MITTY COLLIER
PART 1 - THE
CHESS YEARS (till 1968)

Just before 11 PM, on Friday evening, July the 19th in 2013, Pastor Mitty
Collier entered the stage at the Porretta Soul Festival in Italy, and
kicked off her over one-hour-long performance with a fast and lively version of
For Once in My Life, followed by the mid-tempo vamp to the song - Oh
how He loves you, oh how He loves me... Mitty’s main accompanist on keys
was her musical director, Minister Calvin Bridges, and Porretta’s house
band this year, Paul Brown and his All-star band “Heart and Soul”,
provided Mitty with a full-blasted sound together with background vocalists –
Jackie, Lo and Sabrina – and a local amateur choir.
James
Cleveland’s slow gospel song, No Cross, No Crown, was followed by the
quick-tempo He’ll Make It Happen. After a ballad called The Rainbow,
we were treated to a long and impassioned testimony, I Had a Talk with My
God Last Night, Mitty’s signature song and easily the highlight of her hour.
A long intro with “alright” and “shout” chants led to the fervent If You
Understood My Past, with “Praise Him” vamp in the song. Amazing Grace closed
Mitty’s performance on Friday night.
On Sunday
evening – and partly Monday morning – Mitty and Calvin hit the stage again to
deliver If You Understood My Past and I Had a Talk with My God Last
Night, and the very Praise Him vamp led to a rousing 15-minute
finale with all the Porretta main acts joining in and letting loose.
Still on Monday
night she held one more concert. Mitty: “It was phenomenal! The church was
packed with over 1000 people and they enjoyed it. A friend of mine, Dorothy
Canady, who came with me to Porretta, opened the concert with a beautiful
rendition of Ave Maria, followed by a familiar gospel song, We Shall
Behold Him. She was enjoyed thoroughly. Minister Bridges got the place
swinging with He’s Got the Whole World in His Hands. I then followed
with four songs, and could not get off the stage. The crowd kept screaming ‘Mitty!
Mitty! More! More! Mitty!’ I went back for two encores and ended with Amazing
Grace. I walked the aisle shaking hands with the people and they reached
for me with tears in their eyes.”

THE LLOYD REESE SINGERS
Mitty Lene
Collier was born on June 21 in 1941 in Birmingham, Alabama, as the youngest of
the seven children in the family. She had five brothers and one sister. “Now I’m
the only living one out of seven, except one brother, Franchot Collier,
who’s living here in Chicago.” Her parents, Gertrude and Rufus – also deceased
now - were church-going people but not musically inclined. “My mom said that I
could sing before I could talk, so it was a gift.”
“My early idols
were gospel singers, like Dorothy Love Coates (1928-2002) and the
Original Gospel Harmonettes in Birmingham, Alabama, Albertina Walker (1929-2010)
and the Caravans from Chicago and the Davis Sisters from Philadelphia. Those were the people that came through the city in doing their concerts at
the time, when I was growing up.”
After elementary
school Mitty entered Western-Olin High School in Birmingham. “The Hayes
Ensemble was the group that I was in during the time, when I was in high
school, and the person that played piano for us, Charles G Hayes, is
actually a big pastor in Chicago now. The music teacher there was the one that
really gave me my first voice lessons, Mrs. Mary Alice Stollenwerck.”
One time the choir couldn’t go, and Mitty had to rehearse with Mrs.
Stollenwerck to get songs together so that she could replace the choir and go
alone. That’s when she became a solo act for the first time. “I actually won
the second place at Alabama State College during that time with Mrs.
Stollenwerck singing a medley of Sometimes I Feel like a Motherless Child,
Go down Moses and Walk with Me Lord.” Besides the Hayes Ensemble,
Mitty sang also with another gospel group called the Junior Harmonettes.
“When I got out
of high school in 1958, I went straight to Alabama A & M (Alabama
Agricultural and Mechanical College in Huntsville, Alabama), and I was there
for a semester, didn’t like it, so I came back home to Birmingham and I went to
Miles College.” Miles was located in Fairfield, Alabama, about 10 km west of Birmingham. By that time Mitty was already singing with Lloyd Reese Singers. Lloyd
Reese and the Solid Rock Chorus cut later, in the latter part of the
60s, albums on Verve and Savoy and as The Lloyd Reese Singers still in the 70s
on Glori Records out of Jersey City, N.J. “Lloyd left Birmingham, too, and got
his own career. He’s passed now, though. We didn’t do any recordings back
then. We just were singing around in Birmingham, Atlanta and places like
that. While in Miles College, I also started singing R&B in a night-club.”

