Lee Moses Discography
Unsurprisingly since we are talking about one man's whole career here there`s a lot to write about regarding Lee Moses releases. So I'm going to research, write and publish the discography in parts. Both in order to be able to do this in manageable chunks of text and to get something on the site as a starting point to use as a reference enabling people to see, read and hopefully add things.
So the first part, original USA solo releases, is now here. The rest will follow later once I finish writing it. There is very little "official" discographical information available on Lee Moses so I`ve compiled this discography from multiple sources the best that I could. If you have additions and/or corrections please email me at
I`m planning to arrange this discography in four parts:
Solo Discography - original USA releases
- Lee Moses released several singles and one album during his lifetime, all of these original US releases are detailed here
Solo Discography - reissues and compilations
- Posthumous reissues and compilations, some including previously unreleased material - IN PROGRESS...
Contributions
- Lee Moses' appearances on recordings by other artists - IN PROGRESS...
Trip Albums
- All of the original "Trip" releases of (more or less) fake material - IN PROGRESS...
SOLO DISCOGRAPHY - ORIGINAL USA RELEASES
45 ”My Adorable One / Diana (From N.Y.C.)” (LEE JOHN RECORDS 45-618) USA 1965? 1
Produced by Wes Watts (aka Johnny Brantley?)
Arranged by Freddie Terrell
It seems highly likely that the producer of this single, "Wes Watts", is a pseudonym for Johnny Brantley. The only thing "Watts" apparently ever did was to produce two singles, both on Lee John Records:
Lee John Records
1678 Broadway, New York City, New York, USA
One of those two singles is this Lee Moses 45 - the only one of all of Lee Moses' records that doesn`t credit Johnny Brantley on the label, he is listed as the producer on ALL other Lee Moses solo records.
The other "Lee John" single with a "Wes Watts" -credit is "Love For My Girl / Birth Of A Playboy" (Lee John Records 45-619) by the Crown Four. Both tracks on the Crown Four single were co-written by "G. Perry". Gerald Perry was a member of the Johnny Brantley produced Chosen Few who also recorded a remake of "Birth Of A Playboy".
The two "Watts" produced singles were also the only two singles ever released by Lee John Records and both featured artist that were later produced by Johnny Brantley for other labels. These two singles are also the only releases ever with the songs published by "Calpam Music", nothing else turns up.
"John Wesley" was another pseudonym (or the real name?) used by Brantley. A search in the BMI catalog brings exactly the same results for both names, Brantley and Wesley. Johnny Brantley's name is given as "Brantley Johnny W" by BMI so his full legal name may have been Johnny Wesley Brantley or something close to it. "Wesley" is again not far removed from "Wes Watts"... In conclusion it seems to me very likely that Watts, Wesley and Brantley are one and the same person.
Regarding the "Lee John Records" -label, there is speculation online that "Lee John" stands for LEE Moses and JOHNny Brantley which seems plausible to me.
The Dark End Of The Street -blog interviewed Freddie Terrell in 2006:
"Freddie arranged Lee Moses’s first release a version of the Joe Simon classic “My Adorable One” for Lee John in 1964. Freddie also played guitar on most of Lee’s Musicor releases such as “Bad Girl” and “How Much Longer,” as well as Lee’s classic Dynamo cut “If Loving You Is A Crime” as well as co-writing the song’s B-side “Never In My Life” with Lee."
Side A
"My Adorable One" (Clara Thompson, Irral Bergel)
BMI.com credits only "THOMPSON CLARA A" as a composer for "My Adorable One ". VEE-JAY RECORDS VJ-609 by Joe Simon from 1964 credits the song to "Irral Berger-Clara Thompson". Lee Moses namechecks Joe Simon (among other "stars") in "Got That Will" (on the lp mix, the single mix fades out just before this part).
Sir Shambling wrote about "My Adorable One" on his website:
"There is an unreleased version of this song in existence where Lee kicks off with a short rap before coming in on the song – after which it sounds exactly like the 45. So this unreleased version may simply have been edited down before being put out."
Side B
"Diana (From N.Y.C.)" (Lee Moses)
Song publishing info would help date this single but the publisher of "Diana (From N.Y.C.)", Calpam Music BMI, seems to have completely vanished into thin air.
