me Baby (Little Milton) (2:32) > Sun 200-A <
(James Milton Campbell) (Campbell Conelly Limited )
Recorded March 30, 1954 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Nilton Campbell (vocal and guitar), Ike Turner (piano), Lawrence Taylor (alto saxophone),
C.W. Tate (tenor saxophone), Cleophus Johnson (bass), Lonnie Haynes (drums)
Produced by Sam Phillips

23 - Alone and Blue Take 3) (Little Milton) (3:08) > SUN 200-B <
(James Milton Campbell) (Campbell Conelly Limited)
Recorded March 30, 1954 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Nilton Campbell (vocal and guitar), Ike Turner (piano), Lawrence Taylor (alto saxophone),
C.W. Tate (tenor saxophone), Cleophus Johnson (bass), Lonnie Haynes (drums)
Produced by Sam Phillips

24 - I'm Not Going Home (Billy Emerson) (3:12) > Sun 203-A <
(William Enderson) (Knox Music Limited)
Recorded April 12, 1954 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Billy Emerson (vocal and piano), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Bobbie Fields (tenor saxophone), Jesse Knigh Jr. (bass), Bob Prindell (drums)

25 - The Woodchuck (1) (Billy Emerson) (3:08) > Sun 203-B < 
(William Enderson) (Knox Music Limited)
Recorded April 12, 1954 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Billy Emerson (vocal and piano), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Bobbie Fields (tenor saxophone), Jesse Knigh Jr. (bass), Bob Prindell (drums)

26 - Bourbon Street Jump (Raymond Hill) (2:38) > Sun 204-A < 
(Raymond Hill) (Copyright Control)
Recorded April 14, 1954 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Raymond Hill (tenor saxophone), Dennis Binder or Billy Emerson (piano)
Ike Turner (piano), Bobby Fields (tenor saxophone), Jesse Knight Jr. (bass),
Robert Prindell (drums)

27 - The Snuggle (Raymond Hill) (2:58) > Sun 204-B <
(Raymond Hill) (Knox Music Limited)
Recorded April 14, 1954 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Raymond Hill (tenor saxophone), Dennis Binder or Billy Emerson (piano)
Ike Turner (piano), Bobby Fields (tenor saxophone), Jesse Knight Jr. (bass),
Robert Prindell (drums)

28 - Hand In Hand (Elmore James) (2:48) Flair 1031
(Jules Taub-Elmore James-Joe Josea) (Universal Music Publishers)
Recorded January 25-26, 1952 at Club Desire, South Union Street, Canton, Mississippi
Elmore James (vocal and guitar), Ike Turner (piano), Unknown (drums)
Produced by Joe Bihari

The Legendary Ike Turner

Although Ike Turner's musical achievements have in recent years been overshadowed by allegations about his personal life, even the musically inclined man in the street may only recall Ike as the sharp, satanic looking guy, at the back of the stage watching the gyrating butts of Tina and the Ikettes or the deep throated singer on the ''Proud Mary'' song they cut. What even he probably wouldn't know is that Ike Turner was a musical phenomenon long before he dreamt up the name and image for the lil' country girl Annie Mae Bullock from Nutbush, Tennessee. Ike was a musical child prodigy, a teenaged talent scout for a major independent record label, a master bandleader and he was in at ground zero of rock and roll. He was also a musical workaholic, and once he had started recording, he seldom went more than a few months between cutting something or other as a band leader, an accompanist, or as an artist himself. Contained here on these four discs is proof positive of his talent and musicianship in those formative early years with the most comprehensive collection of singles recorded between 1951 - 1957 ever issued.

Ike Wister Turner was born on November 5, 1931 in Clarksdale, Mississippi. Times were hard for African Americans in the segregated south during the depression but Ike's experience was rougher than most. At aged five, he witnessed his lather being beaten and kicked by a gang of rednecked racists. The injuries were so bad, and medical attention so poor, that his dad died a lingering death. Aged just six, he was introduced to sexual intercourse by Miss Boozie, a fifty year old neighbour. Now it would be paedophilia, then it just happened. Ike Turner first started to play piano at his boyhood friend Ernest Lane's house where Joe Willie (Pinetop) Perkins would practise his boogie-woogie pieces. Pinetop showed the youngsters the rudiments of the instrument and Ike became so enthused he persuaded his mother to buy him a piano. In his teens started to spin discs on WROX, Clarksdale's local radio station that also featured a live lunchtime spot by Robert Nighthawk, Ike would spin discs by Louis Jordan, Roy Milton and Jimmy Liggins plus a lot of country records soaking up the rhythms and the blues he would replicate and develop in his own music. At school, Ike played in a group called the Tophatters with Ernest Lane and Clayton Love which soon became the first incarnation of his "Kings Of Rhythm", He also played separately with Nighthawk in clubs throughout the Delta region.

B.B King, just starting out in his career but locally very hot, saw Ike and his band play at the Harlem Club in Chambers, Mississippi and recommended them to Sam Phillips in Memphis. Ike and the band travelled the 60 odd miles from Clarksdale to Memphis in March 1951 and en route guitarist Willie Kizard's amplifier either fell off the overloaded automobile or, as Ike told it, got soaked in a rainstorm. Either way the speaker cone was shot but the ever resourceful Phillips stuffed it with paper which resulted in the distorted buzzing on the bass notes. Five songs were recorded, three with Ike's vocals, rocking ''Independent Woman'', a rhumba based ''I'm Lonesome Baby'' and a Charles Brown influenced blues, ''Heartbroken And Worried''. However, the killer cut was the wild and wonderful paean to drink driving, ''Rocket 88''. This pounding boogie, based on Jimmy Liggins' ''Cadillac Boogie'', is a tour de force, well deserving the frequent accolade of being the first rock and roll record. Its thumping piano introduction was used by Little Richard on his own ''Good Golly, Miss Molly'' and Bill Haley covered the song in the early days of his rock and roll career. ''Rocket 88'' was Ike's composition on which he played the pounding piano. Much to his displeasure, the song was released on Chess records as by Jackie Brenston and his Delta Cats with composer credit given to Brenston who was vocalist and one of three saxophonists in the band. ''Rocket 88'' was a huge hit reaching number 1 on the rhythm and blues charts in May 1951 and, in consequence, Brenston quit the band to tour under his own name. Before he left, however, with '''Rocket 88'' burning up the airwaves, the band found time to cut a follow up ''My Real Gone Rocket'' as the title suggests is derivative of the hit. However, it is a storming record in its own right.

