![]() |
BY TONY FOURNIER |
Federal Records, formed in 1950, was a subsidiary label of King Records. There is a nine-part King Records article available at this website. Each part has links to all the other parts, starting at KING RECORDS - PART ONE. |
![]() |
![]() ![]() |
Above Left: CASH BOX, December 16, 1950.
NOTE:Interesting that, on the label graphic, it differentiates "folk" from "hillbilly" and "sepia" from "race". It also doesn't mention "spiritual" or "gospel".LISTEN (Windows Media Player):
1. "Moaning The Blues" - Jimmie Dale - Federal 10001-AA - 1951.
2. "Get Away Jordan" - L. And N. Gospel Singers - Federal 12002-A - 1950.BOTH SONGS played in sequence.
The two records for the above shown labels are mentioned in the clipping. The Federal 12001 label is included in the next section, "The Dominoes".
Jimmie Dale had just two records on the Federal label, #10001 and #10002. The L. And N. Gospel Singers, from Cleveland, Ohio, also had two records on Federal, #12002 and #12011.
Neither of these artists moved up to the King label. The Dominoes, of course, hit the big time with many records on both Federal and King.
![]() |
|
THE DOMINOES
![]() |
![]() |
Above Left: 1951 photo of Bill Ward And His Dominoes, (Clockwise From Left) Joe Lamont, Billy Ward, Bill Brown, Charlie White, and Clyde McPhatter (Front-Center). This is the line-up for their first five records (1950-1952).
Above Right: 1957 photo of Bill Ward.
Click HERE for an article about THE DOMINOES by Marv Goldberg.
(Will open in a separate window)
![]() |
![]() |
Above Left: CASH BOX, December 23, 1950: FEDERAL RELEASES FIRST RECORD
CINCINNATI, OHIORalph Bass, A&R man for Federal Records, kicks off his new label as he presents the first record off the press to Bill Ward, leader and arranger of the Dominoes, a quartet which just waxed "Do Something For Me" backed by "Chicken Blues".Left to right are: Ralph Bass, Charles White, Clyde McPhatter, William Brown, and Joseph Lamont. Bill Ward is at the piano.
Above Right: Label image of Federal 12001-AA, recorded on November 14, 1950 and released the following month. It is the record that introduced lead tenor Clyde McPhatter's voice to the world!
The decision makers at King Records had a habit of reusing songs. "Chicken Blues", composed by Billy Ward and Rose Marks, was used for King 983 in November 1951 by The York Brothers, a country and western band.
LISTEN (Windows Media Player):
1. "Do Something For Me" - The Dominoes - Federal 12001-AA - 1950.
2. "Chicken Blues" - The Dominoes - Federal 12001-A - 1950.BOTH SONGS played in sequence.
CASH BOX AWARD O' THE WEEK (1/6/51):
THE DOMINOES FEDERAL 12001 Chicken Blues/Do Something For Me
The Dominoes, a new singing group, turn out two tremendous sides for their first platter on the Federal label. Called "Chicken Blues" and "Do Something For Me", each side is in a completely different vein and each side is equally as good as the other. It’s impossible to choose between them.Ops who want a disk that will be played from here to there on both ends better get with this one. The first side has a good beat and features some terrific harmony by the boys. Each one of them seems to have an excellent voice and taken all together, they’re out of this world. With a pounding instrumental to back them up, this end has everything an op can want.
On the lower half, the group does a slow ballad with a top rate vocal solo and grand harmony. It gets to be very exciting listening. As we said, it’s impossible to choose between the sides. Listen in and you’ll know why.
|
|
![]() |
![]() Above: CASH BOX, September 8, 1951.
|
|
![]() |
|
![]() |
Above: 1952 photo of Billy Ward And His Dominoes, (L-R) Clyde McPhatter, James Van Loan, Billy Ward (in front), Joe Lamont, and David McNeil. This publicity photo states that Rose A. Marks is their "Personal Manager".
![]() |
|
LEON RENÉ was a record label owner and operator. He was also a prolific songwriter. His most famous song is probably "When The Swallows Come Back To Capistrano". He owned AMMOR and MAKE BELIEVE BALLROOM (early 1940s) with his brother, Otis René; EXCLUSIVE (mid-to-late 1940s); CLASS (early to mid-1950s); and RENDEZVOUS (late 1950s). All these record labels were located in Hollywood or Los Angeles.
Some songs, other than "Swallows...Capistrano", that Leon either wrote or co-authored are "I Sold My Heart To The Junkman", "Someone's Rocking My Dream Boat", "Sleepy Time Down South", "Rockin' Robin", "Boogie Woogie Santa Claus"...
