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Still, Aladdin resisted releasing the remaining material from the Sha-Weez's J&M session, nor did the label book another studio date.

The group nevertheless remained under contract to the label, but in late 1953 Crawford and Myles began recording for Chess, recruiting guitarist Billy Tate, bassist Frank Fields, tenor saxophonist Leroy "Batman" Rankins, and drummer Chester Jones to form Sugar Boy & His Cane Cutters.

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Blank muss er bei meiner Ilse rein, ist völlig egal, aus welchem Schwanz die Milch kommt. Kann nicht verstehen, dass jemand Gummi über seinen Schwanz zieht. Sehe dann, wie sich seine Eier straffen und heben, wie der Schwanz in ihr ein und aus geht, sein Pussy und Damm pulsiert und weiss, dass er nun in ihr abspritzt. Wehe, wenn ich Gummi oder Latex riechen oder schmecken würde. Sehe gerne zu, wie meine Olle von anderen gedeckt wird, am liebsten von Hinten.“I entered the sex trade two years ago”, Saba says without blinking. I thought that kind of work was the only way out of poverty”.

Saba’s story is far from unique in Lahore, where a UNICEF study conducted in 2004 estimated that 11,000 children were at risk of being commercially or sexually exploited.New Orleans R&B outfit the Sha-Weez formed on the campus of Booker T. According to Marv Goldberg's profile in the September 1977 issue of Yesterday's Memories, the founding lineup featured Edgar "Big Boy" Myles on trombone and vocals, James "Sugarboy" Crawford on piano and vocals, Irving "Cat" Bannister on guitar and vocals, Alfred "Hot Lips" Woodard on trumpet, Eric "Skee-za" Warner on drums, Nolan "Sha-Wee" Blackwell on alto sax, Warren "Jake" Myles on piano, and the nickname-free Alfred Bernard and David Lastie on tenor saxes.