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King Floyd
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Key Information
King Floyd (February 13, 1945 – March 6, 2006)[1][2] was a New Orleans soul singer, best known for his top 10 hit from 1970, "Groove Me".
Early career
[edit]King Floyd III was born in New Orleans in 1945.[1][3] His musical career started as a singer at the Sho-Bar on Bourbon Street. Following a stint in the army, Floyd went to California, where he joined up with record producer Harold Battiste. His debut album, A Man in Love, featuring songs co-written with Dr. John, failed to make an impact on the charts. Floyd returned to New Orleans in 1969 and worked for the Post Office.[4]
Recording success
[edit]In 1970, Wardell Quezergue, an arranger of R&B scores, persuaded Floyd to record "Groove Me" with Malaco Records in Jackson, Mississippi. Jean Knight recorded her hit, "Mr. Big Stuff," in the same sessions.[4]
At first, "Groove Me" was a B-side to another Floyd song, "What Our Love Needs." New Orleans radio DJs started playing "Groove Me" and the song became a local hit. Atlantic Records picked up national distribution of "Groove Me," which topped the United States R&B chart and reached number 6 on the Billboard Hot 100.[5] This disc sold over one million copies, and received a gold disc awarded by the R.I.A.A. in December 1970.[3] Floyd quit his job at the post office to perform a U.S. tour. His follow-up single, "Baby Let Me Kiss You" climbed up to number 29 on the Billboard top 40 charts in 1971.
Differences with Quezergue emerged and his 1973 follow-up album, Think About It, failed to make a commercial impact. However, Atlantic released a song from the album, "Woman Don't Go Astray," as a single. His 1975 album, Well Done, was released through TK Records with Atlantic distributing. "I Feel Like Dynamite" from the album, written by Larry Hamilton, was released as its single.[6] Reviewing the album in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau said, "Floyd's quiet, chocolatey voice—cf. Lee Dorsey, Aaron Neville—is prized by seekers after the New Orleans dispensation, but he's never grooved me without skipping like a cheap bootleg. So I'm pleased to report that side one of his fourth LP, climaxing with the neglected regional hit "I Feel Like Dynamite", provides songs as winsome as the straight-ahead Caribbeanisms (even some reggae) of the New Orleans R&B behind. Location of studio: Jackson, Mississippi."[7]
Subsequent career
[edit]None of Floyd's subsequent songs achieved the same success, as disco dominated the charts for the remainder of the 1970s.[8] However, Floyd had credits for "Boombastic," recorded in 1995 by Shaggy, which became a big hit.[4] Floyd reunited with Malaco Records in 2000 for the Old Skool Funk album, but it failed to make an impact. However, his song "Don't Leave Me Lonely" was prominently sampled by the Wu-Tang Clan for the song "For Heaven's Sake" on the album Wu-Tang Forever.
Personal life
[edit]Floyd died on March 6, 2006, of complications of a stroke and diabetes.[1] He was survived by his wife, children, and grandchildren.
Discography
[edit]Studio albums
[edit]| Year | Album | Chart positions | Label | ||
|---|---|---|---|---|---|
| US Pop [9] |
US R&B [9] | ||||
| 1969 | A Man in Love | — | — | Pulsar Records | |
| 1971 | King Floyd | 130 | 19 | Cotillion/Malaco Records | |
| 1973 | Think About It | — | — | ATCO Records | |
| 1975 | Well Done | — | — | Chimneyville Records | |
| 1977 | Body English | — | — | ||
| 2000 | "Old Skool Funk" | — | — | Malaco Records | |
| "—" denotes releases that did not chart. | |||||
Singles
[edit]| Year | Single | Peak chart positions | |||
|---|---|---|---|---|---|
| US Pop [9] |
US R&B [9] |
CAN | |||
| 1970 | "Groove Me" | 6 | 1 | 11 [10] | |
| "Baby Let Me Kiss You" | 29 | 5 | 69 [11] | ||
| "Got to Have Your Lovin'" | — | 35 | — | ||
| 1972 | "Woman Don't Go Astray" | 53 | 3 | — | |
| 1973 | "Think About It" | ― | 49 | — | |
| "So Much Confusion" | ― | 95 | — | ||
| 1974 | "I Feel Like Dynamite" | ― | 35 | — | |
| "Don't Cry No More" | ― | 96 | — | ||
| 1975 | "We Can Love" (with Dorothy Moore) | ― | 76 | — | |
| 1977 | "Body English" | ― | 25 | — | |
| "—" denotes releases that did not chart. | |||||
References
[edit]- ^ a b c "2006 January to June". The Dead Rock Stars Club. Retrieved July 8, 2013.