Sam Phillips must have liked what he heard of Ike's piano playing because, a few weeks later, he used Ike backing the blues giant (in all senses of the word) Chester ''Howlin' Wolf'' Burnett on his wonderful loping blues boogie ''How Many More Years''. Coincidentally, Modern Records owners, the Bihari Brothers from Los Angeles, had been leasing recordings from Phillips and were mightly displeased that Brenston's hit had been placed with Chess rather than them. They were also wrangling with the Chess brothers over Wolf's contract. Consequently they broke with Phillips and so Joe Bihari set up a Wolf recording date across the river in West Memphis. Ike was there again, hammering the keys on ''Baby Ride With Me (Riding In The Moonlight)''. Ike was also present at the seminal recording of B. B. King's massive hit ''Three O'Clock Blues'' recorded around the same time as the Wolf session. The story goes that regular pianist Phineas Newborn Jr. couldn't get the right feel, so up steps the young Turner and hits the groove in two takes. By the end of 1951 ''Three O'Clock Blues'' was at the top of the charts and a teenaged Turner had played on two rhythm and blues hits.

Ike struck up a relationship with Joe Bihari, who set him up as a talent scout, providing a car and a new suit so he could scour the Memphis and Mississippi Delta for blues and rhythm and blues talent. Ike, the black man could open doors for the ''out of towner'' Jewish white guy that would be otherwise closed. Ike would round up the talent, set a series of dates and Joe would drive in and record at a whole array of venues throughout the Delta and in Memphis.

The first of these sessions to produce a single was with Robert Bland (soon to be blues superstar Bobby ''Blue'' Bland) recorded at band-leader, Tuff Green's house in Memphis. ''Dry Up Baby'' is the sort of chaotic rocker that Wolf might have cut, while the reverse of Modern 848 is a slow moaning blues with Bobby demonstrating his vocal prowess. January 1952 and Joe and Ike turned up at the Club Casablanca in Greenville to record the local talent which produced three solid countrified, cotton patch singles including harmonica blower Houston Boines (spelt Baines on the Modern subsidiary ''Blues And Rhythm'' label) on his ''Relation Blues'' and Boyd Gilmore on his cut of Robert Johnson's ''Ramblin' On My Mind'' both trying to capture some of the magic of Elmore James' ''Dust My Broom'' lick. The fourth single by much more like Ike's King's Of Rhythm with Raymond Hill's tenor saxophone prominent on both sides. Brother Bell was vocalist Johnny O'Neal who would record again with Ike at Sun in 1953. The main purpose of the trip was to record whose ''Dust My Broom'' was big at the time and who, although under contract to Trumpet Records, seemed to record elsewhere. The dynamic duo found their man in Canton and duly recorded him at the Club Desire. Over two days ten songs were cut which produced sides for four singles. On the three tracks included here are some of Elmore's most impassioned and intense vocals ever recorded, ''Hand In Hand'' bursts from the speakers as though the beginning of the recording has been sliced off while on ''Please Find My Baby', Ike and Elmore seem to battle for prominence over Elmore's famous riff - Elmore wins. '' 'Rock My Baby Right'' is more measured with the guitar turned down a notch and Ike's boogie piano up front and central.

Another artist that Chess and Modern both laid claim to was Rosco Gordon. In fact he had two versions of ''Booted'' issued simultaneously on Chess and RPM. Ike Turner set up the session in Memphis and may have played piano on the classic recording ''No More Dogging'' with its proto Ska inverted rhythm and Gordon's lazy mush-mouthed vocals.

Back out on the road again, the team turned up at Martin Scroggin's record shop in North Little Rock, Arkansas. Ike had rounded up the local talent who had performed as a band and played regularly together. Each member (except the drummer) got the opportunity to shine while Ike held it together on piano. The star turn was guitarist Baby Face Turner who on ''Blue Serenade'' adopts the Elmore James riff and ''Gonna Let You Go' is his take of ''' Worried Life Blues''. He reserves his best playing, however, for Drifting Slim's ''Good Morning Baby'' with excellent Muddy Waters style slide. The band up the tempo on Slim's roll and tumble themed ''My Sweet Woman'' and on Sunny Blair's ''Please Send My Baby'', a version of John Lee ''Sonny Boy'' Williamson's ''Step Back Baby''. Blair's side was issued on the Bihari's Memphis based subsidiary Meteor Records operated by Lester Bihari, with the flip side being a second release of Baby Face Turner's ''Gonna Let You Go''.

The following month, April 1952, Ike was one busy cat, recording with eight artists (himself included). The sessions produced 8 singles of extraordinary diversity. First up, Ike was back in the big city for a couple of sessions and appropriately, the sound is far more sophisticated. The first session was split between Herman ''Little Junior'' Parker and Bobby Bland both ably supported by the exceptional guitar of Matt ''Guitar' Murphy: two great singers, two great instrumentalists, two great singles. Ike gets a turn in front of the microphone on his own single ''' You're Driving Me Insane'' b/w ''Trouble And Heartaches'' supported by Ben Burton's band. Here the sound is heavier with a full horn section employed. ''You're driving me insane'', Ike croons to a tune reminiscent of Tampa Red's ''It Hurts Me Too'' while ''Trouble And Heartaches'' rolls along and is squarely based on Roy Milton's 1946, number 2 rhythm and blues hit ''RM Blues''. Next he was back in Clarksdale to cut again with Boyd Gilmore and Charlie Booker. Charlie's ''Boogie Woogie'' bowls along with each member of the band taking a crack at a solo as Booker sings his boogie. The other side of this single ''Moonshine Blues'' doesn't feature Ike. Gilmore's coupling is the real deal and If you think the introduction and solo to ''All In My Dreams'' are familiar, you'd be right because they are spliced in from Elmore James' ''Please Find My Baby'' heard elsewhere on this collection. The other side is Gilmore's expressive version of Robert Lockwood's ''Take A Little Walk With Me''.

Back at Tuff Green's house in Memphis Ike cut two singles with Bonnie Turner. As Mary Sue, she cut ''Everybody's Talking'' b/w '''Love Is A Gamble'' and in duet with Ike as Bonnie and Ike Turner they recorded ''My Heart Belongs To You'' b/w '''Looking For My Baby''. Bonnie was Ike's then third wife, and Ike still only 21! The marriage didn't last too long but at least to August 1953 when they recorded again at Sam Phillips' studio. Significantly, Bonnie was a pianist which allowed Ike to take on the guitar duties in his band. He was taking lessons from guitarists, Earl Hooker (who he would later record for Blue Thumb Records) and Willie Kizart, the ''Rocket 88'' guitarist. However, with his guitar skills not yet up to scratch, on these recordings Ike is still at the piano. B.B. King also recorded at Green's place around the same time and it is likely Ike played piano on the two songs recorded. Both sides of RPM 363 are blues ballads that feature droning saxophones, delicate tinkling piano but no sign of B.B's trademark guitar. Another King single was recorded five months later, the up-tempo side of which is featured here and contains some glorious rolling piano - but still no guitar? It is also likely that the Flair 1015 single, which featured Johnny Ace and Earl Forest with a side a piece, was cut at this session. Ace and Forest were the core of a loose group of musicians collectively called ''The Beale Streeters'' and both recorded virtually exclusively for Duke Records, so how and why they ended up on this Flair release is a bit of a mystery.