Listen to the original single on YouTube:
45 “Reach Out, I'll Be There / Day Tripper” (MUSICOR RECORDS MU 1227) USA January 1967 2
Produced By: Johnny Brantley for Vidalia Productions
The white label promo of the single credits the tracks to Lee Moses & The Diciples. "Reach Out, I'll Be There" is frequently listed as an instrumental but it really isn`t, there are vocals but they are very faint. Either they were mixed out or the song was recorded with Lee singing live but not into a vocal mic so the singing just "bleeds" into the other microphones in the studio .
Side A
"Reach Out, I'll Be There" (Brian Holland, Lamont Dozier, Eddie Holland)
First released by the Four Tops on the 45 "Reach Out I'll Be There" (Motown M-1098) in August 1966 and first entered the Cash Box Top 100 in the 3 September 1966 issue. The Lee Moses 45 has a comma in the title, the original 45 doesn`t...
Record World 11 February 1967:
"Trinity Wax Bustin` Out All Over (NYC)
NEW YORK — Trinity Record Distributors, handling Musicor and Dynamo Records only since Jan. 3, had chalked up an enviable record hereabouts by the end of their third week with these two labels.
As announced by "Big" Ed Dinallo, three records from Musicor ("Reach Out, I`ll Be There," Lee Moses; "Come By Here," Inez Foxx; "With This Ring," the Platters) and one from Dynamo ("The Biggest Man," Tommy Hunt) are being played at several New York stations.
The Platters disk was only just released but, along with the other three Trinity-distributed decks, is on stations WWRL and WOR-FM, where the three earlier releases are also on the station charts."
Side B
"Day Tripper" (John Lennon, Paul McCartney)
An instrumental version of the song originally released in the USA on the 45 "We Can Work It Out / Day Tripper" (Capitol 5555) by the Beatles on 1 December 1965 3
45 “Bad Girl (Part 1) / Bad Girl (Part 2)" (MUSICOR RECORDS MU 1242) USA April 1967 4
Produced By: Johnny Brantley For Vidalia Productions
Record World 15 April 1967 mentions the single under the "R&B Beat" column:
""Bad Girl," Lee Moses, Musicor, is produced by Johnny Brantley and sounds tough."
The Oxford American website wrote about the origins of the song:
"“Bad Girl” was originally penned by Bobby Lee Fears in 1964 for the Fabulous Denos, which Fears formed inside the walls of Booker T. Washington High School in Ashby Heights, near Atlanta’s historically black West End district. The Denos recorded the cautionary tale of teenage heartbreak in Macon at the same studio where James Brown made his first hit, “Please Please Please.” The Denos chased success—performing across the country and in Canada—but Bobby had a difficult time managing a number of vices; he had a reputation for being quick-tempered and prone to emotional decision making. Back in Atlanta, as band member Arthur “Dino” Merriwether recalls, Fears sold the song rights to “Bad Girl” to Lee Moses for drug money. (Other friends of Fears acknowledged that the drug money scenario is plausible, but would not go so far as to confirm Merriwether’s assertion.) Moses, who had also attended Washington High, before dropping out, recorded “Bad Girl” for the New York-based Musicor label—transforming Fears’s naive breakup ballad into an earth-shattering confession of the moment you know it’s over but you can’t come to terms with the pain. Where the Fabulous Denos’ original take on “Bad Girl” is a rather straightforward doo-wop to r&b reading taken at an upbeat tempo, Lee slowed it down, intensifying the emotion, and screamed his way through the vocals. It sounds as though he’s actually crying as he sings about an older woman who everyone warned him would break his heart. He didn’t listen, and he paid the price. Fears was wiped from the credits on the 1967 single."
Listen to the original the Fabulous Denos -version on YouTube: https://youtu.be/mJQE2hzIhvQ
The Dark End Of The Street -blog interviewed Hermon Hitson in 2006:
"One of the most iconic songs of this period has to be “Bad Girl”. This was song was written by Lee Moses and Bobby Lee Fears aka Bobby Dixon who was originally lead singer of the Atlanta group The Fabulous Dinos. The first recording of the song was by this group followed by the Lee Moses version for Musicor before Johnny decided to give Hermon a shot using the same backing track as Lee’s version."
The statement about the backing tracks is incorrect, the two Lee Moses -versions and the Hermon Hitson -version are all different recordings. The released versions that is, Brantley may very well have done several versions with Hitson that remain unreleased, he was very fond of recycling the same backing tracks over and over.
