Little Mummy, whose real identity is unknown, was a rhythm-an-blues singer who recorded only two songs with Federal Records in New Orleans. The songs were officially released decades after being recorded and, both tracks are true rhythm-and-blues dance floor fillers.
The titles “Where You At Jack” and “Oh Baby Please” were distributed by Federal Records as a 45rpm dee jay promo in 1960. Before recording a full album, record companies would first record a single. The single was sent to radio stations and, depending on the success, artists were offered a contract. For many of them, the success was too low to record and release a full album (songs may have been released on later compilation albums). This probably was the case for Little Mummy.
Federal Records has got a long list of artists and 45rpm recordings that never gained any success. What caused their vaults to be filled with various rhythm-and blues rarities from the fifties and sixties. Songs like “Where You At Jack” and “Oh Baby Please” never gained the attention of the wider public but are now a treasure for dee jays and music collectors.
The competition in 1960 was top-level. So was there James Brown and His Famous Flames who recorded and released several singles on Federal Records, including the hit “Think!” which turned into a full-length album that same year. Their popularity most likely outshined Little Mummy.
Here you can explore the vaults of Federal Records yourself:
As a deejay and music collector, I purchase as many 45’s as I buy LP’s. Columbia Records copyrighted the term LP (Long Playing) so, let’s use the word ‘album’ going forward. You can say that there is more sense in buying albums instead of a 45 rpm (revolutions per minute). You receive the completed studio work in the order the artist intends you to listen, you have more tracks on the medium, and you don’t have to change or turn the record after one song. However, I do not always agree that an album is always the better choice. 45’s have many advantages compared to albums.
45 rpm record from my collection
The first advantage of a 45 is the higher sound quality. Of course, this is my point of view what is open for discussion. The sound quality of a 45 can be explained by looking into the record surface, playing speed, and track times. On an album, played at 33 1/3 rpm, and with a surface dimension of 12 inches, you will have about 30 minutes of music. A 45 (when talking about a 7-inch single) has a surface dimension of 7 inches, is being played at 45 rpm, and contains about 3 minutes of music. When manufacturing an album, the grooves are very narrow and tightly curved because there should be room for 30 minutes of great music. For a 45, where you only need 3 minutes of music on one side, the grooves are spread out more widely what allows them to be pressed deeper. Like this, more information can be stored. And with more information stored, the audio level of a 45 doesn’t need to be toned down (this is done with some albums to avoid audio cross-over) what makes the sounds quality of a 45 superior.
It’s no surprise that audiophile companies are reissuing classic Jazz records at 45 rpm. Because of the tiny curves on the album’s surface, it is hard for the cartridge to track everything. Fine details, which are so important in Jazz music, can get blur. You can lose the feeling of the bass player sitting next to you because you no longer can hear the fingers sliding over the strings.
A good example of this is the famous Jazz Record label Blue Note. By using the original master tapes, Blue Note records are, in cooperation with Music Matters Jazz and Analogue Productions, reissuing albums on a 45 rpm double-12-inch vinyl. The so-called ‘Blue Note Sound’ was the creation of Rudy Van Gelder, a sound engineer who started to record Jazz musicians in the early 1950s. Van Gelder’s goal was to recreate live Jazz into his recordings. It was much later, in 1994, when the idea came to reissue Blue Note albums at 45 rpm. Mike Hobson and Michael Cuscuna started cutting 45 rpm test pressings and as expected, they sounded much better.
Rudy Van Gelder in the control room of his studio
Playing at 45 rpm is faster than playing at 33 1/3 and therefore, one original album of one disc (33 1/3 rpm) needs to be converted into 2 discs at 45 rpm. It went even further, Blue Note never stopped innovating and improving the sound experience. In some tests, they had better sound quality on a single-sided record. Meaning that grooves were pressed on one side, and the other side stayed blank. The result of this is that 1 original double-sided album was repressed on 4 single-sided 45 rpm discs of 12 inches. Although audiophiles agree that the sound is better, these albums were expensive to buy and it is not so common to find them in your local record store.
Kenny Burrell – Midnight Blue (2xLP, Album, Ltd, RE, 45 rpm) released on Blue Note and Analogue Productions
Another great advantage of 45’s is that there is much more great music available on 45 rpm. For the genres I play during sets, mainly soul and rhythm-and-blues from the 1950s through the 1960s, there is more music out there on 45 rpm. The main reason for this is that the smaller independent labels were contracting artists to record one track. A 45 was pressed and released and depending on the success, artists were offered a contract to record an album. For many of them, the success was too low to record and release on a full album (songs may have been released on later compilation albums). Just one example is the artist under the name Little Mummy. Little Mummy only recorded two tracks for Federal Records in New Orleans, Louisiana. The titles ‘Where You At Jack‘ and ‘Oh Baby Please’ were distributed in 1960 and repressed decades later because of the growing success. If his music would have been acknowledged during his life span, this artist may have recorded several albums that would find its place next to rhythm-and-blues greats such as The Drifters, The Coasters, and Jackie Wilson.