For the rest of 1952 and early 1953, Ike and his Kings Of Rhythm toured. They played Florida and may have recorded for Henry Stone in Miami but this remains unconfirmed. Ike was still contracted to the Biharis but this didn't stop him recording two singles at Sun in July and August 1953. The first was the great Little Milton's very first recording: ''Begging My Baby'' echoes Lloyd Price's huge hit ''Lawdy Miss Clawdy'' from the year before while 'Somebody Told Me'' hits a then popular rhumba beat. Milton would go on to a long and illustrious career, recording for Checker, Stax and Malaco. The second Sun session was with The Prisonaires, a vocal group of real life prisoners (all 99ers) on temporary release from the State Penitentiary to record. Lead by tenor Johnny Bragg, this was their second Sun session following on from the phenomenal ''Just Walkin' In The Rain''. How Ike was roped in is not known but he plays a rocking piano on the up-tempo, ''Softly And Tenderly'' and, for the first time on a single release, electric guitar on the weepy, ''A Prisoner's Prayer'',which uses the ''Old Shep'' melody. These sides have an ambiance very similar to that on the early Elvis ballads cut in the very same studio only 12 months or so later.

Over the Christmas period 1953/1954 Ike was back again at Sun in Memphis, cutting sides with Houston Boines, Little Milton, Billy Emerson and Kenneth Banks. Milton's slow blues ''Homesick For My Baby'' was issued on Sun 220 while Billy 'The Kid Emerson's very first recording became Sun 195. For the first time on a single on ''No Teasing Around'' we hear Ike's distinctive, tremolo laden guitar behind Billy's powerful vocals. ''If Lovin's Believin'' is more of the same with Ike closely following the vocal chorus on his bass strings. Billy would later cut a slew of singles at Sun including the much loved rockabilly anthem ''Red Hot''.

Back in his home-town Clarksdale and at the WROX radio station in The Alcazar Hotel, where as a boy he had operated the lift and helped the disc jockeys spin discs in his spare time, Ike cut a totally bizarre session with his saxophone player Eugene Fox. The recordings were made after midnight when the broadcasting ceased and the midnight hour was quite appropriate for these weird waxings. Ike had attempted to record ''The Dream' b/w ''Sinner's Dream'' earlier at Sun with Johnny O'Neal as ''Johnny's Dream'' but the recording remained unissued until the 1970s. In ''The Dream'' gravel voiced Fox takes the lead role, and Ike's new 'wife Annie Mae Wilson supports, in a tale of slippin around and retribution when, Sambo, the dead husband of Fox's girl comes back to haunt him as he sleeps in her bed in a drunken stupor. The dream IS so real that when Fox wakes up he grabs his hat and runs. ''Sinner's Dream'' is more of the same but this time Fox is led by ''Mr Death'' down to hell to meet with ''Mr Devil''. ''Don't push me in that fire''! he pleads. Throughout both epics, Ike's guitar shivers and quivers creating a suitably unearthly feel. The straight cut of the session, ''Stay At Home'' is based on the Drifters' ''Money Honey' on which Ike plays a killer solo. In later life Eugene Fox gave up music and became the principal of Coahoma Agricultural High School and was somewhat embarrassed about these crazy recordings.

While in Clarksdale, Ike and Joe Bihari set up shop in a closed Greyhound bus depot and recorded a succession of artists all keen to get a record released and, in fact, everyone they did record got a single release. Dennis Binder, Billy Gayle and Clayton Love were to become regular members of the Kings Of Rhythm, while Matt Cockrell, and Lonnie ''' The Cat'' Cation were one shot artists. First up, however, is ''Lover Boy'', long thought to be Ike himself until he told Cilla Huggins otherwise. It's generally felt that the singer is either Dennis Binder or Billy Emerson, my pick is Binder. What is certain, Ike plays some deliciously rolling piano on ''Love Is Scarce'' and fluid guitar on ''The Way You Used To Treat Me'' which is a virtual carbon copy of Guitar Slim's hit, ''The Things I Used To Do'' even down to the yeah' exclaimed by Ray Charles at the end of the original. Along with the ''Dust My Broom'' riff, the ''Things I Used To Do'' melody would be a recurring theme throughout Ike's career.

''I ain't drunk, I'm just drinking'' sings Lonnie ''The Cat'' in an inebriated celebration of alcohol in the original of a song that became a staple in Albert Collins' repertoire. Bobby Hines and Ike both play the same piano on this song and its companion ''The Road I Travel''. ''Wicked Little Baby'' is a great stop time rocker with superb vocal from Clayton Love singing over a unison horn riff while the flip ''Why Don't You Believe Me'' is more of the same but this time set to a Latin beat. Love also cut ''Bye Bye Baby'' at the session which is similar to ''Why Don't You Believe Me'' but with a distinct Professor Longhair, New Orleans tinge. This recording was sold to Groove in May 1956 and released shortly thereafter coupled with ''Mary Lou'' which isn't the Young Jesse song released in 1955 but a rocking opus full of Little Richard references. Love re-cut ''Bye Bye Baby'' in St Louis in 1958 with the Roosevelt Marks Orchestra for Bobbin Records. Mat Cockrell's sole attempt at recorded fame consisted of ''Baby Please'', a very brief song in which he sings in unison with Bobby Hines and ''Gypsy Blues'', a ''Going Down To New Orleans'' type song with strong Crescent City influences.

The two best singles of the ''Greyhound'' sessions are by Kings Of Rhythm regulars, Dennis Binder and Billy Gayles. ''Early Times'' is Binder's real rocking celebration of a popular brand of bourbon whisky with Ike setting the tempo with his driving guitar figure. He does the same on flip but this time on Plano while Binder sings ''Í Miss You So'' which the horns echo in unison and Willie Sims' tremendous drumming drives the thing on into a long fade. Billy Gayles cut more sides with the Kings Of Rhythm than any other vocalist and ''Night Howler'', a ''Lawdy Miss Clawdy'' clone, was his first ever recording. ''My Heart Is In Your Hands'' is a slow ballad in a Johnny Ace mode with Ike, or possibly his wife, tinkering on the keys. During the vocal sessions Ike cut a clutch of tremendous instrumentals demonstrating his prowess on both piano and guitar. When he hit the big time a few years later as Ike and Tina Turner, Modern reissued them on the Crown LP ''Rocks The Blues'' and changed the titles so the tremolo heavy ''Cubano Jump'' and ''Cuban Getaway'' became ''Hey Miss Tina'' and ''Bayou Rock'' respectively, the piano workout ''Loosely'' became ''The Wild One'' and the single string opus ''Go To It'' was renamed "Stringin' Along''. Ike also cut a tour de force guitar medley called ''All The Blues All The Time'' but at eight minutes plus it was way too long for single release.