401 CLUB
“My French
teacher, Ardenia Rambeau, found out that they needed a singer for a band
in a 401 Club in Powderly, outskirts of Birmingham. At the same time my math
teacher in high school, Lovie Jean Hayden, told her husband, who was the
band leader at the 401 Nightclub, about me. He came to audition me, and I
started singing in that club. I actually made that club, because it was
jam-packed on the weekends, and I stayed there until I left Birmingham to come
to Chicago in 1959.”
Those days Mitty
became friendly with a couple of future Temptations boys, too. “We went to
high school together with Eddie and Paul, and we were on talent shows competing
against one another, and we ended up going on the road together. As a matter
of fact, they saved my life one time, because I couldn’t swim. I went to the
pool at one hotel and the young man, who picked me up, threw me in the pool and
I went down... I could hear him laughing, because he thought I was joking –
because I used to joke around – but I wasn’t joking. Then Paul and Eddie
recognized that I wasn’t joking, jumped in, got me out and saved my life.”
In the summer of
1959 Mitty travelled to Chicago. “I went to visit my brother, Rufus Jr. At
the same time my French teacher, Monsieur Rambeau, was in Chicago visiting his
aunt. He just recently passed, over a month ago. He went to all the different
places trying to find talent shows for me. I was in a few small ones around Chicago and ended up with the biggest one, with Al Benson. I won the first
place.” Al was a WGES disc-jockey, who organized Al Benson’s Talent Show at
the Regal Theater in Chicago, where Mitty sang Someday (You’ll Want Me to
Want You), a song that in the spring of 1960 was a middle-sized hit (#
56-Hot in Billboard) for Della Reese and originally derived from the
Mills Brothers songbook eleven years earlier. Mitty won Al’s talent show
many weeks in a row. “As a matter of fact, Al told everybody ‘y’all should
settle for the second and third places, because we already know who’s going to
win the first place’. Then he took me off the talent shows and put me on to be
the opener for Etta James, B.B. King and the Coasters. Before
that I went home to Birmingham, waited out and came back in October to be on
that show. That’s when I left the school and stayed in Chicago for good.”

I GOTTA GET AWAY FROM IT ALL
“Al Benson had
called Chess Records’ Ralph Bass and told him about me. Al made sure
that Ralph was in the audience, and - after listening to me - the next night he
came back with a contract with Chess Records. I was too young to sign it – you
had to be twenty-one – so my mom had to come and sign it.”
Chess had a lot
of talented ladies in its roster in the 60s – Etta James, Sugar Pie DeSanto,
Jackie Ross, Fontella Bass, Irma Thomas, Laura Lee... “There was no
competition. Once, when they had a press conference, I was telling them that
you had more love on that side than you had on the gospel side. There was a
little bit of intimidation, because of Etta James... because they pushed her.
All the rest of us, we just had to make it on what we made it on. I only had
one record that they actually pushed me on, and that was Sharing You,
and that was only because it was a cover tune.” We’ll have a closer look at
that song further down below.
“When I came to Chicago and got a recording contract, Lloyd Reese wrote my first song, I Got to Get
away from It All.” This highly emotional, gorgeous and gospel-infused
ballad, which even had a monologue in the middle, was released in 1961 (Chess
1791). It was produced by Roquel “Billy” Davis and arranged by Riley
Hampton for his orchestra. “Billy was the utmost producer, because he was
so concerned for the artist and always wanted to bring the best out. He was
patient with us, and that’s why I think he got the best out of us. He was
superb. Riley was just an excellent musician and arranger and was very
tolerant with us, also. We were just young kids, thinking that we were
somebody.”
The flip side, I’ve
Got Love, was a joyous and poppy, quick-tempo song with strings, and it,
too, was written by Lloyd... at least according to the label on the single, but
Mitty claims that it was actually written by Billy Davis. In that same session
they cut two more songs – It Looks like Rain and That’s What a Man Is
For – but they were shelved at the time.