PITTSBURGH COURIER, September 28, 1940:
Leon René is the outstanding composer of the year. His nationally famous "When The Swallows Come Back To Capistrano" has captured the public imagination as has no other song of the season.Sweeping along to the crest of popularity after it was introduced in the country's music marts, René's lilting melody of an ancient tradition of an old California Mission, made the Lucky Strike Hit Parade the week of August 3 and moved up to Number One place on this program.
In addition, it has become favorite on music boxes throughout the country, as well as a big sheet-music seller.
Background for René's hit, which is destined to become one of the all-time song immortals of America, is the phenomenon of the swallows returning to the famous Mission San Juan Capistrano, a few miles from San Diego, California, every year on the day, March 19, and, with the same unfailing regularity, they depart on October 23.
Leap years do not alter their schedule, making it all the more miraculous.
Practically every name band in the country has made special arrangements of the number. One of those most widely heard is that sung by the Ink Spots.
Fred Waring selected it as one of his "songs of the week" and featured it daily. Bing Crosby featured it twice on the NBC Kraft Music Hall.
René, a native of New Orleans, Louisiana, came to Los Angeles in 1923 where he has lived ever since. He is a product of Xavier University, New Orleans; Southern University, Baton Rouge, and Wilberforce University at Xenia, Ohio.
CASH BOX REVIEW (4/5/52):
THE DOMINOES FEDERAL 12059
That's What You're Doing To Me
When The Swallows Come Back To Capistrano
The harmonizing Dominoes belt out a dynamic driving item that should prove to be what the ops are looking for to stir up a load of action. Titled "That’s What You’re Doing To Me", the upper deck has just about everything jammed into two and one-half minutes of playing time.The accomplished singing of the lead vocal, and the blend of harmony by the Dominoes, is set off with shouts and handclapping in the background to give it a jubilee effect. The arrangement features a wild'sh sax that fits into the mood of the waxing.
Under portion is a slow and smooth presentation of a mellow item. Chapel bells and organ music lend softness and appeal as the group works together beautifully and brings in a solid platter.
Ops had better get with these two fast as they have a pair of strong contenders to work with.
![]() |
![]() |
Above: Label images of Ammor 111 A and Decca 3195 A, both released in 1940. Ammor is said to be an acronym for Automatic Music Machine Operators Recording, which means the label’s purpose was to sell to juke box operators. From the wear ring on the above label, it seems that the record was heavily played on a juke box. The Ammor label is especially noted for its two records (one side each) by The Four Toppers in 1940.
The Ink Spots version of the song features Bill Kenny's tenor lead and Bob Benson's piano solo.
The Glenn Miller, Gene Krupa, Xavier Cugat, and Dick Todd orchestras also had releases of "When The Swallows Come Back To Capistrano" in 1940.
Ceelle Burke's version was reissued on Leon René's Exclusive label in the mid-1940s.
More information about Ceelle Burke/Leon René is available in the FOUR TONES - PART TWO article.
At Right: CALIFORNIA EAGLE, August 26, 1943: CEELLE BURKE AND LEON RENÉ
Ceelle Burke (left) listens as Leon René demonstrates his latest composition.... Record critics proclaim Burke to be one of America's outstanding vocalists.Ceelle Burke was a vocalist, guitarist, and orchestra leader. The Rhythmettes were a female vocal group.
LISTEN (Windows Media Player):
1. "When The Swallows Come Back To Capistrano" - Ceelle Burke And The Rhythmettes - Ammor 111 A - 1940.
2. "When The Swallows Come Back To Capistrano" - The Ink Spots - Decca 3195 A - 1940.BOTH SONGS played in sequence.
![]()
![]() |
Above: Photo from 1941. At the piano is Leon René and with his hand on the piano is Otis René. At far right is Al Jarvis, Los Angeles deejay, host of his "Make Believe Ballroom" radio show on KLAC. He is holding a 78-rpm record of "Someone's Rocking My Dream Boat", composed by the René brothers and Emerson Scott. It's on the René's "Make Believe Ballroom" label. In the back, wearing white suits, are The Four Tones, who are the singers on this record. (L-R) Leon Buck, Dusty Brooks, Rudolph Hunter, and Johnnie Porter. To the right of them, in the dark suit, is Joe Green, their manager.
At Right: BROADCASTING MAGAZINE, September 2, 1946.
LISTEN (Windows Media Player):
"Someone's Rocking My Dream Boat" - The Four Tones - Make Believe Ballroom A. M. 02357-E - 1941.
(For Information)![]()
THE DOMINOES had many releases on Federal (1951-57) and its parent label, King (1953-55), including backing Little Esther on three sides (1951).
Coverage of BILLY WARD AND HIS DOMINOES on the KING label is included in the
KING RECORDS - PART EIGHT article.After leaving King/Federal, Billy Ward And His Dominoes had records on Jubilee (1954-1955),
Decca (1956-1957), and Liberty (1957-1959).