Little Mummy’s only release – white original label on the left, later repress on the right.
It is also more convenient for deejays to use 45 rpm singles during sets. You don’t have to carefully place the needle in between the grooves of an album as you only have one track on each side of a 45. The records are smaller in size what makes handling and transportation easier.
To conclude, as a deejay I prefer playing 45’s because of its superior quality, music assortment, and easy handling during sets. But don’t misunderstand me, I love albums equally! Full 12-inch albums offer better record sleeves with impressive cover art, you can listen from start to finish in the order the artists intends you to, and originals are often in better condition because they were handled with more care (45 were often used in radio stations and jukeboxes). For me, the choice of format is really subject to the purpose and music genre.
Some record collectors are more attracted to the original or first pressing of the 45. There is more to it than just the music it contains. A record can represent part of history. Owning part of this history can give more meaning to the music and its origin. As a listener it offers more value knowing its past. The reasons why we collect can be better explained in an anthropology study and I believe that each collector has its own motive. I collect vinyl records to better understand the music. By researching and educating myself, I came to understand its history, its development, its origin, and the influence it has on modern-day music. Listening to music became more valuable since the day I started to collect. Let’s say that, as an example, you watch the documentary What Happened, Miss Simone?, a portrait of the life of Nina Simone by Liz Garbus. After understanding the life of Nina Simone, I listen to her songs in a completely different way. I’m now able to understand her reasons for making music what adds its value.
In some situations, owning the original or first pressing is a must. This is the case for collectors of Northern Soul records. To better understand this, we need to have a deeper look at the history and meaning of Northern Soul.
Northern Soul is a subculture that originated in North England during the late 1960s and through the 1970s. It is powered by uptempo American soul music from the mid-1960s. Many young modernists were not convinced of the development of soul music into disco and funk. They kept a preference for the uptempo American soul music. Today it’s common to stream any song you’d like to hear, but back in the days, you had to go to your local club to listen to the songs played by deejays. The success of a deejay had a lot to do with their collection of 45’s and their ability to locate and find them. The scene was based on non-commercial lost and forgotten soul records. Many songs that were popular in the Northern Soul scene, were recorded by smaller independent labels and because of that, there are not too many in circulation. A deejay owning a song that was loved by the crowd would make him unique. Northern Soul fans, mainly the young working middle-class, would go to clubs to dance to these unique soul records. There was also a lot of competition between deejays and clubs. Deejays would often scratch off the label to keep the title secret. The Northern Soul scene is also characterized by its own unique dance. People would fill the room individually and perform light and smooth footwork with the occasional turn, drop, or karate-kick.
The Northern Soul scene still exists today and one would say it is even bigger than before. Around the world people are organizing All-Nighters where Northern Soul deejays and collectors can share their rare music collection. It was already unique to own certain 45’s back in the 1970s and this has not changed. These days, rare Northern Soul 45’s are worth a couple of hundred dollars and in some cases, a couple of thousand.
The rarest original Northern Soul 45 rpm record is ‘Do I Love You (Indeed I Do)’ by Frank Wilson (1965). It is said that only 6 copies of the record were printed and their purpose was to promote the song at radio stations. Out of those 6 copies, only 2 are still in existence and only 1, is in playable condition. this record was sold in auction for over $30,000.
The story behind this is not fully confirmed but many believe that it was Berry Gordy, the founder of the Motown records label, who ordered the copies to be destroyed and who blocked the official release of the song. Frank Wilson was hired as a producer by Motown but in return, he had to renounce his musical career. However, he moved forward with the pressing of his promo single for ‘Do I Love You (Indeed I Do)’. This was not appreciated by Berry Gordy and, he ordered the destruction of the pressed records. However, two records survived and in 1977 the song reappeared in the Northern Soul dance scene. The record’s rarity and its original soul sound is what made it one of the most popular songs in Northern Soul and in 1979, the record was officially released to the public by Tamla Motown.
On the left, you can see the promo records. It was signed by Frank Wilson himself with the words “to Kenny” referring to the previous owner. On the right, you can see the official release by Tamla Motown
‘Do I Love You (Indeed I Do)’ by Frank Wilson – promo on the left (1965), official release on the right (1979)
Bertolt Press 