Having packed Joe Bihari back off to California with a bag full of singles to release, Ike was straight back to Sun for couple of Little Milton sessions, the first of which produced three sides for future Sun singles. Ike joined Milton's band on piano and ''Alone And Blue'' has a similar feel to it as the Billy Gayles ''My Heart Is In Your Hands'' ballad cut in Clarksdale. On both ''Lookin' For My Baby'' and ''If You Love Me Baby'' Milton shows he can play that famous Elmore lick as well as anyone (except Elmore James himself of course). Just how influential was that ''Dust My Broom'' figure? And speaking of the great man, Ike turns up on a Chicago session with the ''Broomduster'' himself literally days later. Four songs were recorded with Elmore regulars, the original big town playboy pianist Johnny Jones and drummer Odie Payne, augmented by Ike, and saxophonists from his band Raymond Hill and Oliver Sain. Two of these cuts formed the Flair 1039 single which is a rather restrained affair. ''Sho' Nuff I Do' is a low key try-out for Elmore's later recording of Tampa Red's ''It Hurts Me Too'' while on the flip he 'ain't seen his baby since 1839'! No wonder he's got the blues!

A week later, Ike was back at Sun to cut sides with Billy 'The Kid' Emerson and his long time saxophonist Raymond Hill and these would become Sun 203 and Sun 204 respectively. Billy had joined the Kings Of Rhythm in September 1953 in Florida when Ike's wife Bonnie quit and moved to New York. Billy, in fact, subbed for Ike when he was ill on some dates and became a semi permanent member, touring in Arkansas, Mississippi and Tennessee. ''I'm Not Going Home'' is a loping blues with a good sax break from Raymond Hill. However, it's the old tongue twisting nursery rhyme, ''The Woodchuck'' that he turns into a talking boogie which hits the spot. Raymond Hill had previously cut a session at Sun in October 1952, but nothing was released from it. Here he finally he got his fifteen minutes in the Sun - well 2.58 minutes for the slow blues instrumental ''The Snuggle'' and 2.37 minutes for the Big Jay McNeely themed jump blues ''Bourbon Street Jump''.

Sometime around April 1954 Ike cut a further session with Eugene Fox and produced three sides. This seems to have been an independent venture away from the Biharis and Modern Records because Ike sold the masters to record producers and songwriters, Leiber and Stoller who issued them as by ''The Sly Fox'' on their newly inaugurated Spark label based in Los Angeles. ''Tired Of Beggin'' is a killer, with Fox's coarse vocals belting out over a rocking ''Boogie Chillen'' beat with Ike burning up the strings on his stratocaster. This was coupled with ''Hoc-Doo Say'', in which Fox puts the 'hex' on his woman as advised by the Hoo-doo, - ''take some of your hair, boil it in a pot, take some of your clothes, tie them in a knot'' - yes that'll do it''! ''My Four Women'' has Fox reciting his problems with his women as the band boogie in the background. With only three sides Leiber and Stoller had to find a 'B' side for Fox's second Spark single. They solved the problem by cutting a talking blues on which Jerry Leiber imitates Fox - no mean feat but he sounds more like Jerome Green on Bo Diddley's ''Say Man'' - while Mike Stoller plays New Orleans' style piano.

Ike made his first visit to the West Coast around this time. It must have been a fleeting visit with all the recording he was doing, but true to form he wound up playing guitar on a Flairs single with Maxwell Davis' band who were Modern's house band in Los Angeles. The Flairs were a West Coast vocal supergroup with a line-up including Richard Berry of ''Louie Louie'' fame, Obidiah 'Young' Jesse of ''Hit, Git And Split'' fame and Cornell Gunter, who later became a cornerstone of the Coasters. ''Baby Wants'' and ''You Were Untrue'' was issued on Flair 1041 in May 1954 which narrows the recording date a little to early 1954.

Jesse Knight Jr. was Ike Turner's cousin and after Ike taught him the rudiments of the electric bass he played in the Kings Of Rhythm from 1953 (maybe even earlier) to 1969, making him the longest ever serving member of the band. He only got one shot as a vocalist and for some reason his single wound up on Checker rather than one of the Modern labels. The side featured here is ''Nothing But Money'' a fast blues which uses a phrase from bluesman Jimmy Rogers, 1951 Chess single ''Money, Marbles And Chalk'' apparently meaning money (cash), marbles (meubles ie goods) and chalk (credit as in chalk it up on the slate). The date of this recording, May 24, 1954 could well be the Chess mastering date and it may have been recorded at the Clarksdale ''Greyhound. ' session in March 1954.

By 1955 Ike's sister Lee Ethel had moved to St Louis and she persuaded Ike to travel north and visit the big city. Ike took the band and played a few dates and was a huge success. To quote Ike, ''We tore them up 'cos St. Louis was a jazz town. Here we come us from down there playing the blues, and we were just drawing a trillion people''. A little exaggerated maybe, but it certainly persuaded Ike and the band to relocate and move into a large house known as ''The House Of Many Thrills''. Here they partied non stop but also rehearsed and honed the band into a super-slick machine. As well as performing in the black clubs in East St. Louis, Ike also started to play for the hip white teenagers at George Edick's Club Imperial. Edick also hosted a local TV show and footage of Ike and the band miraculously still exists albeit from a slightly later date - check it out on YouTube.

Ike started to record at the Technisonic Studios in Clayton to the West of St. Louis and the first date in December 1955 was with Johnny Wright and vocal group The Trojans. ''The world is yours darling, I'm just here on borrowed time'', sings the big voiced Wright to ''The Things I Used To Do'' tune with Ike taking a whammy bar solo to great effect, while the flip ''Suffocate'' uses the Bo Diddley/Muddy Waters, ''I'm A Man'' b/w ''Mannish Boy'' beat. I don't know who conceived the idea of adopting the name of a well known brand of prophylactics for the name of a vocal group but it was never going to work. However, The Trojans turn out a decent pairing with ''As Long As I Have You'' and ''I Wanna Make Love To You''. The leader of the group was Art Lassiter who later had the misfortune of not recording ''A Fool In Love'', Ike & Tina's first big hit. Ike had written the song for him but he failed to show at the studio so Ike cut it with Tina instead. Also in the Trojans' line-up was Luther Ingram who had a huge hit with ''If Loving You Is Wrong (l Don't Want To Be Right)'' on KoKo in the 1960s.

It was five months before Ike returned to the studio, an inordinately long time by his standards. He was back with Billy Gayles recording under the pseudonym Willie King at Technisonic or perhaps the King Studio in Cincinnati because his long tenure with Modern was at an end. For the next twelve months his recording home would be with the King Records subsidiary label, Federal. It was with these recordings that all the touring, the endless gigs and the practice finally paid dividends and Ike and his Kings Of Rhythm finally gelled into a premier league powerhouse band. Ike started to develop a revue act where band vocalists and band members would perform a few numbers each. The Willie King recording ended up on the Vita label, a small Californian imprint with links to the Cento label that Ike would record for in the 1960s. ''Peg Leg Woman'' is a typical Turner rocker that Ike had originally recorded at Sun in 1953 as ''Ugly Woman'' with Johnny O'Neal on vocal but this version was unissued until the 1970s. The 'B' side is a slow blues called ''Mistreating Me'' with echoes of Johnny Ace.