EXTRA RECORD THE CAPRIS
![]() |
![]() |
Above Left: Photo of The Capris, who were from Philadelphia. The group members on this record are Rena Hinton (lead singer), Harrison Scott, Bobby Smart, Eddie Warner, and Ruben Wright. They had three records on the Gotham label (1954-1955). Above Right: Label image of Gotham G-304B, released in August 1954. Interesting that nobody noticed Rena was singing The Dominoes' lyric of "....I love that woman so. She doesn't want me...., or they just didn't want to redo it.
The Cash Box Review (9/11/54) gave the side a "B" rating (very good) and the other side, "God Only Knows", a "B+" (excellent). The composer of "God Only Knows" is Ruben Wright, a member of the group.
LISTEN (Windows Media Player):
1. "That's What You're Doing To Me" - The Capris - Gotham G-304B - 1954.
2. "God Only Knows" - The Capris - Gotham G-304A - 1954.BOTH SONGS played in sequence.
LITTLE ESTHER
![]() |
Above: Photo of Little Esther, who was born in Texas but grew up in Los Angeles. At thirteen, she became Johnny Otis' featured singer. Her first record with Johnny Otis was on the Modern label in 1949.
More information about Little Esther's Modern Record with Johnny Otis is found in the MODERN RECORDS - PART TWO article.
Johnny and Esther went to Savoy Records later in 1949. There she had her first big hit, "Double Crossing Blues", when she was only fourteen. Backing her on that Savoy side were the Johnny Otis Quintette and the Robins vocal group.
Click HERE for an article about LITTLE ESTHER by Marv Goldberg.
(Will open in a separate window)THE BILLBOARD, January 20, 1951: KING SIGNS ESTHER, GOES INTO 45 LINE
NEW YORKSid Nathan, King Records president, exploded a double header with the announcement that Little Esther, Savoy disk queen, would record henceforth for King. He also stated King was going 45. Confirmation of the Little Esther switch came this week when Herman 1ubinsky, on the Coast, stated he had signed Linda Hopkins to replace Little Esther....CASH BOX, January 20, 1951:
LITTLE ESTHER SIGNS CONTRACT WITH NEW FEDERAL LABEL
NEW YORKBursting into the jazz and blues picture with a spurt, officials of Federal Records, King’s new subsidiary, this week disclosed that they had signed Little Esther to a recording contract.The Superior Court of California for Los Angeles County on January 5 appointed Lucille Washington, her mother, guardian for Little Esther and at the same time approved the new contract between the child singer and Federal, according to a statement by Federal executives.
Little Esther is due to arrive in Cincinnati some time next week to make her first waxings on the new label. The session will be under the direction of Ralph Bass.
THE BILLBOARD, May 19, 1951: LITTLE ESTHER BRINGS SUIT
NEW YORKEsther May Jones, who does business under the pseudonym of Little Esther, filed suit this week against Savoy Records, seeking an accounting of her record sales, payment for services rendered and an injunction to restrain Savoy from continuing to market her records....The claim disaffirmed any contract she may have made with Savoy on grounds that she is a minor. It also disaffirms any contract which may have been made in her behalf.
She seeks an accounting and payment for her services on a series of recordings, a number of which were rhythm and blues hits of substance last year. These recordings include "Double Crossing Blues", "Mistrusting Blues", "Cupid's Boogie", and "Deceiving Blues".
Esther is represented by attorney Jack Pearl. She now records for King Records.
![]()
THE BILLBOARD, June 30, 1951: SAVOY CLAIMS 50G ON ESTHER
NEW YORKSavoy Records' Topper, Herman Lubinsky, this week filed a reply and counterclaim to a suit brought against his diskery last month by rhythm and blues artist Little Esther, whose real name is Esther May Jones.Diskery alleges that the chanter was an unknown whose reputation as an artist was made via her Savoy recordings and at considerable expense and effort to the label. Diskery also claims that the singer broke her contract by signing with King label.
Lubinsky asks $50,000 in damages, alleging that Little Esther's switch in labels financially hurt Savoy's unreleased masters. Diskery also asks an injunction to restrain further violations of the contract it claims to hold with the artist. Jack Cohen represents Savoy.
CASH BOX, May 17, 1952: LITTLE ESTHER & SAVOY SETTLE DISPUTE BY ARBITRATION
NEW YORKHerman Lubinsky,President of Savoy Records, and Little Esther have settled their contractual differences through the arbitration decision of Frank Walker, president of MGM, it was learned this week.Rather than have their problem go through the courts, both parties decided to accept Walker as an arbitrator. The decision calls for Little Esther to get a lump sum in the neighborhood of $6,000 from Savoy. This figure is based on a disputed 650,000 records on which the artist gets 1% cents per record....
