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• 1964
• 1965
• 1966
• 1967

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1966 saw Reggie continuing as the session guitarist at Royal (referred to as Hi Studio in the books), while branching out even further into work at other Memphis studios like Sam Phillips Recording (aka Sun), Pepper, American, Sonic and on into Nashville, cutting with Chips Moman at studios like Columbia and Foster.

As Stax continued to crank out the hits around the corner, the industry was paying attention, and Hi began booking the studio and its musicians for 'outside' sessions on artists ranging from The Gentrys to Little Junior Parker

Reggie kept two books in 1966 and by April, besides noting the session leader, he was also keeping track of the musicians that played on each session (well, sometimes). By July, those notations had been reduced to a shorthand of initials; AC=Ace Cannon, BE=Bobby Emmons, FF=Fred Ford, JM=James Mitchell, LB=Larry Butler, ML=Mike Leech, RY=Reggie Young, SA=Satch Arnold, SC=Sammy Creason, TC=Tommy Cogbill and WM=Willie Mitchell...

In addition to over three hundred individual sessions, Reggie was still 'playing out', backing up Ace Cannon and others on more than forty gigs throughout the Mid-South. As the demand for his services increased, so did the number of recordings he appeared on for various labels besides Hi and M.O.C., and so we've added new sections for both single and LP releases for other companies as well.

Rather than duplicate audio tracks, if a known release is mentioned in the log-book section, it will be marked with an asterisk indicating that it is listed and playable below. Due to the nature of the project, there will always be conjecture about exactly which records Reggie was referring to within the pages of the books. Although he himself is doing his best, it is impossible for him to recall the details of these thousands of sessions, and so each page remains a work in progress. Rather than not list a possible record because we don't know for sure if he played on it, we have decided to include those with the highest degree of probability based on release dates and other pertinent information (like whether or not it sounds like Reggie), while presenting the case as to why we think it should be included on the liner notes pages... the 1966 notes are divided into two parts, part one covers Reggie's in-house Hi recordings, and part two focuses on his sessions for other labels, with more recordings being added to this page as they are discovered. As we find sessions Reggie played on that are not listed in the book, or find out further details about one that is, that information will be added in Blue Ink... there may be a pop quiz at any time!

We are counting on your feedback, detectives, to add to (or subtract from) that list based on further evidence.

Be sure to check out expanded 1966 liner note pages:
PART ONE - HI RECORDS
PART TWO - OUTSIDE LABELS
...then please join in the discussion. Thanks!

  - special thanks to 45cat, BSNpubs, Peter Hoogers, John Broven, Colin Escott, Jay Halsey, Jenny Lynn Young, Georgette Keller and, of course, Reggie!