Billy Gayles also fronted the band on the first Federal session at the King Recording studio, built in an old ice storage warehouse in Cincinnati, and cut four sides for two Federal singles. Billy's powerful vocals never sounded better and he handles rockers like the great ''I'm Tore Up'' and ''Take Your Fine Frame Home'' with ease. However, it is his gospel inflected singing on the ballads, ''Lets Call It A Day'' and especially ''If I Never Had Known You'' that presage soul music of a decade later. The Kings Of Rhythm are joined by the Rockers vocal group gently cooing in the background on one song and they also recorded four songs on the same day. The Rockers were basically the Trojans with a new name and here they demonstrate their versatility with different lead vocals on songs from the gospel fervour of ''What Am I To Do'' (which ends with the lead singer's plea ''Somebody tell me what am I to do''? to be answered ''Nothing man — suffer''!) to the ''Down In The Bottom'' and ''Why Don't You Believe Me'' which sound similar to the recordings of fellow Federal stablemates the Dominoes.

Six months to the day and the whole gang was back again at King and this time as well as Billy Gayles prodigal son Jackie Brenston was back in the band having not been able to capitalise on the ''Rocket 88'' hit. While Ike may have held a grudge about the billing of this first hit, he recognised talent and didn't hold it against Jackie personally. Jackie didn't waste his chance at the microphone, cutting four great tracks with Ike whammying his stratocaster to great shimmering effect on ''Gonna Wait For My Chance'' and ''What Can It Be''. The pick of the bunch is the stomping, romping ''Much Later'' with Ike pulling out all the stops on the solo. Around this time Ike also cut with a vocal group called the Gardenias, possibly at the same session as the Brenston/Gayles date. The group included Luther Ingram who also sang with the Trojans, and his two brothers. Ingram had certainly been listening to Clyde McPhatter and Hank Ballard as they come across sounding like the Donnoes on ''My Baby's Tops'' and the Midnighters on ''Flaming Love'', both of whom cut for Federal.

The Starr's are a complete discographical blank although the ead sounds suspiciously like Jackie Brenston. Both sides have a distinct New Orleans feel, ''Crying Over You'' (written by 'Turner) sounds like a Huey ''Piano'' Smith record and ''Ain't Got No Home'' is the Clarence 'Frogman' Henry hit which at least dates this recording to after September 1956 when the Frogman's record was made.

The final session in this Ike Turner singles overview was a split session between the Kings Of Rhythm and Clayton Love, the last of the triumvirate of big lunged singers Ike used with the Kings (no wonder he didn't sing too often). What a trio of voices: Gayles, Brenston and Love! Three singles came from the six sides cut April 1957: ''Do You Mean It'' and ''She Made My Blood Run Cold'' credited to Clayton Love and the remainder to the Kings Of Rhythm even though Love sang on two of them. Ike's distinctive guitar is to the fore on both of Love's tracks and is particularly effective on the Coasters-like ''She Made My Blood Run Cold''. ''The Big Question'' is a solid sax lead workout, as is the instrumental ''Trail Blazer'' which echoes ''C C Rider'' in a smooth Earl Bostic manner. On ''Trail Blazer'' Ike plays both guitar and sax but playing two instruments at the same time was something at which he was quite adept.

These Federal sessions were the Kings Of Rhythm at their best but it was all soon to change. Rock and roll was in full swing and soul was just around the corner of the new decade. Ike's brand of rhythm and blues was considered old hat but he laboured on cutting a series of independent singles in St. Louis, then a batch of classic Chicago West Side blues with Otis Rush and Buddy Guy and then a trio of hot singles for the tiny Stevens label. However, at one of his 1958 sessions he cut ''Boxtop'' with a young girl simply named ''Little Ann'' who would soon turn his life around and propel him from the ''chitlin circuit'' to international fame when he reinvented her as Tina Turner. But that is altogether another story.

- Fred Rothwell

Disc 3 Contains

1 - Stay At Home (2) (Eugene Fox) (2:43) Checker 792
(Eugene Fox) (Copyright Control)
Recorded February 22, 1954 at WROX Radio Station, The Alcazar Hotel,
127 3rd Street, Clarksdale, Mississippi
Eugene Fox (vocal), Ike Turner (piano), Raymond Hill (saxophone),
Jesse Knight (bass), C.V. Veal (drums)

2 - Sinners Dream (1) (Eugene Fox) (3:26) Checker 792
(Friscillo) (Tristan Music)
Recorded February 22, 1954 at WROX Radio Station, The Alcazar Hotel,
127 3rd Street, Clarksdale, Mississippi
Eugene Fox (vocal), Ike Turner (piano), Raymond Hill (saxophone),
Jesse Knight (bass), C.V. Veal (drums)

3 - Nothing But Money (Jesse Knight) (3:07) Checker 797
(Jesse Knight) (Tristan Music)
Recorded May 24, 1954 Unknown Location, Clarksdale, Mississippi
Jesse Knight (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eugene Fox (tenor saxophone), Willie Sims (drums)
Produced by Ike Turner

4 - The Dream (Part 1-1 & 2-1) (Eugene Fox) (4:12) RPM 420
Eugene Fox) (Universal Music Publishers)
Recorded February 22, 1954 at WROX Radio Station, The Alcazar Hotel, 127 3rd Street,
Clarksdale, Mississippi
Eugene Fox (vocal), Ike Turner (piano), Raymond Hill (saxophone),
Jesse Knight Jr. (bass), C.V. Veal (drums)

5 - Love Is Scarce (1) (Lover Boy) (2:18) RPM 409
(Ike Turner-Joe Bihari) (Universal Music Publishers)
Recorded March 1954 at Disused Greyhound Bus Station,302, 3rd Street,
Clarksdale, Mississippi
Probably Dennis Binder (vocal), Ike Turner (piano), Unknown (guitar), Eugene Fox (tenor saxophone), Bobby Fields (tenor saxophone), Jesse Kight Jr. (bass), Willie Sims (drums)
Produced by Ike Turner

6 - The Way You Used To Treat Me (Lover Boy) (2:37) RPM 409
(Jules Taub-Sam Ling)
Recorded March 1954 at Disused Greyhound Bus Station,302, 3rd Street,
Clarksdale, Mississippi
Probably Dennis Binder (vocal), Ike Turner (piano), Unknown (guitar), Eugene Fox (tenor saxophone), Bobby Fields (tenor saxophone), Jesse Kight Jr. (bass), Willie Sims (drums)
Produced by Ike Turner