Mitty’s debut
record didn’t chart, although later it’s hailed as one of her masterpieces.
Chart-wise the follow-up flopped, too. Don’t Let Her Take My Baby (Chess
1814) is another melodic and light, poppy ditty, and vocally it’s a fine
performance from Mitty. Released in March 1962, the B-side, a big-voiced gem
of a ballad called I Dedicate My Life for You, should actually have been
the plug side. Sonny Thompson and Ralph Bass wrote the song.
Five tracks from that session (One More Time, Don’t You Forget It, So Little
Time, Say I Do, I Don’t Need Nobody) went unreleased, although some of them
have appeared on later compilations.
Also the third
single in May 1963, Tony Clarke’s and Roquel Davis’ poppy, mid-tempo
number called Miss Loneliness (1856), missed the charts. It was
arranged by Bert Keyes – “Bert was a great arranger” – and backed with Willie
Dixon’s uptempo chestnut, My Babe, which was sweetened with horns
and a girl choir.

I’M YOUR PART TIME LOVE
The fourth Chess
single finally scored. Mitty cut an answer song to Little Johnny Taylor’s
# 1 R&B hit on Galaxy, Part Time Love, in the fall of 1963. Titled I’m
Your Part Time Love (1871), this slow and swaying bluesy number was
credited to Al Smith and Clay Hammond and it hit # 20 r&b
(Billboard) at the very end of 1963. “I had been singing just around Chicago, but after that one they put me out there on the road to do it. I worked with
Little Johnny Taylor many times. He’d be on stage singing his song and I’d go
out answer him.” Mitty never met the actual writer of the song, Clay Hammond.
The song was coupled with Paul Gayten’s mid-tempo r&b romp named Don’t
You Forget It. The one unreleased song from that session was titled True
Love In The Morning.
In early 1964 in
her contralto Mitty delivered a deep and passionate version of the slow and
touching Let Them Talk (1889), which had been a hit for Little Willie
John in 1959 on King Records (# 11-r&b, # 100-hot). “Sonny Thompson
wrote it and Sonny played in the band there a lot at Chess. He’s the one
that wanted me to sing it. With Little Willie John we used to joke
about ‘you stole my song’... a lot of love there with Willie.”
On the label of
the single, the B-side, a mid-tempo toe-tapper called Pain went without
a writer’s credit. “I wrote that in terms of me and my husband going through
some things. I wanted the songs that I did to have a meaning. Like we were
very close friends with Billy Davis – he really, really knew me – and whenever
he wrote for me it was something that I could feel.”
TOURING WITH THE FAMILY
Like Mitty
stated above, her national tours were after I’m Your Part Time Love.
“There were three tours yearly of the continental United States. We played the
Chitlin’ Circuit as well as the Gulf Course. Each tour lasted 40 days, with 30
of those days performing in nightclubs and stadiums.”
“Gladys
Knight, Patti LaBelle & the Blue Belles and Barbara Lynn were my
very good friends, in addition to Chuck Jackson, Otis Redding, the
Temptations, Marvin Gaye, William Bell and others. Out of all them,
Gladys was my greatest friend. We had so much in common with our husbands and
we could discuss and cry together. I kept her encourages and she mentioned
this in her biography” (“Between Each Line of Pain and Glory” in 1997, on pages
163-4).
“I toured with
all these people along with the Drifters, the Coasters, Stevie Wonder, Edwin
Starr, Percy Sledge, Fontella Bass, Sugar Pie DeSanto and many more...
practically everyone in my era. We did tours each year together. The tours
didn’t affect my family life, because my husband Jimmy was with me and
my son ElJess was in Birmingham with my mother and father. We would
pick him up on our way home. Sometimes my brothers, Franchot and Gregory,
would keep him in Chicago, while we were away.”
“Jimmy is
deceased now. He was from Birmingham, Alabama. We were sweethearts there
first, but lost contact when he came to Chicago. When I came to Chicago, we found our way back together and we were married in 1964. My son ElJess was
born before we married. We were divorced in 1967 and remarried in 1970. Enid is actually my goddaughter, but she has been around me and my family
since she was nine years old, and she is now 52. So, she merits being my
daughter. My baby Elisha, who is a fantastic singer, was born in 1971.
She sings with the gospel group, Ricky Dillard and New Generation, and
does lead on all of their CDs.”