- ^ Wang, Oliver (March 29, 2006). "King Floyd Is Gone, but 'Groove Me' Lives On". NPR. Retrieved July 8, 2013.
- ^ a b Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. p. 279. ISBN 0-214-20512-6.
- ^ a b c Ankeny, Jason. "King Floyd - Artist Biography". AllMusic. Retrieved July 8, 2013.
- ^ "King Floyd - Chart History". Billboard.com. Retrieved July 8, 2013.
- ^ Skelly, Richard. "Larry Hamilton - Artist Biography". AllMusic. Retrieved September 16, 2011.
- ^ Christgau, Robert (1981). "Consumer Guide '70s: K". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 089919026X. Retrieved February 28, 2019 – via robertchristgau.com.
- ^ Perrone, Pierre (April 17, 2006). "King Floyd: Singer of 'Groove Me'". The Independent. Archived from the original on October 7, 2014. Retrieved July 8, 2013.
- ^ a b c d "King Floyd - Awards". AllMusic. Archived from the original on November 24, 2014. Retrieved April 16, 2022.
- ^ "RPM Top 100 Singles - February 13, 1971" (PDF).
- ^ "RPM Top 100 Singles - May 15, 1971" (PDF).
External links
[edit]- King Floyd discography at Discogs
| International | |
|---|---|
| National | |
| Artists | |
| People | |
| Other | |
King Floyd
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Early life
Childhood in New Orleans
King Floyd III was born on February 13, 1945, in New Orleans, Louisiana. He grew up primarily in the nearby suburb of Kenner, a community just outside the city that offered proximity to New Orleans' cultural heartbeat while providing a more residential setting for his early years. This upbringing placed him at the intersection of suburban life and the pulsating energy of the Crescent City during the post-World War II period, a time when the region's economy and social fabric were rebounding with renewed vibrancy.[5][6] From childhood, Floyd was immersed in New Orleans' burgeoning rhythm and blues (R&B) and soul music scenes, which flourished in the 1940s and 1950s amid the city's post-war cultural renaissance. Local clubs and the legendary Bourbon Street entertainment district served as key conduits for this exposure, where the sounds of live performances echoed through the streets, fostering an environment rich in musical innovation and community interaction. Family and neighborhood influences further amplified this access, as the close-knit African American communities in New Orleans and Kenner often centered around shared musical traditions passed down through generations.[7][2] Floyd's early interest in music was profoundly inspired by this dynamic Bourbon Street milieu and the performances of local jazz and R&B figures who defined the era's sound. By his early teens, he was singing on street corners, captivated by the improvisational energy and rhythmic drive of the performers around him. Details on his formal education remain sparse, but the street culture of post-World War II New Orleans—marked by informal gatherings, club spillover crowds, and a resilient creative spirit amid economic shifts—played a pivotal role in molding his worldview and igniting his lifelong affinity for soulful expression.[5][2]Initial forays into music
Floyd's initial forays into music began with his first professional singing engagement in 1961 at the Sho-Bar on Bourbon Street in New Orleans, where he performed with the aid of local blues legend Mr. Google Eyes.[3] His burgeoning career was soon interrupted by mandatory military service in the U.S. Army during the early 1960s.[6] Following his discharge in late 1963, Floyd first relocated to New York City, where he signed with booking agents and performed in clubs, before moving to Los Angeles around 1964, where he connected with New Orleans expatriate and producer Harold Battiste.[6][2] In Los Angeles, he released his debut single, "Why Did She Leave Me," in 1965 on the Original Sound label, followed by additional singles through the late 1960s, though none achieved major commercial success.[8] Battiste, known for his work with Specialty Records, collaborated with Floyd on his debut album, A Man in Love, released in 1969 on Battiste's Pulsar Records label and featuring contributions from Mac Rebennack (Dr. John).[9] The album, which included soulful tracks co-written with Dr. John, failed to achieve commercial success despite its polished production.[3] Disheartened by the lack of breakthrough and facing financial pressures, Floyd returned to New Orleans in 1969, taking a stable job at the Post Office to support his family while keeping his musical aspirations alive.[6] This period marked a temporary pivot from full-time performance, though his New Orleans roots continued to influence his artistic foundation.[3]Musical career