7 - I Ain't Drunk (Lonnie The Cat) (2:23) RPM 410
(Mahony-Canton) (Universal Music Prublishers)
Recorded March 1954 at Disused Greyhound Bus Station,302, 3rd Street,
Clarksdale, Mississippi
Lonnie C. Cation (vocal), Ike Turner (piano), Guitar Blue (guitar),
Willie Sims (drums), Unknown (saxophones, bass)
Produced by Ike Turner

8 - The Road I Travel (Lonnie The Cat) (2:05) RPM 410
(Caton) (Universal Music Publishers)
Recorded March 1954 at Disused Greyhound Bus Station,302, 3rd Street,
Clarksdale, Mississippi
Lonnie C. Cation (vocal), Ike Turner (piano), Guitar Blue (guitar),
Willie Sims (drums), Unknown (saxophones, bass)
Produced by Ike Turner

9 - Suffocate (Take 1) (1) (Johnny Wright) (2:43) RPM 443
(Sam Ling-Wright) (Univesal Music Publishers)
Recorded November 1955 at Technisonic Studios, 1201 South Brentwood Avenue, St. Louis
or King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Johnny Wright (vocal), Ike Turner (piano), Unknown (saxophones),
Jesse Knight Jr. (bass), Eugene Washington (drums)

10 - Why Don't You Believe In Me (1) (Clayton Love) (2:52) RPM 443
(Jules Taub-Clayton Love) (Copyright)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Clayton Love (vocal0, Ike Turner (piano), Eugene Fox (tenor saxophone),
Bobby Fields (tenor saxophone), Willie Sims (drums)
Produced by Ike Turner

11 - Wicked Little Baby (Clayton Love) (2:33) Modern 929
(Jules Taub-Clayton Love) (Copyright Control)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Clayton Love (vocal), Ike Turner (piano), Eugene Fox (tenor saxophone),
Bobby Fields (tenor saxophone), Willie Sims (drums)
Produced by Ike Turner

12 - I Miss You So (2) (Dennis Binder & His Orchestra) (3:02) Modern 930
(Jules Taub-sam Ling ) (Universal Music Publishers)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Dennis Binder (vocal and piano), Ike Turner (guitar), Eugene Fox (tenor saxophone),
Bobby Fields (tenor saxophone), Jesse Knight Sr. (bass),
Willie Sims (drums)
Produced by Ike Turner

13 - Early Times (1) (Dennis Binder & His Orchestra) (2:28) Modern 930
(Jules Taub-Dennis Binder) (Universal Music Publishers)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Dennis Binder (vocal and piano), Ike Turner (guitar), Eugene Fox (tenor saxophone),
Bobby Fields (tenor saxophone), Jesse Knight Sr. (bass),
Willie Sims (drums)
Produced by Ike Turner

14 - Bye Bye Baby (Clayton Love Orchestra) (2:28) Groove 0162
(Clayton Love) Tristan Music
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Clayton Love (vocal and piano), Ike Turner (guitar), Eugene Fox (tenor saxophone),
Bobby Fields (tenor saxophone), Jesse Knight Sr. (bass), Willie Sims (drums)
Produced by Ike Turner

15 - Mary Lou (Clayton Love Orchestra) (2:01) Groove 0162
(Clayton Love) (Copyright Control)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Clayton Love (vocal and piano), Ike Turner (guitar), Eugene Fox (tenor saxophone),
Bobby Fields (tenor saxophone), Jesse Knight Sr. (bass), Willie Sims (drums)
Produced by Ike Turner

16 - Baby Please (1) (Matt Cockrell) (2:58) Flair 1037
(Joe Josea) (Universal Music Publishers)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Clayton Love (vocal), Ike Turner (piano), Unknown (tenor saxophone),
Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

17 - Gypsy Blues (Matt Cockrell) (3:12) Flair 1037
(Joe Josea) (Universal Music Publishers)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Clayton Love (vocal), Ike Turner (piano), Unknown (tenor saxophone),
Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

18 - Night Howler (Billy Gayles) (2:12) Flair 1038
(Joe Bihari-Ike Turner) (Universal Music Publishers)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Clayton Love (vocal), Ike Turner (piano and guitar), Eugene Fox (tenor saxophone), Bobby Fields (saxophone), Raymond Hill (saxophone), Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

19 - My Heart Is In Your Hands (1) (Billy Gayles) (2:30) Flair 1038
(Joe Josea-Ike Turner) (Universal Music Publishers)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Clayton Love (vocal), Ike Turner (piano and guitar), Eugene Fox (tenor saxophone), Bobby Fields (saxophone), Raymond Hill (saxophone), Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

20 - Sho Nuff I Do (Elmore James & His Broomdusters) (2:52) Flair 1039
(Whittaker) (Acorn Publishing)
Recorded April 5, 1954 at Universal Recording Studios, East Ontario, Chicago
Elmore James (vocal and guitar), Johnnie Jones (piano), Ike Turner (guitar),
Raymond Hill (saxophone), Oliver Sain (alto saxophone),
Unknown (bass), Odie Payne (drums)

21 - 1839 Blues (Elmore James & His Broomdusters) (3:15) Flair 1039
(Elmore James) (Universal Music Publishings)
Recorded April 5, 1954 at Universal Recording Studios, East Ontario, Chicago
Elmore James (vocal and guitar), Johnnie Jones (piano), Ike Turner (guitar),
Raymond Hill (saxophone), Oliver Sain (alto saxophone),
Unknown (bass), Odie Payne (drums)

22 - Loosely (The Wild One) (1-2) (Ike Turner & His Orchestra) (2:30) Flair 1040
(Hampton-Bucker) (EMI United Partnership)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Ike Turner (vocal and piano), Annie Mae Wilson (piano), Eugene Fox (tenor saxophone), Bobby Fields (saxophone), Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

23 - Cubano Jump (2) (Ike Turner & His Orchestra) (2:17) Flair 1040
(Percy Mayfield) (Sony-ATV Music)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Ike Turner (vocal and piano), Annie Mae Wilson (piano), Eugene Fox (tenor saxophone), Bobby Fields (saxophone), Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

24 - Cuban Get Away (Bayou Rock) (Ike Turner & His Orchestra) (3:11) Flair 1059
(Joe Josea-Ike Turner) (Modern Music Publishers)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Ike Turner (vocal and piano), Annie Mae Wilson (piano), Eugene Fox (tenor saxophone), Bobby Fields (saxophone), Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

25 - Baby Wants (Flairs) (2:28) Flair 1041
(Berry-Mimms) (Universal Music Publishers)
Recorded May 1954 at Modern Studio, 9317 West Washington Boulevard,
Culver City, Los Angeles, California
Richard Berry (vocal), Obediah ''Young'' Jesse (vocal), Corneliuys Gunter (vocal),
Thomas Fox (vocal), Beverly Thompson (vocal), Ike Turner (guitar),
Maxwell Davis (tenor saxophone), Unknown (piano),
Unknown (drums)