Side A
"Bad Girl (Part 1)" (Lee Moses)
Side B
"Bad Girl (Part 2)" (Lee Moses)
BMI.com also credits Bobby Lee Fears as a composer of "Bad Girl" - but the 1967 single labels don`t. The 1973 Lee Moses re-recording of the song however restores the Fears writing credit. This does make the story of Bobby Lee Fears selling the song to Lee Moses seem a bit unlikely? The Hermon Hitson -version also credits the song to "Fears-Moses".
Listen to the original single on YouTube:
45 "I'm Sad About It / How Much Longer (Must I Wait)" (MUSICOR MU 1263) USA August 1967 5
Produced By: Johnny Brantley for Vidalia Productions
Record World 12 August 1967 mentions the single under the "R&B Beat" column:
"The new Lee Moses sounds like this is the one to do it, "I`m Sad About It"".
Side A
"I'm Sad About It" (Lee Moses)
Cash Box 12 August 1967 review:
"Although Lee Moses' hand was heavily influenced by John Lee Hooker when he penned this tune, his soul outburst is all his own. Expect very big r&b action, and look for the likelihood of a pop showing too."
Side B
"How Much Longer (Must I Wait)" (Lee Moses)
Cash Box 12 August 1967 review:
"Blues with bounce built-in"
Listen to the original single on YouTube:
45 "Never In My Life / If Loving You Is A Crime (I`ll Always Be Guilty)" (DYNAMO RECORDS D-115) USA February 1968 6
Produced By: Johnny Brantley For Vidalia Productions
Arr. By: T. Staff
According to the single label Dynamo Records was distributed by Musicor Records so a switch from the Musicor-label to Dynamo on this release wouldn`t have affected the distribution much.
Side A
"Never In My Life" (Lee Moses, Freddie Terrell) 11
Near the end of the song Lee sings "look like I got that will", this may or may not be a reference to "Got That Will", released as a single three years later. Interestingly the 2020 7" single reissue of "Never In My Life" by Outta Sight has a "℗ 1965" -credit on the label suggesting that the recording may already have been several years old at the time of it`s original release in 1968 (unless it`s just a typo).
Side B
"If Loving You Is A Crime (I`ll Always Be Guilty)" (Yvonne Williams)
Cash Box 16 March 1968:
"Vocal fire is the key to appeal on this funk-filled outing from Lee Moses. Excellently highlighted by the orking, he pours out a solid session that should gain favor with many deejays on the r&b line. Flip: "Never In My Life""
Listen to the original single on YouTube:
45 “Time And Place / I Can't Take No Chances" (Front Page RAA-2301) USA March? 1970 7
Prod. by Johnny Brantley For Vidalia Productions
Multiple label variations exist for this single, some have a printed January 1970 date, others say February 1970 but the single actually seems to have first circulated in around March 1970.
According to the single label Front Page was distributed by Stax Records. Discogs lists six different variations of the single, and ALL have Brantley spelled as "Brauthey". Which is strange as if this was a spelling mistake one would think someone would have spotted it somewhere? Unless all six discs came out simultaneously all from different pressing plants? This spelling of Brantley only seems to have been used on this one record release.
A version of "I Can't Take No Chances" was also released by the Chosen Few, also in 1970. Both versions use the same backing track with the Chosen Few version featuring an added string section, different vocal overdubs and of course a different mix.
Side A
“Time And Place" (James Lewis, Edward Lewis, Marion Farmer)
Side B
“I Can't Take No Chances" (James Lewis, Edward Lewis, Marion Farmer)
Listen to the original single on YouTube:
45 “Got That Will / Free At Last" (Maple RECORDS M-1001) USA 1971 8
Produced By Johnny Brantley
Lee namechecks Jimi in "Got That Will": "Jimi Hendrix play a mean guitar, and he made it, yes he did". Other "stars" that Lee mentions start with Sly and the Family Stone, Dionne Warwick, the Blood Sweat and Tears, the Allman Brothers and Aretha Franklin. He then sings "gonna be playing at the pop festival" and mentions B.B.King and the Allman Brothers (again). Lee is very likely referring to "the 2nd Annual Atlanta Pop Festival" held in Byron, Georgia 3-5 July 1970. Three of the artists mentioned in the song, Jimi Hendrix, B.B.King and the Allman Brothers, appeared at the 1970 festival. The song itself is basically a lists of artists that "made it" and whose company Lee is hoping to one day join so it would seem the track was recorded in early 1970, before Jimi`s passing.