I HAD A TALK WITH MY MAN
The 6th
release on Chess hit the jackpot and it evolved into Mitty’s signature song. A
dramatic and impressive downtempo song titled I Had a Talk with My Man (1907)
was produced by Billy Davis, brilliantly arranged by Riley Hampton and released
in the late summer of 1964, hitting # 41-Hot. Those days Billboard didn’t
publish R&B charts. On the label of the single the song was credited to Leonard
Caston and Roquel Davis, and that was the reason why they soon had to pull
those records back. “They had to change it, because Savoy was suing. James
Cleveland (1931-91) was on Savoy. That was his song... although it
really wasn’t. The actual writer was Revered Lawrence Roberts, who is
now deceased. Reverend James Cleveland recorded the song with Lawrence’s choir from the First Baptist Church of Nutley, New Jersey, with Stephanie
Mills as a little girl being the actual soloist. On my single they tried
to push that song through with Leonard and Billy, but they had to pull back all
those records and change the label.”
One day on
Chess’ premises Leonard Caston played James’ album with a track of I Had a
Talk with My God on it, Billy Davis heard it there, got fascinated
by the sound and turned it into a secular song by changing ‘God’ into ‘man’ and
other lyrics in the song also.

Leonard Caston
found later fame with the Radiants and Caston & Majors. Reverend
Lawrence C. Roberts was a record producer for Savoy Records those days and also
the pastor for the First Baptist Church of Nutley, NJ.
James Cleveland
first cut I Had a Talk with God with the Cleveland Singers in May
1963 and Savoy released it on the album The Sun Will Shine after a While (Savoy 14085). But already prior to that the same song appeared on a hit album, which was
released earlier and entitled Peace Be Still (Savoy 14076). On the
cover it read ‘James Cleveland and the Angelic Choir’, which actually was
the choir from Lawrence Roberts’ church in New Jersey. Those days a
16-year-old Billy Preston was working with James. He played organ and
also sang lead on I Had a Talk. This live recording took place in
September 1963.
Mitty: “I worked
with James Cleveland. It was a little bit of friction there first, because of
the change from ‘God’ to ‘man’ on my record. I told him that this hasn’t
anything to do with me. Finally he did a workshop once in Chicago. I went in
and he called me up to sing, so we got kind of close after that.”
On the B-side of
I Had a Talk with My Man there was a mid-tempo, swinging jazzy number
called Free Girl (in the Morning), which Mitty co-wrote. “Me and
my husband had just broken up, so that’s where you get ‘free girl in the
morning’.”

NO FAITH, NO LOVE
For the
follow-up they chose another James Cleveland song, No Cross, No Crown,
which they renamed No Faith, No Love (1918) and which Chess again
credited first to Billy Davis and Leonard Caston. “Because I Had a Talk
with My Man did so well, they were listening, I guess, to every album James
ever made trying to find the next one, and No Faith, No Love and That’ll
be good enough for me (in ’67) came up.”
In terms of
Riley Hampton’s arrangement and Mitty’s interpretation this song is quite close
to the preceding hit. In early 1965 the single reached # 29-r&b and #
91-hot. The beat-ballad on the flip named Together melodically bears a
remote resemblance to Sam Cooke’s Bring It on Home to Me. James
Cleveland had recorded his No Cross, No Crown again with the Angelic
Choir in May 1964 for the album, I Stood on the Banks of Jordan (Savoy
14096).

SHADES OF A GENIUS
Mitty’s sole
album on Chess, Shades of a Genius, was released in 1965 and it took many
months to complete. “I don’t know why, because they did not have to do
anything but put it together. All the songs on there had been released
already. It was called Shades of a Genius, because Ray Charles was
the genius.”
Produced by
Roquel Davis and engineered by Ron Malo, this 12-tracker concentrated on
Ray Charles’ music. “That was Leonard Chess’ idea. He wanted to put some of
that blues in there, like Ray sings. I liked them, so it wasn’t hard for me to
sing them. We did six of them, but only four were released at the time.” One
of the unreleased ones was I Can’t Stop Loving You.
The four that
ended on the album were Hallelujah (I Love Him so), Drown in My Own Tears,
Ain’t That Love and Come Back Baby. The last two were tested as the
next single (1934) in 1965, but they got lost in the shuffle. “With Ray we
were close together on big tours. He was real funny. He used to say ‘I see
you, you look fine’ and ‘you’re my eyes’ and stuff like that. He was a true
genius.”
Another
completely new song on the album was an emotive and powerful soul ballad called
Would You Have Listened, written by Teddy Powell. “Teddy wrote
that for me.”
The album didn’t
chart either, and - after the raycharlesian Ain’t That Love/Come Back Baby single
- Chess released the follow-up in September 1965, Billy Davis’ song named For
My Man (1942), which again was like a musical sequence to I Had a Talk
with My Man – “back to that again” – and it was flipped with Carl Smith’s
and Raynard Miner’s funky stomper, Help Me.

