Hey Little One was the follow-up, and made it to #48. By 1960, Dorsey had signed with Era Records, and his first single for them, Tall Oak Tree, would go to #23 Pop. The Burnette Brothers were then signed by Imperial (Nelson's label), and had songs covered by some of their old school R&B guys like Roy Brown. The Trio basically broke up at that point, and after Dorsey cut a couple of singles that didn't do much, he decided to concentrate on his songwriting.Д«urnette got himself noticed by Ricky Nelson, who would take one of his compositions, Believe What You Say, into the top five in 1958.

It was out there in California that Moman did his first session work, and got to know his way around a recording studio. In 1956, he had hired a young kid named Chips Moman to go on the road with them, and travel out to the west coast. A Memphis legend, he had formed the influential Rock and Roll Trio with his brother Johnny back in the early fifties. There is all of that, and then there's this.ДЄnother name that jumps out at you on the label is that of the songwriter, Dorsey Burnette. They had been working closely together ever since and, along with Tom Dowd, cut some simply amazing music there at 827 Thomas Street. Mardin and the King were a team, and it was Curtis who brought Mardin's talents as an arranger to the attention of Jerry Wexler, who then turned around and made soul history by using him on those initial New York Aretha sessions. So, the discography thing just says 'Memphis', and besides Ben E., only refers to 'Arif Mardin (arr) and others', as being on this session, so how do we know this was cut at American? Well, first of all, there is the fact that the label lists King Curtis as Mardin's co-producer, and American was his home away from home in those days. Needless to say, the label didn't promote the single, and I'd be surprised if many copies were pressed after the initial run of 'white label' promos. King, no doubt, saw the handwriting on that wall, and by the time ATCO released this incredible record we have here today in April of 1969, he had already made the decision not to renew his contract. Solomon Burke was already gone, charting that March for his new label (Bell) with his awesome Fame recorded version of the Penn/Oldham/Johnson chestnut Uptight Good Woman (driving Jerry Wexler, I'm sure, just a little further up the wall in the process). Just to give you an idea of where Atlantic's head was at in those days, ATCO LPs released that same month included Ball by Iron Butterfly, and Buffalo Springfield's Retrospective. It would also be included on the hastily put together Soul Clan LP on ATCO, which was fleshed out using cuts by each individual artist, that February.

Till I Can't Take It Anymore had been released as ATCO 6637 in January of 1969, and broke into the R&B top forty. King had also recorded in Memphis, with 'Arif Mardin's Orchestra' that October. Yes, according to the Atlantic Records Discography for 1968, Ben E. Well, shortly after that, I decided to write about that most unheralded of all the Clan members over on The A Side, and I found something very cool: But, as you may have noticed, I failed to mention Ben E. We spoke about how everyone involved, from Womack and Covay to Burke, Tex and Conley had cut records with The Memphis Boys around the same time. Last time out, we were talking about the mighty Soul Clan single, and I was postulating that maybe, just maybe, the backing tracks had been cut at American. It totally amazes me sometimes how everything, eventually, seems to be connected.

Ben e king discography