![]()
![]()
JOHNNY OTIS AND LITTLE ESTHER
![]()
|
|
![]() |
![]() |
Above Left: Photo of Bobby Nunn, otherwise known as The Robins' bass singer. Above Right: Label image of Federal 12100, released in October 1952.Both sides were composed by the famous songwriting duo, Mike Stoller and Jerry Leiber. The labels on both sides misspell Stoller's name.
LISTEN (Windows Media Player):
1. "Saturday Night Daddy" - Little Esther And Bobby Nunn - Federal 12100 - 1952.
2. "Mainliner" - Little Esther - Federal 12100 - 1952.BOTH SONGS played in sequence.
The Cash Box Review (10/11/52): LITTLE ESTHER FEDERAL 12100....
Saturday Night Daddy (B) Little Esther chants a rhythmic slow beat blues with an unnamed [sic] male vocalist lending a powerful assist.
Mainliner (B) A rhythmic foot-tapper is the material for the chantress and she belts it out with a lively reading that stamps this as one of her better sides. Novelty noises and chorus chants round out the disk in potent style.
(NOTE: A rating of B was considered as "very good".)
THE BILLBOARD, November 24, 1951: MERCURY ADDS 2 R.&B. ARTISTS
CHICAGOMercury Records, which has been making rapid strides in the rhythm and blues field since Bobby Shadd [sic], formerly chief of Sittin' In diskery, New York, became director of Mercury's jump wing, added two more important artists.Shadd inked Little Esther and Johnny Otis' jump crew, both of whom got their start with Savoy and switched to King a year ago. Shadd will cut the first session by both artists early in December in California.
They will work together and do individual sides in the first waxing session. They inked five -year papers.
CASH BOX, December 1, 1951: LITTLE ESTHER, OTIS SWITCH
CHICAGOIt was announced this week that Little Esther and Johnny Otis had signed recording contracts with Mercury Records.Little Esther came from Federal and Johnny Otis from Savoy. Bobby Shad, former head of Sittin’ In Records, who now heads the diskery’s R & B department, has been building the roster with the acquisition of new artists....
EXTRA RECORD LITTLE ESTHER
![]() |
![]() |
![]() |
Above Left: Label image of Savoy 731-A, recorded on December 1, 1949 and released in January 1950. This song went to #1 on The Billboard's R&B Chart. The label shows "Johnny Otis" as the composer, but the actual songwriter, Jessie Mae Robinson, sued and won an out-of-court settlement in March 1950.
Little Esther re-recorded "Double Crossing Blues" with Jimmy Ricks for the Atlantic label in 1964. That version's label credits "Robinson" as the composer of this "BMI Award Winning Song".
Jessie Mae wrote such songs as "I Went To Your Wedding", "Keep It A Secret", and "Once There Lived A Fool". BMI credits her with composing eight "BMI Award Winning Songs".
Above Middle: Photo of Little Esther.
Above Right: Photo of Johnny Otis.
At Direct Right: THE BILLBOARD, March 1950.
The Cash Box Review (1/21/50):
JOHNNY OTIS SAVOY 731....
Double Crossing Blues/Ain't Nothin' Shakin'
Pair of sides which music ops should get next to are these set up by maestro Johnny Otis. Top deck is a hot blues number with Little Esther and the Robins highlighted. Music weaves in a slow moody pace, and is the sort that consistently wins juke box play.Flip is a medium tempo'd jump number with Leon Sims handling the vocal work. It's the top side that should get the gravy.
The Billboard Review (1/21/50):
LITTLE ESTHER-THE ROBINS-JOHNNY OTIS SAVOY 731....
Double Crossing Blues (85) Teenage thrush cries an insinuating blues with shrill, unpolished ferver. Her very crudity makes this a potent jobrough, sincere, vital. Male quartet makes a good foil.
(NOTE: A ratings range of 80-89 was considered "excellent.")LISTEN (Windows Media Player):
"Double Crossing Blues" - Little Esther And The Robins - Savoy 731-A - 1950.![]()
![]()
Above: THE ROBINS (Back L-R) Bobby Nunn, Billy Richard, (Front L-R) Grady Chapman, Ty Terrell, and Roy Richard. The Robins in 1950 consisted of those shown in this photo, but less Grady Chapman.
GLADYS PALMER
![]() |
Above: Photo of Gladys Palmer, who was a singer, pianist, and songwriter. She had two records for Decca (1935), one for Vocalion (1937), and ten sides of six records released on the Miracle label (1947-1949). Her big hit was "Fool That I Am" on Miracle in 1947.
For Federal, Gladys had two records, from procured Miracle master tapes, both released in 1951.
In my opinion, her singing and piano style was similar, but not as good, as that of Hadda Brooks, who was very popular on Modern Records at the time. Hadda is included in the "Modern Records" article (Parts One and Three) found at this website.