SHARING YOU
Mitty’s fourth
and last charted record was Sharing You, which in the spring of 1966
climbed up to # 10-r&b and # 97-hot. Produced by Billy Davis, this Ronald
Saunders’ mellow soul ballad – powerfully interpreted by Mitty – was
actually a cover tune. “Carl Henderson had done it down in Florida (on
Renfro) and they heard it at Chess. Chess called them and said ‘put it on the
plane’, because those days you had to fly it here. The next day they called me
to come. The band actually already knew it, they had charts, but I had to sing
it off the paper. I didn’t even know the words. They covered it so quickly
that when I was on my way home, I heard it on the radio, because Chess owned
WVON at the time and they had their own person playing there. They got it
right out, and Sharing you was the only one they ever pushed. The rest
of them, I just did it on my own.”
Phil Wright came
up with an enjoyable arrangement for the song. “They just put music together
so beautifully that you didn’t mind singing it. Somebody here in Porretta
mentioned how we lose the horns now because of synthesizers and everything and
how we all wish that we could always have the horns, because they add so much.
That’s what I find missing in the music today, and it was so good here at
Porretta to have the horns there. When I began to sing Amazing Grace
and they fell in there, I wanted to pass out. It was so beautiful.”
Oliver Sain’s
slow and impassioned soul ballad, Walk Away, was on the flip side. “I
hated to leave Oliver. He was just a genius. Everybody that came through
there was just geniuses. With Walk Away he was trying to stay in that
churchy vein, too.” Ann Peebles covered the song three years later for
Hi Records.

MY PARTY
Sharing You,
especially with proper promotion, increased Mitty’s popularity and the song
became another show-stopper in her shows. But as Mitty herself portrays in her
life-story DVD, From Man to God (more about that in the second part of
our feature), in the 60s it was quite common to compensate the hard work by
resorting to different substances. “I smoked marijuana and drank, when I was
on the road, but never before a performance. I never wanted it to be said that
I had to have substances to perform, because my mother always said that I could
sing before I could talk and that was a gift given to me by God. So I needed
nothing to assist me in my performances. I would do both at home whenever I
came in from touring, but it was never a problem for me where I had to go for
help. I have never gone back to any of the substances since 1972. My husband
Jimmy never did marijuana as much as I did. His thing was alcohol. Finally he
did stop drinking, but it was too late. He didn’t survive lung cancer.”
In the same Sharing
You / Walk Away session in 1966 they also cut Mitty’s next single, My
Party (1964). Like Help Me, it was written by Carl Smith and
Raynard Miner (plus Billy Davis) and it was a mid-tempo mover with a sad
undertone and strong vocal delivery from Mitty. It was a topical and catchy
song, but again for some reason they chose to increase tempo right after a hit
ballad. “That had a cha-cha beat, and people were doing cha-cha those days,
too. That song also had to with the war that was going on.”
They put on the
B-side Cash McCall’s pounding, big-voiced mid-pacer called I’m
Satisfied, and the one canned song from that session was called What
About Tomorrow.
THAT’LL BE GOOD ENOUGH FOR ME
Mitty co-wrote
with Leonard Caston a laid-back, mid-tempo number, which just keeps on growing
towards the end, and named it (Lookin’ out the Window) Watching and
Waiting (1987). The arrangers on this track were Charles Stepney and
Gene Barge. “Gene was a part of the horn section in the band at
Chess.” Like Only Yesterday on the flip starts like a slow blues song,
but at the end Mitty takes it to church. (Thank You Love and Maybe
He’s the One were the rejected ones this time).
A big-voiced,
mid-tempo, bluesy swayer named You’re the Only One (2015) was composed
by Lloyd Webber and Leonard Caston, and it was backed with an average
stomper called Do It with Confidence. (Heck of a Man went
unissued). Both singles flopped, as well as the two final ones for Chess in
1967 and ‘68, although quality-wise it’s difficult to understand their lack of
success.
Git Out (2035)
was a funky and brassy stormer - written by Cash McCall and Milton
Bland, produced by Milton and arranged by Monk Higgins. For the
flip side they found another slow and intense gospel song from James Cleveland
- That Will Be Good enough for Me - which James had recorded with the
Cleveland Singers on the Heaven Is Good enough album on Savoy 14103 in
1964. “In certain sections Git Out was the A-side. In certain places,
like in the south, it was That’ll Be Good enough for Me. Chess was
trying to keep me in that vein after I Had a Talk... and No Faith, No
Love were so successful.” (The leftovers from this session were Fair
Weather Friend and The Kind of Man He Is).
EVERYBODY MAKES A MISTAKE SOMETIME
As their next move
Chess sent Mitty down south, to Muscle Shoals... where incidentally, among
others, Etta James, Laura Lee and Irma Thomas also had visited. “They sent us
to Muscle Shoals to try to get that Memphis sound, the Stax sound, because at
that time their artists were more popular than anybody. Rick Hall reminded
me a lot about Billy Davis in the way he put the songs together and the
patience he had with the singers. Billy was gone now, and that’s why they sent
us down there with Monk Higgins. Everybody went down there, but this was the
beginning of my end, so to speak.”
With Rick Hall,
Mitty cut altogether six songs, but only one single was released in 1968. Eddie
Floyd’s and Al Bell’s pleading ballad Everybody Makes a Mistake Sometime
deserved to be a hit for Mitty, but unfortunately it wasn’t meant to be.
This horn-heavy version has a monologue in the middle, and the song was earlier
cut by Roy Arlington on Safice in 1965 and Otis Redding on Volt a
year later. The B-side was a bit faster re-recording of Mitty’s very first
single, Gotta Get away from It All. (those four unissued ones were You’re
Living a Lie, Take Me Just As I Am, I’m Missing You and Too Soon to Know).
Between 1961 and
’68 Mitty had fifteen singles and one album released on Chess. “They could
have done more for the artists, and we could have made it bigger, even though
all of us had a song or a couple of songs that really did do well. It could
have been better, if they had just put the money behind us that they put behind
Etta. I know I could have been a bigger artist... all of us could have been –
Fontella, Sugar Pie, Laura, Jackie...”
In the second
part of the Mitty Collier Story we’ll cover her Peachtree recordings with
William Bell, the big change in her life and her four albums and two DVDs that
have been released since the late sixties.
(Interview
conducted in Porretta Terme on July 21, 2013).
© Heikki Suosalo