Pre-fame recordings
In the mid-1960s, King Floyd launched his recording career on the West Coast, primarily in Los Angeles, where he released his debut single "Walkin' and Thinkin'" backed with "Why Did She Leave Me" on the Original Sound label in 1965. This soulful ballad showcased his smooth vocal delivery but garnered no significant attention or chart placement.[10][11] Floyd followed with additional singles on the Uptown label, including "Love Makes the World Go 'Round" paired with a reissue of "Walkin' and Thinkin'" in 1965, and "I Don't Care (No More)" backed by "Come On Home (Where You Belong)" in 1966. These tracks, characterized by heartfelt lyrics and mid-tempo rhythms rooted in R&B traditions, similarly failed to break through commercially amid the saturated soul market dominated by major labels and established artists.[12][13][14][15] By the late 1960s, Floyd shifted to the Pulsar label, recording several more singles, such as "Times Have Changed" with the backing group The Three Queens in 1968, before culminating in his debut album A Man in Love in 1969. Produced by fellow New Orleans native Harold Battiste and featuring songwriting from Mac Rebennack (later known as Dr. John), the album blended soul ballads with emerging rhythmic elements but achieved little sales or recognition, underscoring the challenges of breaking into the industry without major distribution.[16][6] Throughout these years, Floyd's music evolved from straightforward soul crooning toward a proto-funky style infused with the syncopated grooves and emotional depth of New Orleans R&B, though it remained on the fringes of mainstream appeal. The persistent lack of commercial breakthrough in the competitive R&B scene prompted him to return to New Orleans in 1969, where he secured a stabilizing job at the post office to support his growing family while nurturing his musical ambitions.[17][6]Breakthrough with "Groove Me"
After years of modest success with earlier recordings on labels like Uptown and Pulsar, King Floyd found a turning point through his collaboration with arranger Wardell Quezergue.[6] In 1970, Quezergue invited Floyd to Malaco Records' studios in Jackson, Mississippi, where they recorded "Groove Me" on May 17 during a session that also featured Jean Knight and her hit "Mr. Big Stuff."[18] The track was cut in just one take, with Quezergue handling arrangements, piano, and organ, capturing Floyd's raw, energetic vocal delivery over a tight rhythm section.[19] Released later that year on Chimneyville Records, Malaco's R&B-focused subsidiary, "Groove Me" was initially positioned as the B-side to "What Our Love Needs."[20] However, DJs quickly flipped the single, propelling it to widespread airplay. The song topped the Billboard R&B chart for four weeks in early 1971 and peaked at number six on the Billboard Hot 100, marking Floyd's breakthrough into mainstream success.[21] Its crossover appeal highlighted the growing influence of Southern soul on national pop audiences. "Groove Me" sold over one million copies within months of its release, earning a gold certification from the RIAA in December 1970.[22] Written by Floyd himself, the song's funky, danceable groove and playful lyrics—evoking the lively party atmosphere of New Orleans second lines and social gatherings—resonated deeply with listeners, blending raw R&B energy with infectious rhythm.[3] This hit not only revitalized Floyd's career but also boosted Malaco's reputation as a hub for authentic soul recordings.[19]Height of popularity
Following the breakthrough success of "Groove Me," King Floyd's self-titled album King Floyd, released in 1971 on Cotillion Records, marked a significant expansion of his commercial presence in the soul and R&B markets. The LP peaked at number 130 on the Billboard 200 and featured the follow-up single "Baby Let Me Kiss You," which reached number 29 on the Billboard Hot 100 and number 5 on the Hot R&B Singles chart.[23] This track, with its upbeat funk-infused groove, helped sustain Floyd's momentum and showcased his versatile songwriting and vocal delivery in the burgeoning southern soul scene. By 1973, Floyd continued his output with the album Think About It on ATCO Records, which, while not charting on the pop side, reached number 49 on the Billboard Top R&B Albums chart. The standout single from the release, "Woman Don’t Go Astray," climbed to number 3 on the Hot R&B Singles chart and number 53 on the Hot 100, blending raw emotional lyrics with a funky rhythm section that resonated with R&B audiences.