Besides being a nice bit of trivia the list of artists mentioned in the song is also interesting because it demonstrates that Lee Moses was by this time aiming his songs for the rock/soul/blues -crossover audience. When one also takes into consideration the choice of cover songs and the style that they were recorded in for the time and place -lp it seems very clear that he was (at least partially) attempting to crack the "rock" market. It would be interesting to know whether it was Brantley, Moses or both who set that goal.
Side A
“Got That Will" (Herman Hitson, Lee Moses)
"Got That Will" is credited to Herman Hitson (aka Hermon Hitson) and Lee Moses. The song was first released by Herman Hitson 1968 on Atco 45-6566, at the time titled "I Got That Will" and credited solely to Herman Hitson. BMI.com offers little help as it has two entries for "Got That Will", one has Lee Moses noted as the sole composer, the other Baaqar Hermon Aleem Abu (aka Herman Hitson). And to make things really messy "I Got That Will" (with an added "I") gets one more separate entry - credited to Hitson Hermon.
The original copyright registration from 1968 is as follows:
I GOT THAT WILL; w & m Herman Hitson.
2 p. C Cotillion Music, Inc, &
Cudda-Pane Music; 20Mar68; EU43874.
Lee Moses rewrote a large chunk of the lyrics for his 1970 version so it seems logical that the original was composed by Hitson and the Lee Moses version credits Hitson - Moses because of the new lyrics.
Side B
"Free At Last" (James Lewis, Edward Lewis, Marion Farmer)
Lyrically "Free At Last" is a sequel to "Time And Place". The single version fades out some 40 seconds before the lp mix does so the vocal part is not on the single but on the lp version you can hear Lee sing "time and a place, haha, we don`t have to name it no more" - the couple described in "Time And Place" are now free to express their love in public.
Listen to the original single on YouTube:
LP time and place (Maple RECORDS M-6001) USA June? 1971 10
Arr., and Prod. by: Johnny Brantley
The only Lee Moses -lp released during his lifetime and quite rare. Practically impossible to find any contemporary references to the album so even the release date is a bit uncertain.
Once again DJ Jack Walker from WLIB radio has been asked to write liner notes, a partial quote:
"As far as pinning down the LEE MOSES THING we`ve decided to let you go for yourself. We`ve tried a few like "Psycasoul" and "Souladelic" or "Funkapsych" and "Psychafunkie." They all fit a little but they each leave a little out."
Bass player Scott Edwards posted some interesting comments about the lp on the website In Dangerous Rhythm:
"Hello. My name is Scott Edwards and I was a busy studio bass player in L.A. from 1974 til 1984. Before I moved to l.A., I played with Stevie Wonder from the summer of 1970 to August 1973. Before I joined Stevie Wonder, I played with Lee Moses from January 1970 to August 1973. We recorded "Hey Joe" and "Free at Last" in May or June of 1970 at an Atlanta Studio. The drummer was a guy named Hollaway, the trumpet was Sylvanus Lott or Earnest Williams(HULK) and the sax was Charles Edwards, all of Atlanta. We might have recorded other cuts on this album compilation. I will listen and advise later. If you would like to reach me, my website is www.scottedwardsmusic.com. Thanks
Scott Edwards
Correction: I played with Lee Moses from January 1970 til August of 1970. That's what you get when writing sleepy. Later
Scott Edwards"
This matches my speculation of an early 1970 date for the recording of "Got That Will" very well, so most if not all of this lp was probably recorded in 1970. On his website Scott Edwards lists himself as the bass player on these tracks on the lp:
Lee Moses - "Hey Joe"
Lee Moses - "California Dreaming"
Lee Moses - "Free At Last"
Lee Moses - "Got That Will"
Side A
1 "Time And Place" (James Lewis, Edward Lewis, Marion Farmer)
This is a slightly shorter (though I only have the re-issue audio available to compare to) stereo mix of the recording released as a single (which is in mono).
2 "Got That Will" (Herman Hitson, Lee Moses)
This is a slightly longer stereo mix compared to the mono single. A bit of wah wah guitar which is present during the intro on the single version is mixed out here on the lp version.
3 "What You Don't Want Me To Be" (Bobby Dixon)
First released by Nick Allen (as "Don't Make Me Be What You Don't Want Me To Be") on the 45 "Hard Way To Go / Don't Make Me Be What You Don't Want Me To Be" (Walas Records, Inc. W1) USA 1969? 13
What makes the writing credit for this song especially interesting is that Bobby Dixon and Bobby Lee Fears who wrote "Bad Girl" seem to be one and the same person. Bobby Dixon was also a member of the Ohio Players, another Johnny Brantley produced act with several Hendrix connections. This makes the story about Lee Moses supposedly buying "Bad Girl" off Bobby Lee Fears even less likely. You can read more about Bobby Dixon on the In Dangerous Rhythm -website which discovered these connections.