Click HERE for an article about GLADYS PALMER by Marv Goldberg.
(Will open in a separate window)
![]() |
![]() |
Above Left: Label image of Miracle M-104, released in 1947. The flip-side is an instrumental by the Floyd Hunt Quartette. Above Right: Label image of Miracle M-507, released in 1949.
President of Miracle Records, located in Chicago, was Lee Egalnick. His partner and the company's A&R man was Lew Simpkins. The "Red Saunders Research Foundation" website has identified "S & S Recording Studios". It was located in the back of Simpkins bookstore and used to record demo records. His bookstore also sold records. There is no evidence that any of the used Miracle sides were recorded there.
THE BILLBOARD, January 15, 1949:
..... Dorothy Sewell, librarian at WMGM, has had her tune, Song Man, waxed by Gladys Palmer and Sonny Thompson on Miracle, with pub rights to Bobby Mellin....(NOTE: The above label gives composing credit to "Blake". The Federal label below gives no credit. BMI.com lists eighteen "Song Man" titles, but no mention of either Sewell or Blake for any of them.)
CASH BOX REVIEW (5/31/47):
FLOYD HUNT MIRACLE 104 Fool That I Am/Harlem Breakdown
Floyd Hunt's combopiano, bass, guitar, and the fronter's vibesbreaks into the wax columns with this pairing, the first featuring some rather inconsistent chirping by cocktail single Gladys Palmer.Gal needs some training in wax technique, for she seems to back away from the mike occasionally, giving her a wavering tone, and her vocal gymnastics are not always in tune.
Second side is an instrumental which shows the Hunt combo to advantage, except for a single string guitarist whose technique is anything but fluid. Not much here to interest phono ops.
Cash Box changes it's tune once the Gladys Palmer side starts to take off. Now the record belongs to Gladys Palmer instead of Floyd Hunt....
CASH BOX REVIEW (10/6/47):
GLADYS PALMER MIRACLE 104 Fool That I Am/Harlem Breakdown
Music ops are bound to go ga-ga over this one! Another smash recording of this rapidly rising favorite aimed at ops with race spots is this version of "Fool That I Am", with Gladys Palmer to the fore to charm and enchant the most avid listener.The chirp’s heavy throating of this sultry styled ballad should start an avalanche of coin rolling in her direction. Waxing spins in very slow metro with musical accompaniment offered coming thru to round out the side. The canary has that extra bit in her tonsils that make you wanna set up and take notice.
On the flip with some vivid instrumentation by the band, "Harlem Breakdown" echoes thru for a fast ride. Music displayed here is top caliber and should lay heavy with the fast crowd of jazzophiles. Side to ride with is the top decklatch on!
The Billboard Review (5/14/49):
GLADYS PALMER MIRACLE 104....Song Man (70)Quality mood ballad by Dorothy Sewell and Hal Blake is a class vehicle of the type Billie Holiday used to do. Miss Palmer gives it a sensitise, understanding treatment. Kicks, but not commercial.
Later On (67) Tune is more in the popular mode, and thrush sings it strong, but not with the feeling and appreciation she lavishes on the flip.(NOTE: OK, we now know the probable composers of "Song Man". A ratings range of 40-69 was considered as "satisfactory" and 70-79 as "good".)
![]()
THE BILLBOARD OCTOBER 2, 1948
![]() |
![]() |
Above: Label images for both sides of Federal 12018, released in 1951. Both sides are from the original Miracle 1946 and 1947 recording sessions, respectively. However, "Fool That I Am" is a different take than the one used for the Miracle release. The Floyd Hunt Quartette, with Floyd on vibraphone, backs Gladys on "Fool That I Am", while Sonny Thompson's piano and his combo back her on the flip-side, "Song Man".
![]() |
![]() |
Above Left: CASH BOX, August 23, 1947. Above Right: CASH BOX, September 22, 1947.
NOTE: Miracle clippings now give Gladys Palmer the top billing. Btw, "Orchestra" does sound more impressive than "Quartette".
LISTEN (Windows Media Player):
1. "Fool That I Am" - Floyd Hunt Quartette (Vocal By Gladys Palmer) - Miracle M-104 - 1947.
2. "Fool That I Am" - Gladys Palmer - Federal 12018-AA - 1951.
3. "Song Man" - Gladys Palmer - Federal 12018-A - 1951.ALL THREE SONGS played in sequence.
EXTRA RECORD VALAIDA SNOW
![]() |
![]() |
Above Left: Photo of Valaida Snow, who was a singer, musician, dancer, and entertainer. She was born in Chattanooga, Tennessee and raised on the road in a show-business family. Valaida learned to play the cello, bass, banjo, violin, mandolin, harp, accordion, clarinet, trumpet, and saxophone at professional levels by the time she was 15.