[24] These efforts highlighted Floyd's ability to craft hits that bridged intimate storytelling and danceable energy, further establishing his niche in soul-funk. Floyd's peak extended into 1975 with the album Well Done on Chimneyville Records, distributed by TK/Atlantic, though it did not achieve notable album chart placements. The title track's B-side, "I Feel Like Dynamite," emerged as a modest hit, peaking at number 35 on the Hot R&B Singles chart and emphasizing Floyd's dynamic baritone and upbeat production style. The string of hits from these albums propelled Floyd into a period of active touring and live performances across the United States in the early 1970s, where his energetic stage presence and New Orleans-rooted funk solidified his reputation as a key figure in the soul-funk genre.[25] These shows, often featuring extended renditions of his chart successes, helped cultivate a dedicated fanbase and underscored his transition to a full-time musical career.Later years and collaborations
Following the commercial peaks of his early 1970s hits like "Groove Me," King Floyd's career declined as the disco era dominated the music landscape in the late 1970s, limiting opportunities for his Southern soul sound and leading to significantly reduced output.[22] His final album with Chimneyville Records (a Malaco subsidiary), Body English, was released in 1977 and featured tracks such as the title song and "Baby Let Me Kiss You," but it failed to recapture his earlier chart success amid the shifting genre trends.[26][27] By the end of the decade, Floyd had relocated to Los Angeles in an effort to revive his career, though he encountered ongoing challenges and personal difficulties that further slowed his recording activity. In 1982, he attempted a comeback with a month-long tour in South Africa.[2][18] In the 1990s, Floyd gained renewed visibility through high-profile samples of his earlier work. He received co-writing credits on Shaggy's 1995 hit "Boombastic," which incorporated elements from his 1971 track "Baby Let Me Kiss You," contributing to the song's international success.[28] Similarly, in 1997, Wu-Tang Clan's "For Heaven’s Sake" from their album Wu-Tang Forever sampled Floyd's "Don't Leave Me Lonely" (1971), earning him production and writing credits on the track and exposing his music to a new hip-hop audience. Floyd returned to Malaco Records in 2000 for his final studio album, Old Skool Funk, a collection of funk-oriented tracks including the title song and covers like "Put Out the Fire," aimed at evoking the nostalgic energy of his classic era. Despite positive reception from longtime fans for its retro appeal, the album achieved little commercial traction and marked the end of his recording career.[29][22] In his later years, Floyd resided in California and maintained a low profile, engaging in sporadic live performances that highlighted his enduring vocal style and catalog, while effectively entering semi-retirement from the music industry.[30][27]Personal life
Family and relationships
King Floyd's family origins trace back to New Orleans, Louisiana, where he was born and raised. He married Patricia Ann Hubbard in 1971, and the couple remained together until his death, sharing a life marked by his musical pursuits and relocations across the United States.[31][2] Floyd and Hubbard had three children: daughters Kimberly Floyd Westry and Kawana Floyd, and son King "Champ" Michael Floyd IV.[32] He also served as a devoted grandfather to six grandchildren.[30] In the late 1960s, after an unsuccessful stint recording in California following his U.S. Army service, Floyd returned to New Orleans in 1969 to take a stable job at the post office, prioritizing financial support for his wife and their young daughter during a period of career uncertainty.[2] Floyd's personal life remained largely private, with limited public details emerging about his relationships or family dynamics beyond these core facts. Later in his career, around 1982, he relocated to California, settling in the Los Angeles area with his family, where they spent his final decades away from the New Orleans music scene.[33]Health issues and death
