Description Your browser does not support JavaScript. To view this page, enable JavaScript if it is disabled or upgrade your browser. Click Here. Double your traffic. Get Vendio Gallery - Now FREE! Nellie Hill Accompanied by Conrad Frederick and Orchestra " When I'M In This Mood / I'M Gonna Copyright Your Kisses " ABBEY #3027 78 RPM 1951. RARE and hard to find. Not listed in most guides. SEE FURTHER INFORMATION ON THIS ARTIST AND THIS LABEL BELOW. Nice condition. Shiny bright. Just light scuffs and smudges. The labels are good. Plays well on both sides. Her voice and the instruments come through loud and strong.. Buyer pays priority shipping to be determined by your ZIP. NOTE: Priority ONLY on 78s. Foreign to be determined.. On some items, tracking information is REQUIRED, especially on foreign items paid for with PayPal. I reserve the right to refuse payments byPayPal to certain countries or individuals. Please email me if you have any questions about any of the above. International Buyers – Please Note: Import duties, taxes, and charges are not included in the item price or shipping cost. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding or buying. From JET MAGAZINE 1953: " Nellie Hill is a voluptuous, cream-colored singer who is long on looks and short on voice. Yet, she sets sex appeal to music so sensationally that when she sings, men's hearts do flip flops. "It must be my style," Nellie says. "I act like a hussy on stage.... sing Jezebel-like songs, toss myself around like the number one girl on a philandering husband's list. I act evil, saucy, 'don't carish.' The men love it. But the women — well, I don't know."Most women refuse to say they find Nellie exciting. They look upon her as a man-stealing, singing Marilyn Monroe. But men—all of them—have bushels of praise for the pretty little singer from Richmond, Va. They have given her sizzling ovations at the Baby Grand in New York City, Les Ambassadeurs in Paris and at the popular Flame Show Bar in Detroit. Said one Motor City critic when Nellie first appeared at the Flame in 1950: "The Flame came closest to living up to its name that night. Nellie's not a 'nice' singer—she's an incendiary one." A petite but curvaceous glamour girl whose voice has just a hint of a Southern accent in it, Nellie has been an entertainer since she was 14. It was then that Nellie first won public acclaim. Her father, a factory worker in Richmond, put her in a dance contest at the shop. Nellie took first prize. A talent scout wanted to send the attractive little brunette directly to New York to be trained, but Nellie chose to stay home. When she was 18, she was named class beauty of the graduating class at Armstrong High School. Asked what she wanted to do now that she was out of school, Nellie promptly replied, "become a singer." A year later, she married Wesley Hill, a Newark, N. J., singer with the Southern Sons, and set out for New York.But success eluded Nellie for a while. A steady round of Army camps and hospitals where she gave free shows finally won her the attention of Jean Longman, the entrepreneur who was later killed in an auto crash. Longman placed Nellie in Kelly's Stables, the New York nightery. She was such a hit that he sent her to Paris to appear at his co-owned Les Ambassadeurs. Nellie sang there for six months. Upon her return to the United States in 1948, she recorded the Abbey bestseller record, Don't Worry Me No More. American night clubs began bidding for her. By 1950. she had joined the Flame where Johnny Ray was discovered. The result: Nellie became a sensation. Niteries, theaters, radio and television stations bid for her talent. Scores of ardent swains, frustrated husbands and many a wealthy businessman proposed marriage. But "Naughty Nellie," with a buxom bounce to her style and a bewitching glint in her eyes, has other ideas. She divorced Hill in Detroit in 1952, and now confesses she carries a much-talked-about torch for Jimmy Ricks, deep-singing member of The Ravens. Until, and unless, the wedding bells peal, she will soon be singing at the classy Elmwood Casino in Windsor, Canada. " And info on the label: Abbey Records - This little label based in New York City was the creation of Peter Doraine, and was his attempt to become a major player in the world of the Rhythm & Blues independent record companies during the late 1940s. The first releases for the label came out in 1949 and without making a big splash on the scene with their initial entries, Doraine looked for something