4 "California Dreaming" (John Phillips)
"California Dreamin'" was first released by Barry McGuire on the lp This Precious Time (Dunhill D 50005) USA 1966.14 The original release spells the title " Dreamin' " the Lee Moses version spells it " Dreaming ". The Lee Moses version is probably based on the arrangement used by Bobby Womack on his 1968 version of the song.
5 "Every Boy And Girl" (Lee Moses)
This song is basically the music from "You Are Too Much For The Human Heart" (a Lee Moses song recorded by Herman Hitson) with new lyrics.
Side B
1 "Hey Joe (Billy Roberts)
2 "Free At Last" (James Lewis, Edward Lewis, Marion Farmer)
This is a stereo mix of the mono single take which runs about 40 seconds longer.
3 "Would You Give Everything" (James Lewis, Edward Lewis, Marion Farmer)
4 "Adorable One" (Clara Thompson, Irral Bergel)
A completely new recording of the track originally released as a single.
TIME AND PLACE CD RE-ISSUE
You can listen to the whole album on YouTube Music
45 "Dark End Of The Street / She's A Bad Girl" (GATES RECORDS 1502) USA February? 1973
Producer: BRANTLEY
The 3 February 1973 Cash Box -issue reported:
"Lionel Hampton and John Brantley have jointly announced the formation of Gates Records, with main office located in Atlanta. The company recently acquired an entire building which will house both the exec. offices of Gates Records as well as the new recording studios recently opened by Maple Recording Studio. Both companies are located at 1499 Gordon Street, S.W. in Atlanta.
The initial two releases by the company will be singles featuring Lee Moses and Tony Baxter. Four albums featuring Lionel Hampton, Harrison Jones, Lee Moses, and Gloria Barnes will be released in early Feb., Brantley said. The company is presently setting up it`s national distribution network and is also actively pursuing international affiliations.
In commenting on the company´s direction, Brantley stated: "We are gearing our product for the contemporary rhythm & blues market, and we firmly believe that a major source for this talent can be found in the Atlanta area. Our close working relationship with Maple recording Studios will enable us to realize their excellent facilities which are perhaps the finest in the Atlanta area."
The company maintains a New York office at 165 West 46th Street."
The same story was reported in Record World 3 February 1973 with only slightly different wording so both news items are likely based on a press release send out by Brantley. Gates Records seems to have folded very fast with apparently just three 45 singles released and none of the announced albums. One user at Discogs.com has listed an acetate test pressing of an lp by Gloria Barnes with "Gates Records" handwritten on the label:
"Was pressed in EMIDISC [...] and only have writed "Gloria Barnes - Mono - 33 - Gates Records" - By hand." 9
Looks like Brantley was planning to put out a slightly reworked reissue of the Gloria Barnes -lp Uptown previously released on Maple Records but for some reason abandoned Gates Records entirely after a very short run of singles? The announced Lee Moses album may also have been just a planned reissue of the Maple Records -lp.
Side A
"Dark End Of The Street" (Dan Penn, Chips Moman)
The track is miscredited to "Penn-Norman" on the label. Originally released by James Carr on the 45 "The Dark End Of The Street / Lovable Girl" (Goldwax Records 317) in January 1967. 12 Lee added an "ad lib" -section that is not on the original James Carr -version.
Side B
"She's A Bad Girl" (Lee Moses, Bobby Lee Fears)
A re-recording of the 1967 single.
This 1973 single seems to have been the last recording that Lee Moses released.
SOURCES
1 the matrix number for "My Adorable One" is 9929 so it`s the A side, the flip is 9930. So far I have been unable to find any kind of confirmed release date for this single. It is dated as being from 1965 in the liner notes for the cd How Much Longer Must I Wait? - Singles & Rarities 1965-1972 (Future Days Recordings FDR 635) USA 2019. The disc is an official compilation with the tracks properly licensed so the date probably is correct but I did not find any contemporary mention of the single anywhere to confirm it.