In the 2000s, King Floyd faced ongoing health challenges primarily stemming from long-term diabetes, which contributed to various complications affecting his daily life.[6] These issues became more pronounced in the mid-2000s, following Hurricane Katrina in 2005, during a period of semi-retirement from music while residing in California. On March 6, 2006, Floyd suffered a stroke that proved fatal, leading to his death at the age of 61 in Jackson, California.[34] Medical reports confirmed the cause as complications arising from the stroke combined with his preexisting diabetes.[30] Floyd was survived by his wife, Patricia Ann Hubbard, with whom he had been married for many years; their three children—daughters Kimberly Floyd Westry and Kawana Floyd, and son King "Champ" Michael Floyd IV; and six grandchildren.[35] His family mourned deeply in the immediate aftermath, with funeral services held on March 18, 2006, at First Zion Baptist Church in Jefferson, Louisiana, drawing attendees to honor his life and contributions.[36]Legacy
Cultural impact and samples
King Floyd's "Groove Me," released in 1970, emerged as a foundational track in funk and soul music, characterized by its infectious rhythm, gritty vocals, and New Orleans-inflected groove that bridged R&B traditions with emerging funk elements.[4] The song's raw energy and call-and-response structure captured the essence of Southern soul, influencing subsequent artists in the genre through its emphasis on regional rhythms and emotional delivery.[19] The track's bassline and drum pattern have been widely sampled in hip-hop, serving as a bedrock for producers seeking that classic funk bounce. Notable examples include LL Cool J's 1993 single "A Little Somethin'," which interpolates the groove for its laid-back flow; Kool Moe Dee's 1989 track "All Night Long," incorporating the hook to drive its party anthem vibe; and Cam'ron's 2009 cut "Silky (No Homo)," where the sample underscores the rapper's smooth delivery.[37] These usages highlight how Floyd's 1970s hits provided enduring source material for hip-hop's golden age and beyond, blending soulful roots with rap's rhythmic innovation. As a native New Orleanian deeply embedded in the Southern soul ecosystem, his work helped shape the genre's emphasis on communal, danceable grooves that prioritized local flavor over polished production.[4] The song's cultural resonance extends to its frequent appearances in media, underscoring its timeless party-starting appeal. It featured prominently in the 1996 films Swingers, where it soundtracks a memorable club scene, and Beautiful Girls, enhancing the film's nostalgic vibe.[38] In 2025, a Verite News article celebrated "Groove Me"'s enduring legacy at Malaco Records, noting its role in defining the label's breakthrough and its continued relevance in Southern music narratives.[3]Posthumous recognition
Following King Floyd's death in 2006, his contributions to soul and R&B received notable tributes from major media outlets, including an NPR segment that highlighted the enduring appeal of his hit "Groove Me" despite limited mainstream coverage of his passing.[4] AllMusic's biography, maintained and updated post-2006, underscores his role as a key figure in New Orleans funk and R&B, emphasizing the lasting influence of his 1970s recordings.[39] Floyd's music has continued to inspire contemporary artists through sampling, particularly in hip-hop and electronic genres during the 2010s and 2020s, with tracks like Vado's "Don't Leave Me Lonely" (2010) and Snak the Ripper's "Don't Leave" (2014) drawing directly from "Don't Leave Me Lonely."[40] This ongoing sampling reflects broader cultural appreciation for his rhythmic style, serving as a foundation for posthumous recognition in modern music production. In 2025, marking 55 years since "Groove Me"'s release, music journalism revisited its legacy, with Verite News crediting the track for revitalizing Malaco Records and affirming its timeless status in New Orleans soul history.[3] Malaco has sustained this through archival efforts, including reissues that preserve Floyd's catalog for new audiences. Posthumously, Floyd was inducted into the Louisiana Music Hall of Fame in 2023 as part of the "Louisiana Music Homecoming II" event, honoring his impact on the state's musical heritage.[41] He is also recognized in the New Orleans Musicians Hall of Fame, further cementing his local legacy.[42]Discography
Studio albums