26 - You Were Untrue (1) (Flairs) (2:44) Flair 1041
(Berry-Mimms) (Copyright Control)
Recorded May 1954 at Modern Studio, 9317 West Washington Boulevard,
Culver City, Los Angeles, California
Richard Berry (vocal), Obediah ''Young'' Jesse (vocal), Corneliuys Gunter (vocal),
Thomas Fox (vocal), Beverly Thompson (vocal), Ike Turner (guitar),
Maxwell Davis (tenor saxophone), Unknown (piano),
Unknown (drums)

27 - Rock My Baby Right (Elmore James & His Broomdusters) (2:35) Flair 1048
(Joe Josea-Elmore James)
Recorded January 25-26, 1952 at Club Desire, South Union Street, Canton, Mississippi
Elmore James (vocal and guitar), Ike Turner (piano), Unknown (drums)
Produced by Joe Bihari

28 - Hoo-Doo Say (1) (The Sly Fox) (3:01) Spark 108
(Eugene Fox) (Carlin Music)
Recorded circa April 1954 at Unknown Location, Clarksdale, Mississippi
Eugene Fox (vocal), Ike Turner (guitar), Jesse Knight Jr. (vocal and bass),
Raymond Hill (tenor saxophone), Robert Prindell or Willie Sims (drums)
Produced by Ike Turner

29 - I'm Tired Of Beggin' (The Sly Fox) (2:29) Spark 108
(Eugene Fox) (Carlin Music)
Recorded circa April 1954 at Unknown Location, Clarksdale, Mississippi
Eugene Fox (vocal), Ike Turner (guitar), Jesse Knight Jr. (vocal and bass),
Raymond Hill (tenor saxophone), Robert Prindell or Willie Sims (drums)
Produced by Ike Turner

Disc 4 Contains

1 - My Four Women (The Sly Fox) (3:07) Spark 112
(Kay-Kay) (Silver Seahorse Music)
Recorded circa April 1954 at Unknown Location, Clarksdale, Mississippi
Eugene Fox (vocal), Ike Turner (guitar), Jesse Knight Jr. (bass),
Raymond Hill (tenor saxophone), Robert Prindell or Willie Sims (drums)
Produced by Ike Turner

2 - Lookin' For My Baby (1 Take 5) (Little Milton) (2:54) > Sun 220-B < 
(James Milton Campbell) (Knox Music Limited)
Recorded March 30, 1954 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
Nilton Campbell (vocal and guitar), Ike Turner (piano), Lawrence Taylor (alto saxophone),
C.W. Tate (tenor saxophone), Cleophus Johnson (bass), Lonnie Haynes (drums)
Produced by Sam Phillips

3 - Homesick For My Baby (Little Milton) (2:20) > Sun 220-A <
(Joe Josea-James Milton Campbell) (Modern Music Publishing)
Recorded December 23, 1953 at Sun Studio, 706 Union Avenue, Memphis, Tennessee
James Milton Campbell (vocal and guitar), Ike Turner (piano),
Lawrence Taylor (alto saxophone), C.W. Tate (tenor saxophone),
Jesse Knight Jr. (bass), Lonnie Hayes (drums)

4 - Go To It (Ike Turner & His Orchestra) (2:22) Flair 1059
(Percy Mayfield) (ATV Music)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Ike Turner (vocal and piano), Annie Mae Wilson (piano), Eugene Fox (tenor saxophone), Bobby Fields (saxophone), Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

5 - The World Is Yours (Take 6) (2) (Johnny Wright) (2:51) RPM 443
(Sam Ling-Wright) (Universal Music Publishers)
Recorded November 1955 at Technisonic Studios, 1201 South Brentwood Avenue, St. Louis
or King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Johnny Wright (vocal), Ike Turner (piano), Unknown (saxophones),
Jesse Knight Jr. (bass), Eugene Washington (drums)

6 - As Long As I Have You (Trojans) (3:00) RPM 446
(Joe Josea-Art Lassiter) (Universal Muisic Publishers)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Ike Turner (vocal and piano), Annie Mae Wilson (piano), Eugene Fox (tenor saxophone), Bobby Fields (saxophone), Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

7 - I Wanna Make Love To You (1) (Trojans) (1:58) RPM 446
(Joe Josea-Art Lassiter) (Universal Muisic Publishers)
Recorded March 1954 at Disused Greyhound Bus Station, 302 3rd Street, Clarksdale, Mississippi
Ike Turner (vocal and piano), Annie Mae Wilson (piano), Eugene Fox (tenor saxophone), Bobby Fields (saxophone), Unknown (bass), Willie Sims (drums)
Produced by Ike Turner

8 - Peg Leg Woman (1) (Willie King) (2:33) Vita 123
(Robbie Johnson) (EMI Virgin Music)
Recorded November 1955 at Technisonic Studios, 1201 South Brentwood Avenue, St. Louis
or King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Willie King (vocal), Ike Turner (piano), Raymond Hill (saxophones),
Eddie Jones (tenor saxophone), Fred Samples (piano),
Jesse Knight Jr. (bass), Eugene Washington (drums)
Produced by Ike Turner

9 - Mistreating Me (Take 5) (Willie King) (3:08) Vita 123
(Ike Turner) (Copyright Control
Recorded November 1955 at Technisonic Studios, 1201 South Brentwood Avenue, St. Louis
or King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Willie King (vocal), Ike Turner (piano), Raymond Hill (saxophones),
Eddie Jones (tenor saxophone), Fred Samples (piano),
Jesse Knight Jr. (bass), Eugene Washington (drums)
Produced by Ike Turner

10 - I'm Tore Up (Billy Gayles) (2:22) Federal 12265
(Bass-Ike Turner) (Lark Music Limited)
Recorded March 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Billy Gayles (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone), Eddie Jones (tenor saxophone), Annie Mae Wilson or Fred Samples (piano), Jesse Kight Jr. (bass), Eugene Washington (drums),
The Rockers: Art Lassiter, Douglas Martin, George Green, Murrey Green (vocals)

11 - If I Had Never Known You (Billy Gayles) (2:30) Federal 12265
(Ike Turner) (Lark Music Limited)
Recorded March 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Billy Gayles (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone), Eddie Jones (tenor saxophone), Annie Mae Wilson or Fred Samples (piano), Jesse Kight Jr. (bass), Eugene Washington (drums),
The Rockers: Art Lassiter, Douglas Martin, George Green, Murrey Green (vocals)

12 - What Am I To Do (Rockers) (2:15) Federal 12267
(Unknown) (Copyright Control)
Recorded March 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
The Rockers: Art Lassiter, Douglas Martin, George Green, Murrey Green (vocals)
Ike Turner (guitar), Raymond Hill (tenor saxophone), Eddie Jones (tenor saxophone),
Annie Mae Wilson or Fred Samples (piano), Jesse Kight Jr. (bass),
Eugene Washington (drums)

