Vicki Ford

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Vicki Ford was better known as a model than a singer in the '50s and '60s. She posed with cars, she posed in bikinis, and inevitably the details of the pose were not of great importance as long as the…
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Vicki Ford was better known as a model than a singer in the '50s and '60s. She posed with cars, she posed in bikinis, and inevitably the details of the pose were not of great importance as long as the overall effect was steamy and lurid. Music catering to the lover of smut was nothing new during the height of her career, having already reached a kind of orgasm of popularity in the '20s during the classic blues era. What was new were various packaging gimmicks tied in with the LP's expansive display space, combining sexy music and pictures as well as a more aggressive stance in terms of song and album titles. Sometimes the action was all in the photography, resulting in a product loosely known as "nude pinup stag records," which in the sexually liberated new millennium fetch a starting price of $25 at record auctions.

Ford's most famous recording session at which she actually sang was done for producer Joe Davis, a music business veteran whose involvement in raunchy material was intense, if not consistent. He chose the popular model to remake two songs that had already been released by another vocalist, Faye Richmonde, on a Davis production entitled Girlesque. The single combining Ford's versions of "My Pussy Belongs to Daddy" and "Tony's Got Hot Nuts" actually advertised the recordings as being themselves from the Girlesque album, which they were not -- that album contains Richmonde's versions of the songs. Collectors who own both the Richmonde and Ford sides might be closet smut-freaks, they might be Davis completists, or they simply might like good studio musicians. As was typical of a Davis recording event, top players such as guitarist Lawrence Lucie, drummer Harlem Williams, and trumpeter Louis Metcalf add a little class to the ass.

This ensemble was collectively known as Vicki Ford & Her Men of Passion. Davis' interest in Ford might have been part of his cost-cutting mindset; by getting a model to sing, he could pay one person for two jobs. Other releases in this genre often employed professional models to sex up the covers, a vocalist being either unwilling or not attractive enough to do it herself. Nonetheless, some of the releases involving Ford actually do feature someone different posing on the cover, such as a Beacon album in which the model Shela Brett is hanging out on the deck of a motorboat. This Vicki Ford should not be confused with the cabaret singer who is based out of Washington, D.C., most often credited as Viki Ford.