DISCOGRAPHY
SINGLES – all on Chess
(label # / titles
/ Billboard # r&b / hot / year)
1791) I Got To Get
Away From It All / I’ve Got Love (1961)
1814) Don’t Let
Her Take My Baby / I Dedicate My Life To You (1962)
1856) Miss
Loneliness / My Babe (1963)
1871) I’m Your
Part Time Love (# 20 / - ) / Don’t You Forget It
1889) Let Them
Talk / Pain (1964)
1907) I Had A Talk
With My Man ( - / # 41) / Free Girl (In The Morning)
1918) No Faith, No
Love (# 29 / # 91) / Together
1934) Ain’t That
Love / Come Back Baby (1965)
1942) For My Man /
Help Me
1953) Sharing You
(# 10 / # 97) / Walk Away (1966)
1964) My Party /
I’m Satisfied
1987) (Lookin’ Out
The Window) Watching And Waiting / Like Only Yesterday
2015) You’re The
Only One / Do It With Confidence (1967)
2035) Git Out /
That’ll Be Good Enough For Me
2050) Everybody
Makes A Mistake Sometime / Gotta Get Away From It All (1968)
ALBUMS
(title / label # /
Billboard placing & chart run – r&b / hot / year)
SHADES OF A GENIUS
(Chess 1492) 1965
Come Back Baby / I
Had A Talk With My Man Last Night / Would You Have Listened / I Gotta Get Away
From It All / My Babe / Hallelujah (I Love Him So) // Drown In My Own Tears /
No Faith, No Love / Together / Let Them Talk / Little Miss Loneliness / Ain’t
That Love
..............................................
ACKNOWLEDGEMENTS:
First and foremost
Pastor Mitty Collier, also Graziano Uliani (the Porretta Soul Festival), David
Cole, Juhani Ritvanen, Tony Rounce, Dave Hoekstra, Bob Marovich, Pete Hoppula,
Bosko Asanovich;
Sources, books –
Robert Pruter: Chicago Soul, Bob McCrath: The R&B Indies and Soul
Discography and Joel Whitburn’s Top Pop Singles and Top R&B Singles.
© Heikki Suosalo
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