After focusing on the trumpet, she quickly became so famous at the instrument that she was named "Little Louis" after Louis Armstrong, who used to call her the world's second best jazz trumpet player besides himself.
(NOTE: The above biographical information excerpted from Wikipedia.)
Above Right: Label image of Federal Bel-Tone 7001, released in January 1946. This is the original release of "Fool That I Am". The Day Dreamers, a vocal group, back her on the song. In my opinion, Valaida's version is far superior to Gladys', regardless of the string instrumentation.
Note that the label correctly credits [Floyd] Hunt as composer, confirmed at BMI.com.
Bel-Tone Records formed in mid-1945 and folded in late-1946. Vailada Snow had four records released on the label.
At Direct Right: THE BILLBOARD, May 25, 1946.
NOTE: Valaida's other two records on Bel-Tone are #7007 and #7008.LISTEN (Windows Media Player):
"Fool That I Am" - Valaida Snow And The Day Dreamers - Bel-Tone 7001 - 1946.![]()
EXTRA RECORD GLADYS PALMER
![]() |
![]() |
Above Left: DETROIT FREE PRESS, April 10, 1943.
Above Right: THE INDEPENDENT (Richmond, California), October 14, 1949:
GLADYS PALMER, a terrific gal at the piano and on blues vocals, has been held over for a second week as star of the current It Club review.NOTE: The Independent crowned Gladys as "Queen Of The Ivories". A profile in The Billboard 1944 Music Year Book names her both "High Priestess Of Jive" and "First Lady Of The Ivories".
![]() |
|
![]() |
JIMMY GRISSOM
![]() |
Above: CASH BOX COVER, March 3, 1951.
CAPTION:
Jimmy Grissom is singing and well he might with his great hit "Once There Lived A Fool" riding high all over the country. Lending an appreciative ear to Jimmy’s warbling is John Dolphin, headman of the Recorded In Hollywood label, for which Jimmy waxes exclusively, and owner of one of the biggest, busiest record shops in the blues and rhythm field on the west coast.The occasion is the opening of Dolphin’s new store in Los Angeles, where Jimmy was mobbed by his admiring fans. With several more promising releases due to be issued shortly, it looks as though Jimmy will have a lot more to sing about.
Click HERE for an article about JIMMY GRISSOM by Marv Goldberg.
(Will open in a separate window)
![]() |
![]() |
![]() |
|
![]() |
![]() |
Above Left: CASH BOX, February 3, 1951. Above Right: CASH BOX, May 26, 1951.
NOTE: The Los Angeles address for Recorded In Hollywood has changed.
![]() |
![]() |
Above Left: CASH BOX AWARD O' THE WEEK, February 24, 1951. Above Right: 1948 photo of Red Callender on bass fiddle.
Maxwell Davis plays the tenor saxophone on this record and Eddie Beal is on the piano.
JOHN DOLPHIN DOLPHINS OF HOLLYWOOD
![]() |
Above: Circa 1956/1957 photo of John Dolphin with his wife, Ruth Dolphin, at the Dolphin's Of Hollywood record store in Los Angeles. Notice he is holding a Cash label 78-rpm record. John held ownership in the Hollywood, Recorded In Hollywood, Lucky, Cash, and Money labels, all located in Los Angeles. CALIFORNIA EAGLE, November 30, 1950:
DOLPHIN RECORD SHOP OVERNIGHT SUCCESS"When you think of records you think of Dolphins... the two just naturally go together" so Ray Robinson, Disc Jockey for Dolphin of Hollywood, puts it on his nitely "Platter Party" show originating from the front window of the huge Record Shop at 1055 E. Vernon in L. A. Beginning from a mere nothing in 1945, John Dolphin came to the city of Los Angeles, wasted no time but immediately began executing those ideas he had cherished for quite some time.
A congenial person with a big broad smile for everybody, John Dolphin has won the respect of thousands for his aggressiveness and constant drive. Not only does Mr. Dolphin own two huge record shops with over a quarter of a million records in stock, but he is also a manufacturer of records and the inventor of the original serve self record merchandiser.
(Continued at top of column at right.)
With his nightly "Platter Party" broadcast from 9:30 p.m. to 11:30 p.m. over station KGFJ, John Dolphin has pushed up that ladder of success with such well known artists as Damita Jo, Percy Mayfield, Jimmy Witherspoon, Jimmy Grissom, Floyd Dixon, Big Boy Crudup, and many others.
With his Sunday Religious show, John Dolphin maintains a listening audience second to none.
Employed in the Record Shop at present are six delivery boys, who deliver over 2500 records weekly, and 11 courteous salesgirls employed at all times to pull from those vast shelves any record you name.
