Recorded in NYC in late 1950 and released on the regional independent imprint Lance Records out of Charlotte, NC, this 10-inch shellac single features the deeply expressive blues and gospel vocalist Marilyn Scott (born Mary Deloatch). Before moving into commercial rhythm and blues, Scott cut her teeth singing raw Southern spirituals. That immense, room-filling vocal power is on full display here.Recorded: Late 1950 (Released 1951).The Tracks: The A-side, "Let's Do The Boogie Woogie," is a blistering boogie stomper driven by driving acoustic guitar work. The B-side, "I Got What My Daddy Likes," is a high-octane example of the "double-entendre" dirty blues genre, anchored by a rolling piano rhythm. Her commanding delivery bridges the exact line where raw country blues transformed into early post-war rock and roll.
The year 1950 marks a critical transition in the American South. As the post-war industrial boom reshaped major regional hubs, local Black neighborhoods and nightspots demanded an energetic, modern style of music that echoed their rural acoustic roots while carrying an urban swagger.On the B-side, "I Got What My Daddy Likes" used playful, coded adult humor to subvert rigid radio censorship. It speaks directly to working-class Black audiences who packed out the local juke joints, dance halls, and after-hours clubs of the Carolinas and the historic Atlanta Auburn Avenue district.

The Micro-Indie Reality: Lance Records was a microscopic, short-lived independent label operating with highly restricted regional production loops in the Southeast.
Scarcity: With almost no distribution networks outside of a few local Southern suppliers, pressing runs were tiny—often limited to just a few hundred copies specifically for regional jukebox operators and Black-market radio pluggers.
Survival Rate: The vast majority of these fragile 78s were played to destruction on brutal tracking jukebox tonearms or heavy domestic gramophones, leaving vanishingly few clean survivors.
Condition Report
Visual Grade: Excellent/Excellent Plus (E/EE+) VJM System.Play Surface: Spectacular survival. The vintage 1950 shellac compound retains its complete, brilliant factory mirror-shine and deep black gloss. Under bright inspection lighting, the play surfaces present as remarkably immaculate, completely free of any deep scratches, gray acoustic groove-wear, needle digs, structural stress lines, scuffs, paper-sleeve marks, or perimeter edge chips.
Audio Performance: Both sides play beautifully loud, crisp, and robust with immense acoustic presence. Marilyn Scott's booming vocals, the stinging guitar work, and the driving piano boogie track with phenomenal clarity and zero underlying tracking distortion. Surface noise is virtually non-existent, playing with an extraordinarily quiet background that is exceptionally rare for independent 1950s regional pressings.
Center Labels: Classic, highly coveted silver-and-red Lance Records typography layout featuring the signature lance graphic. Both sides are beautifully clean, crisp, and bright with deep contrasting text. The central spindle hole remains perfectly tight and pristine with zero trailing wear. Entirely free of modern ink writing, radio station stamps, layout tearing, or vintage dealer sticker residue.

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Postage & Packaging
Professionally packed by an experienced 78 RPM specialist trader. The disc will be strictly secured using heavy-duty industrial materials specifically engineered for fragile shellac.The packing process features:
A heavy-gauge, custom-fitted doubleskin box to resist external impact.
Rigid internal support panels constructed from multiple layers of thick card stiffeners to prevent bending
.Shock-absorbing bubble wrap surrounding the record jacket.
Dense void fill and loose-fill padding to fully suspend the disc and guarantee zero movement during transit.
Worldwide shipping available.
Carefully packed and promptly dispatched.