King Floyd's debut studio album, A Man in Love, was released in 1969 on Pulsar Records.[43] Produced by Harold Battiste in Los Angeles, the album featured soulful tracks co-written with Dr. John but failed to achieve commercial success, marking it as a flop with no chart presence.[6][3] Standout tracks included the title song "A Man in Love" and "Together We Can Do Anything," showcasing Floyd's smooth tenor in up-tempo soul arrangements.[44] Floyd's breakthrough came with his self-titled second album, King Floyd, released in 1971 on Chimneyville Records (a Malaco subsidiary) with Cotillion distribution.[9] The album peaked at number 130 on the Billboard 200 and number 19 on the R&B albums chart, driven by the massive success of its lead single "Groove Me."[45] Key tracks included the chart-topping "Groove Me" (number 1 R&B for four weeks) and "Baby Let Me Kiss You" (number 6 R&B), blending New Orleans funk with infectious grooves that established Floyd's signature style. In 1973, Floyd released Think About It on Chimneyville/Atco Records, which reached number 49 on the R&B albums chart but struggled on the pop side.[24] The album featured introspective soul cuts like the title track "Think About It" and "Woman Don’t Go Astray" (number 3 R&B), reflecting tensions in his collaboration with producer Wardell Quezergue amid shifting musical trends.[46] Well Done, issued in 1975 on Chimneyville/TK Records, achieved minor commercial notice without entering major charts, serving as a transitional release in Floyd's career.[47] Highlights included "I Feel Like Dynamite," a funky mid-tempo track emphasizing resilience, alongside "I Really Love You," which highlighted his emotive vocals in a post-"Groove Me" soul context.[48][49] Shifting toward disco influences, Body English appeared in 1977 on TK/Chimneyville Records and received limited airplay, with the title track peaking at number 25 on the R&B singles chart but the album itself charting low overall.[50][26] The record incorporated upbeat rhythms in songs like "Body English" and "Stop, Look and Listen," adapting Floyd's sound to the era's dance trends while retaining soul roots.[51] Floyd's final studio album, Old Skool Funk, was released in 2000 on Malaco Records as a nostalgic return to his funk origins, though it garnered no significant chart impact.[29] Tracks such as the title song "Old Skool Funk" and "Wrapped Up, Tied Up, Tangled Up" evoked his earlier hits with contemporary production, celebrating his enduring New Orleans heritage.[52][53]Compilation albums and singles
King Floyd's compilation albums primarily aggregate his key recordings from the Chimneyville and Malaco eras, highlighting his southern soul and funk output without duplicating full studio album tracklists. One of the earliest notable compilations is Choice Cuts (1994, Malaco Records), a 15-track collection spanning 1970 to 1977 that includes major hits such as "Groove Me," "Baby Let Me Kiss You," and "Woman Don't Go Astray," emphasizing his crossover appeal.[54] This release served to reintroduce Floyd's music to newer audiences amid Malaco's focus on southern soul retrospectives. Subsequent compilations expanded on this foundation. Groove Me: The Best of King Floyd on Chimneyville (1998, Malaco Records) compiles 14 tracks from his early 1970s Chimneyville singles and albums, centering on his signature funky grooves like the title track and "I Feel Like Dynamite," and was part of Malaco's reissue series targeting R&B enthusiasts. A more archival effort came with I Feel Like Dynamite: The Early Chimneyville Singles and More 1970-1974 (2013, Ace Records/Kent), a 24-track UK release that collects rare singles, B-sides, and unissued demos from his breakthrough period, including "What Our Love Needs" and "Please Don't Leave Me Lonely," sourced from original Malaco tapes.[55] Floyd's singles discography includes several standalone releases predating his major album era and post-1975 tracks outside primary LPs, often issued on smaller labels or as one-offs. His debut single, "Walkin' and Thinkin'" b/w "Why Did She Leave Me?" (1965, Original Sound), marked his entry into recording while based in Los Angeles, though it did not chart.[8] Early efforts continued with "This Is Our Last Night Together" b/w "Heartaches" (1969, Pulsar), a regional soul cut that gained local airplay but no national success.[56] Post-peak singles included non-album or B-side efforts like "Got To Have Your Lovin'" (1971, Chimneyville), which bubbled under the Hot 100 at #101 and reached #35 on the R&B chart, and later Malaco tracks such as "So Much Confusion" (#95 R&B, 1974) and "Don't Cry No More" (#96 R&B, 1974).[57] In the 1990s, collaborations yielded rarities like tracks from Malaco anthologies, including a guest spot on Z.Z. Hill's sessions, though none charted prominently. International releases, such as Japanese reissues of early singles on P-Vine, preserved these obscurities for global collectors.[58]| Year | Single | Hot 100 Peak | R&B Peak | Label | Notes |
|---|---|---|---|---|---|
| 1971 | Got To Have Your Lovin' | 101 | 35 | Chimneyville | Standalone follow-up to album hits |
| 1974 | So Much Confusion | - | 95 | Chimneyville | Post-album single |
| 1974 | Don't Cry No More | - | 96 | Chimneyville | B-side oriented release |