There's no doubt about it, whether you like John Dolphin or not, the man must be given due credit for one of the most thriving and progressive businesses in the market today and as the man whose name has become almost synonymous when speaking of records puts it "I love you, we ALL love you here at Dolphins of Hollywood."
(NOTE: John Dolphin was murdered in the office of one of his record stores in February 1958. He was 55 years old. His wife, Ruth, continued to operate the stores after his death.)
EXTRA RECORDS JIMMY GRISSOM MILTONE LABELMiltone records used full picture labels drawn by "Wm Alexander". Jimmy Grissom had eight records released on Miltone, all between May and December 1947. Miltone formed in 1946. Their first record was on the "Roy Milton Record Company" label, but the name was soon changed to "Miltone".
After Miltone, Jimmy recorded for Modern (1948-1949), M-G-M (1949), and Recorded In Hollywood (1950-1951). Following the Federal record (1951), Jimmy kept busy on several labels, but mainly with Duke Ellington's orchestra on Columbia/Okeh (1952-1953) and Capitol (1953-1954).
Above Left: Label image for Miltone 202 AA, released in 1947. The flip-side of this record is a vocal by Roy Milton, who was a co-owner of Miltone Records. Above Middle: Label image for Miltone TV 212 B, released in 1947. Well, doesn't the guy on the label look like Jimmy Grissom himself? Or do the glasses have the Clark Kent effect... that it's a different person?
BMI credits Roy Milton as the songwriter for "Play Boy Blues". The label credits "William Austin".
This is an "alternate" song and label that replaced Miltone 212 AA, "Frank Bull's Boogie", on some records.
Above Right: Label image for Miltone TV 212 A, released in 1947. The record label and BMI agree that John (Henry) Burton composed "I'll Miss You".
At Direct Right: Label image for Miltone 212 AA, released in 1947. This is an instrumental with Jimmy playing the drums. The guy on this label seems to be the same person as on the "Do As I Say" label. At the time, there was a white disc jockey in the Los Angeles area named "Frank Bull". Naming the song after him may have been a promotional gimmick.
The Cash Box Review (6/2/47): JIMMY GRISSOM Miltone 202.... Do As I Say
Outfit enjoying a favorable position in the phonos with a recent clickeroo steps out here with more stuff that looks good. "Do As I Say", featuring Jimmy Grissom in the vocal department, should turn up right for music ops with race locations.The kid’s tonsils are in there all the way and the job he does is worthy of your ear. He’s got that quiver in his pipes that will send chills up the spine of your customers.
The record is there for the asking, and since you know your route better than we do, go to it.
LISTEN (Windows Media Player):
1. "Do As I Say" - Do As I Say - Jimmy Grissom (Teenage Vocalist) - Miltone 202 AA - 1947.
2. "Play Boy Blues" - Big 3 Original Solid Senders (Vocal By Jimmie Grissom) - Miltone TV 212 B - 1947.
3. "I'll Miss You" - Big 3 Original Solid Senders (Vocal By Jimmie Grissom) - Miltone TV 212 A - 1947.
4. "Frank Bull's Boogie (Instrumental)" - Jimmie Grissom And The Blenders - Miltone 212 AA - 1947.ALL FOUR SONGS played in sequence.
![]()
![]() |
![]() |
Above Left: THE BILLBOARD, July 19, 1947.
NOTE: These are the two sides for Miltone 202.Above Right: CALIFORNIA EAGLE, July 31, 1947.
![]() |
![]() |
Above Left: Label image for Miltone 225-A, released in 1947. Above Right: Label image for Miltone 225-B, released in 1947.
BMI shows Roy Milton as composer and Maxwell Davis as performer for both sides of this record. Milton has credit for 84 song titles, including five "BMI Award Winning Songs".
However, the label credits Bernadine Powell, the composer of "Do As I Say", with writing "Welcome Home Baby". From the California Eagle dated June 5, 1947: "Bernadine... is now working on another song [after "Do As I Say"] for the Miltone Record Company."
Wonder who belongs to the initials "A. O." and "G. C." on the ladies' suitcases. The picture labels are nice, but why are these attractive women interested in these ugly guys?
At Direct Right: Photo of Jimmy Grissom. The Miltone labels and media coverage referred to Grissom as both "Jimmy" and "Jimmie". Eventually it was agreed to use "Jimmy" across-the-board.
CALIFORNIA EAGLE, April 3, 1947: JIMMIE GRISSOM CUTS NEW DISC
Jimmie Grissom, 19-year-old nephew of Dan Grissom, who has an unusually new style of vocal presentation, signed a contract with Miltone Records for five years.The first release of this young artist is scheduled to hit the market next week. Grissom is now preparing two sides, "Welcome Home Baby" and "Three Little Bears". The musical background on this record will be by "The Big Three" (the old Roy Milton band).