13 - Let's Call It A Day (Billy Gayles) (2:28) Federal 12272
(Billy Glover) (Lark Music Limited)
Recorded March 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Billy Gayles (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone), Eddie Jones (tenor saxophone), Annie Mae Wilson or Fred Samples (piano), Jesse Kight Jr. (bass), Eugene Washington (drums),
The Rockers: Art Lassiter, Douglas Martin, George Green, Murrey Green (vocals)

14 - Take Your Fine Frame Home (Billy Gayles) (2:25) Federal 12272
(Bass-Ike Turner-Golden) (Lark Music Limited)
Recorded March 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Billy Gayles (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone), Eddie Jones (tenor saxophone), Annie Mae Wilson or Fred Samples (piano), Jesse Kight Jr. (bass), Eugene Washington (drums),
The Rockers: Art Lassiter, Douglas Martin, George Green, Murrey Green (vocals)

15 - Why Don't You Believe (Rockers) (2:21) Federal 12273
(Unknown) (Copyright Control)
Recorded March 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
The Rockers: Art Lassiter, Douglas Martin, George Green, Murrey Green (vocals)
Ike Turner (guitar), Raymond Hill (tenor saxophone), Eddie Jones (tenor saxophone),
Annie Mae Wilson or Fred Samples (piano), Jesse Kight Jr. (bass),
Eugene Washington (drums)

16 - Down In The Bottom (Rockers) (2:24) Federal 12273
(Unknown) (Copyright Control)
Recorded March 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
The Rockers: Art Lassiter, Douglas Martin, George Green, Murrey Green (vocals)
Ike Turner (guitar), Raymond Hill (tenor saxophone), Eddie Jones (tenor saxophone),
Annie Mae Wilson or Fred Samples (piano), Jesse Kight Jr. (bass),
Eugene Washington (drums)

17 - No Coming Back (Billy Gayles) (2:41) Federal 12282
(Ike Turner) (Lark Music Limited)
Recorded September 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Billy Gayles (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Jackie Brenston 9baritone saxophone),
Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

18 - Do Right Baby (Billy Gayles) (2:08) Federal 12282
(Ike Turner) (Lark Music Limited)
Recorded September 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Billy Gayles (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Jackie Brenston (baritone saxophone),
Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

19 - What Can It Be (Jackie Brenston) (2:24) Federal 12283
(Ike Turner) (Lark Music Limited)
Recorded September 13, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Jackie Brenston (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

20 - Gonna Wait For My Chance (Jackie Brenston) (2:03) Federal 12283
(Luther Ingram) (Lark Music Limited)
Recorded September 13, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Jackie Brenston (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

21 - Flaming Love (Gardenias) (2:25) Federal 12284
(Unknown) (Copyright Control)
Recorded September 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Luther Ingram, Archie Ingram, Richard Ingram, Connie Perry, Lawrence Whiterspoon (vocals),
Ike Turner (guitar), Raymond Hill (tenor saxophone), Eddie Jones (tenor saxophone),
Jackie Brenston (baritone saxophone), Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

22 - My Baby's Tops (Gardenias) (2:26) Federal 12284
(Lawrence Whiterspoon) (Lark Music Limited)
Recorded September 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Luther Ingram, Archie Ingram, Richard Ingram, Connie Perry, Lawrence Whiterspoon (vocals),
Ike Turner (guitar), Raymond Hill (tenor saxophone), Eddie Jones (tenor saxophone),
Jackie Brenston (baritone saxophone), Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

23 - Ain't Got No Home (1) (Starrs) (2:35) Phantom Records CR 2 A
(Robert Henry) (Francis Day & Hunter Limited)
Recorded Unknown Date and Location September 1956
Jackie Brenston (vocal), Unknown (female singer), Ike Turner (guitar),
Unknown (saxophones, trumpet, bass, and drums)

24 - Crying Over You (Starrs) (2:33) Phanton Records CR 2 B
(Unknown) (Copyright Control)
Recorded Unknown Date and Location September 1956
Jackie Brenston (vocal), Unknown (female singer), Ike Turner (guitar),
Unknown (saxophones, trumpet, bass, and drums)

25 - Sad As A Man Can Be (Billy Gayles) (2:08) Federal 12287
(Ike Turner) (Lark Music Limited)
Recorded September 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Billy Gayles (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Jackie Brenston (baritone saxophone),
Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

26 - Just One More Time (Billy Gayles) (2:40) Federal 12287
(Ike Turner-Bass) (Lark Music Limited)
Recorded September 12, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Billy Gayles (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Jackie Brenston (baritone saxophone),
Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

27 - Much Later (Jackie Brenston) (2:14) Federal 12291
(Ike Turner) (Lark Music Limited)
Recorded September 13, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Jackie Brenston (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

28 - The Mistreater (Jackie Brenston) (2:14) Federal 12291
(Ike Turner) (Lark Music Limited)
Recorded September 13, 1956 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Jackie Brenston (vocal), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Fred Samples (piano), Jesse Knight Jr. (bass),
Eugene Washington (drums)

29 - Do You Mean It  (1-2) (Ike Turner & His Orchestra) (2:18) Federal 12297
(Ike Turner) (Lark Music Limited)
Recorded April 9, 1957 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Clayton Love (vocal and piano), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Jackie Brenston (baritone saxophone),
Fred Samples (piano), Jesse Knight Jr. (Bass), Edwyn Conley (bass),
Eugene Washington (drums)

30 - She Made My Blood Run Cold (1-3) (Ike Turner & His Orchestra) (2:20) Federal 12297
(Ike Turner) (Lark Music Limited)
Recorded April 9, 1957 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Clayton Love (vocal and piano), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Jackie Brenston (baritone saxophone),
Fred Samples (piano), Jesse Knight Jr. (Bass), Edwyn Conley (bass),
Eugene Washington (drums)

31 - The Big Question (1-3) (Ike Turner & His Orchestra) (2:19) Federal 12304
(Ike Turner) (Lark Music Limited)
Recorded April 9, 1957 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Clayton Love (vocal and piano), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Jackie Brenston (baritone saxophone),
Fred Samples (piano), Jesse Knight Jr. (Bass), Edwyn Conley (bass),
Eugene Washington (drums)

32 - Trail Blazer (3-4) (Ike Turner & His Orchestra (2:32) Federal 12307
(Ike Turner) (Lark Music Limited)
Recorded April 9, 1957 at King Records Studio, 1540 Brewster Avenue, Cincinnati, Ohio
Clayton Love (vocal and piano), Ike Turner (guitar), Raymond Hill (tenor saxophone),
Eddie Jones (tenor saxophone), Jackie Brenston (baritone saxophone),
Fred Samples (piano), Jesse Knight Jr. (Bass), Edwyn Conley (bass),
Eugene Washington (drums)

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