Little Buddy, "Love Me, Shirley Lee" c/w "Let's Make Love," NRC 010 (rel. 10/1958)

 

A decade before he created his two-sided Northern Soul favorite “Every Time,” Buddy McKnight made a crazy piece of kid rock for the Atlanta-based NRC label. NRC is a real sleeper imprint with some terrific Southern rockers, including Joe South’s first recordings. Little Buddy, as he is billed on this 1958 one-off, is a rare and welcome example of a younger vocalist who’s got style and presence and sings with real confidence.

Whomever arranged this session devised a simple layout: aggressive acoustic piano, distant percussion, no guitars (a daring exclusion for early rock ‘n’ roll) and, I assume, bass, though I don’t hear it.

Little Buddy's voice is clear and powerful, and he doesn't have the usual issues that plague many child performers of the era. He's already got a soulful attitude and a natural flair for showmanship. His performances are riveting.

“Love Me, Shirley Lee”  is sort of in the Frankie Lymon vibe, tho' delivered with far more rasp and grit than Lymon favored. It's a rockalypso mover that depends on Buddy's voice for 80% of the heavy lifting. The pianist takes a great solo; whoever they were, they have some flyin' fingers. A tempo change adds a moment of delight late in the performance. To these jaded ears, it’s a winning record—full of life.

Someone was a bit cranky when they wrote this curt, dismissive review...

“Something about love and school,” wrote the disengaged Cash Box staffer. Well, yes; but “Let’s Make Love” is also a potent look into the hormonal mind of a teenager. Education is to be abided while our narrator’s focus is far from lessons. With the carnal rewards that await post-class, one can’t blame his distraction, though it annoys his teacher.

The pianist takes a solo here, and their turn is torrid. By this time, our ears are used to the absence of guitars, and it works well. There’s no resolution to Buddy’s plight, but once the last bell rings, his problems will be over for the day. Lucky kid!

Why McKnight took a decade’s sabbatical from recording is lost to time; nothing is known about the guy. “Every Time” wound up on a volume of Numero Uno’s acclaimed Eccentric Soul compilations and there may be some biographical information there, but it’s not within grasp of the internet.

Tomorrow: the original 1961 version of a Motown classic, which became a 1970 chart-topper for the label’s most successful female group. You'll recognize this rousing, emotional song straight away.