to promote the album, either immediately before or immediately after the album release. As Alan Light tells it 'part of Simone's frustration with Bethlehem came from their resistance to issuing a single'. However, 'Sid Mark, a disc jockey at WHAT in Philadelphia [...] had started playing her recording of "I Loves You, Porgy" on air, sometimes multiple times in a row'. When Bethlehem became aware of this, they apparently rushed to issue it as a single. "I Loves You, Porgy" was released in May 1959, the 30 May edition of Cash Box writing in their 'Record Reviews' section that it was 'a beautifully sensitive performance'. Within a few months it had become a hit, peaking at number 18 on the pop charts, and number 2 on the R&B charts. Helped by the success of the single, the album too went on to become a hit. Aftermath However, in the meantime, Simone had already began talking to Colpix Records about a new contract, going on to sign with them in April 1959. So soon after Little Girl Blue was out, and before Bethlehem had released "I Loves You, Porgy", Simone recorded her second album: The Amazing Nina Simone. Colpix released the lead single "Chilly Winds Don't Blow" in June 1959, just a week or so after Bethlehem rush released "I Loves You, Porgy". Ironically for everyone, 'I Loves You, Porgy' was a hit single, and 'Chilly Winds Don't Blow' didn't chart. The success of 'I Loves You, Porgy' resulted in Bethlehem going on to exploit their Simone recordings for the next couple of years, all without her consent. On the one hand, the following March they released the album Nina Simone and Her Friends (1960). This compilation album had four tracks each from Simone, Carmen McRae, and Chris Connor (all three artists had left the label by this time). With respect to the Simone tracks, the album featured, along with 'I Loves You, Porgy', the remaining three cuts from the 1957 recording session. On the other hand, Bethlehem would go on to release a series of singles. Thus over the next couple of years Simone singles would come both from the new material she was recording for Colpix, and from the 1957 Bethlehem session. Bethlehem would go on to release every track from that session either as A Side or B Side (and sometimes both) with the final single appearing in