different to get his label publicity and sales. In late 1949, the vocal group The Cabineers recorded "Whirlpool" for Abbey #3003, which got initial interest, and then the Ben Smith Quartet recorded "Don't Worry About Me" and "I Ain't Fattening Frogs For Snakes" an established R & B standard for Abbey #3008. The label signed Bobby Marshall to its roster in February. In March of that year, Doraine and his label found what they were looking for in terms of publicity, credibility, and success, and it came from a surprising source. Abbey #15003 (note the drastic change in label numbering), was by Lawrence Cook and The Jim Dandies and was titled "The Old Piano Roll Blues" bw "Why Do They Always Say No". The amazing thing about this record is that it is actually a pianola playing a QRS piano roll, which was certainly a throwback to earlier times. If you study the trends in American popular music, you will find that at this exact moment in history, memories and reminiscences of an earlier simpler time were the biggest sellers ("Cruising Down The River", "When You Were Sweet Sixteen", "I Never See Maggie Alone", etc.). So, whether it was by design or merely by chance, "The Old Piano Roll Blues" was a huge success. Quite a departure for the new R & B label in town ! The tune by Lawrence (now nicknamed "Piano Roll") Cook, was everywhere. But - Doraine continued on his R & B quest. The Masterkeys released "Don't Talk Darling" / "It's Time To Kiss Goodnight" on Abbey #3011, and the Ben Smith Quartet returned with #3012 - "You Are Closer To My Heart" with vocal by Art Long and "Blues Got Me Walkin',Talkin' To Myself". Bobby Marshall with the Ray Parker Combo recorded #3014 - "Just One More Time" and "Call Me Darling". Later on during the year, the label enlisted Rudy Toombs as its chief A & R person for the R & B records on the label. (Toombs would go on to great success as a writer-arranger with Atlantic). The label closed out 1950 with a pair of recordings by Bobby Marshall - "It's A Great Pleasure" / "I'm Going To Live For Today" with the Ray Parker Combo on #3018, and "Are You Lonesome Tonight?" (the old Inkspots tune soon to be made famous by Elvis) and "I Shouldn't Love You But I Do" with the Eddie Wilcox Orchestra on #3019.After a period of re-organization, the label moves into the year 1951 with Doraine acquiring a new partner Gene Novello. In early 1951 the Abbey label releases #3021 by the Eddie Wilcox Orchestra : "If You Were Only Mine" with vocal by Billy Matthews, and "How About That" with vocal on this side by Elmer Crumbley. Johnny Felton records "You're Spending My Money Too Fast" / "One Note" on #3022 and returns on #3023 with vocalist Jewyl Lang for "Oh Yes He Does" and "Barber Jim". The following release for the label was by The Radars with the Conrad Fredrick Orchestra - "You Belong To Me" and "I Need You All The Time". In late July the label made two new signings - singer Nellie Hill and Sister Dorothy Rivers and Her Gospel Singers. In the fall Nellie Hill records her first for the label : "When I'm In The Mood" and "I'm Gonna Copyright Your Kisses" on Abbey #3027. Joan Shaw records for the label with the Billy Ford Orchestra on #3030 - "Lonesome For My Baby" and "Rock My Soul". At the end of the year the label signs singer Elaine Brent. During 1952 there is very little activity for the label, and the one release that gets some airplay in the East is by the King Odom Four - "Lucky" and "Don't Trade Your Love For Gold". The end of the Abbey label comes as Peter Doraine moves over to Allen Records in the capacity of the A & R (Artists and Repertoire) head and will produce the Five Willows for that label. (Doraine releases one record by The Five Willows on his PeeDee label - "Love Bells" / "Please Baby" on #290 in 1953). Little more is heard from Peter Doraine and Abbey, but that is not the end of this story. In May of 1955, it is announced that former New York record producer Doraine, now located in Birmingham, Alabama, will begin a new R & B label called Vulcan Records. The first of only two known releases for the label is "Pleading To You" / "I Like Moonshine" by The Five Owls on Vulcan #1025. The Abbey label made no great inroads into the public consciousness with their R & B offerings, but once again the mere presence of the recording effort by this little remembered company is proof of the determined effort to promote this music and make it into the dominant force it has become. For this, individuals like Peter Doraine should be remembered.