2 the matrix number for "Reach Out, I'll Be There" is MU 1227-1 so it`s the A side, the flip is MU 1227-2. Record World 28 January 1967 lists the single among other records that are making "Sales, N.Y.". Cash Box 4 March 1967 mentions the single in an article listing Musicor`s 1967 releases, "Musicor Has Varied Singles Look For ´67" (with Johnny Brantley spelled as "Brantly"). The article also mentions "producer Luther Dixon who has been particularly active for the firm as well as for his own label, Dynamo Records, distributed in the U.S. by Musicor". Lee Moses would release one more single on Musicor after this one, then the next release would be on Dynamo Records.
"Reach Out, I'll Be There" first pops up on the WWRL "SOUL 16" survey for week beginning 26 January 1967.
3 a news item in Billboard issue 4 December 1965 reported: "Capitol unveils a Beatles` single Dec. 1 and an LP five days later... The single is "We Can Work It Out" which is not on the LP."
4 a white label promo copy exists with a stamp "APR. 14 1967". "Bad Girl" first pops up on the 27 April 1967 WQOK "TOP 40 SURVEY" survey, the disc was reviewed in Cash Box issue 15 April 1967, listed under "Spotlights" in Billboard 22 April 1967 and a Musicor ad in Billboard 6 May 1967 stated the single was "breaking big" so an April 1967 release date seems probable.
5 the matrix number for "I'm Sad About It" is MU 1263-1 so it`s the A side, the flip is MU 1263-2. The disc was reviewed in Cash Box issue 12 August 1967 and listed under "Spotlights" in Billboard 2 September 1967 so an August 1967 release date seems probable. "I'm Sad About It" first pops up on the 26 August 1967 WCIN "SOUL SURVEY".
6 the disc was reviewed in Cash Box issue 16 March 1968 (with "If Loving You Is A Crime" reviewed as the A side) and listed under "Spotlights" in Billboard 24 February 1968 (with "If Loving You Is A Crime" listed as the A side) so a February 1968 release date seems probable. "Never In My Life" seems to be the actual A side or at least originally planned as such as the disc matrix is 115-1, the flip is 115-2.
7 "Time And Place" first pops up on the week of 19 March 1970 WWRL "SOUL 16 SURVEY" under the "HITBOUND" -column, A white label promo disc exists with a "MAR 25 1970" -stamp and the single was included in the "Looking Ahead" -section of Cash Box issues of 16 May 1970, 23 May 1970, 30 May 1970 and 6 June 1970. Record World 6 June 1970 reported "Good action" for the single. So the actual release date is fuzzy.
8 "Got That Will" first pops up on the week of 25 February 1971 WWRL "SOUL 16 SURVEY" under the "HITBOUND" -column.
9 The complete comment on Discogs:
"This realesed dont have matrix number! Was pressed in EMIDISC (https://www.discogs.com/label/192368-Emidisc-3) and only have writed "Gloria Barnes - Mono - 33 - Gates Records" - By hand. This master have all the musics that have Uptown LP but in different order. Is possible that was a UK press from begin of 1970 but never pressed in a final version."
The Discogs user makes the wrong conclusions here: "Emidisc" is just a brand of blank acetate discs, it does not suggest an UK pressing, these could have been used anywhere in the world. The 1970 date is probably also a guess by the user based on the original Maple Records issue of the Gloria Barnes -lp coming out in 1971. In light of the February 1973 news items it seems much more likely that the acetate was prepared circa 1973 when Brantley was planning to reissue the album on his new label.
10 the lp was listed under "Album Reviews" in Billboard 26 June 1971.
11 According to BMI.com the second composer of "Never In My Life" is "FERREL FREDERICK MARK" (though the single label credits him as "F.Terrell"). "Freddie Terrell" is also credited with arranging the first Lee Moses 45 so it seems to be the name that he used as an artist though the BMI entry suggest it may not be his real name? Or is "Ferrel" a typo in the BMI database?
12 Record World 17 December 1966: "The title of the new James Carr is, "At the Dark End of the Street", Record World 7 January 1967: "Amy looks great for January with "I'm a Man," Mighty Sam, and "Dark End of the Street," James Carr, Goldwax"
13 I haven`t found a release date for the single but the song was copyrighted in 1969 (credit for this goes to https://www.45cat.com/record/nc500106us):
DON'T MAKE ME BE WHAT YOU DON'T WANT
ME TO BE; w & m Bobby Dixon. 1 p.
© Walas Records, Inc.; 18Apr69;
EU108334.
14 Barry McGuire's website lists the release date as 14 December 1965. Billboard however lists the lp under "NEW ALBUM RELEASES" in the 5 February 1966 issue.