(NOTE: "Three Little Bears" was recorded, but Miltone never released it.)
LISTEN (Windows Media Player):
1. "Get Out" - Maxwell Davis And His Blenders (Vocal By Jimmie Grissom) - Miltone 225-A - 1947.
2. "Welcome Home Baby" - Blenders (Vocal By Jimmie Grissom) - Miltone 225-B - 1947.BOTH SONGS played in sequence.
ALL SIX JIMMY GRISSOM MILTONE SONGS played in sequence.
![]()
HERB KENNY AND THE COMETS
![]() |
Above: Photo of Herb Kenny performing with The Ink Spots. The writing incorrectly identifies Herb as Adriel McDonald, the bass singer who replaced him in 1951. Herb Kenny, the brother of Bill Kenny (lead tenor of The Ink Spots), had been the group's bass singer since 1945, doing their renowned recitations.
Actually, Herb had a wide singing range, bass and all the way up to tenor.
In 1950, while still with The Ink Spots, Herb tried his hand as a solo singer with "Key To My Heart"/"Why Do I Love You" for Aladdin Records. In the former song, he sings both the tenor lead and bass recitation. The latter song is all narration from beginning to end.
The Bridgeport Post, dated May 29, 1951, informs that "Herb Kenny... has left (the Ink Spots) to join Buddy Hawkins And The Keynotes..." The Billboard, dated August 11, 1951 reports that "Three of the four men making up Buddy Hawkins And The Keynotes... left to form a foursome of their own..."
Next, in 1952, Herb went to Federal Records, where he again had only one record, but this time with a vocal group. Then, later in 1952, he joined a major record company, M-G-M, again recording with a vocal group. He had five records for M-G-M (1952-1953), all ten sides with vocal group backing.
![]() |
![]() |
Above Left: Dee Jay label image for Federal 12083-AA, released in 1952. Perhaps "Kenny"'s co-composers are members of The Comets. If anyone can confirm or disprove, please contact me. Above Right: Label image for the other side, Federal 12083-A. This song is an early feather in Bennie Benjamin's composer cap before teaming up with George Weiss.
Bennie was also co-composer of such songs as "The Wheel Of Fortune", "Rumors Are Flying", "I Want To Thank Your Folks", "Cross Over The Bridge", "Can Anyone Explain? (No, No, No)", "I Ran All The Way Home", and "I Don't Want To Set The World On Fire".
LISTEN (Windows Media Player):
1. "Only You" - Herb Kenny And The Comets - Federal 12083-AA - 1952.
2. "When The Lights Go On Again" - Herb Kenny And The Comets - Federal 12083-A - 1952.BOTH SONGS played in sequence.
EXTRA RECORD HERB KENNY ALADDIN LABEL
![]() |
![]()
|
![]() |
|
EXTRA RECORDS HERB KENNY M-G-M LABEL
Above Left: Label image for M-G-M 11487, recorded on August 25, 1952 and released in April 1953. Composer William Friedman was the father of the late Doug Friedman, frequent attendee at UGHA concerts and noted author ("Four Boys And A Guitar" etc.). Above Middle: THE BILLBOARD, November 8, 1952.
Above Right: Label image for M-G-M 11648, recorded on May 4, 1953 and released in December 1953.
Herb Kenny shared composer credits on the flip-sides of both above records. The identity of the members of The Comets or The Rockets could not be found. However, listening carefully, they are very likely the same group. The similarity of their names lends credence to that statement.
The Cash Box Review (1/9/54): HERB KENNY M-G-M 11648....
Do I Have To Tell You I'm Sorry (B)Fred Norman’s ork and the Rockets aid Herb Kenny as he warmly fashions a sentimental love song. A feelingful and good tune.
Don't Take My Word (C+) The talented balladeer offers more of the same type of love material on this end.(NOTE: A rating of C+ was considered as "good" and B as "very good".)
(Windows Media Player):
NOTE: An unreleased M-G-M side has been included below (#5).
1. "But Always Your Friend" - Herb Kenny With The Rockets - M-G-M 11487 - 1953.
2. "Star Spangled Dawn" - Herb Kenny With The Rockets - M-G-M 11487 - 1953.
3. "Don't Take My Word" - Herb Kenny With The Rockets - M-G-M 11648 - 1953.
4. "Do I Have To Tell You I'm Sorry?" - Herb Kenny With The Rockets - M-G-M 11648 - 1953.
5. "Let's Make Memories Tonight" - Herb Kenny With The Rockets - M-G-M (Unreleased) - Rec May 4, 1953.ALL FIVE SONGS played in sequence.
![]()
HERB KENNY.
THIS GOES WITH THE CLIPPING CENTER ABOVE:
![]()
LISTEN (Windows Media Player):
1. "I Don't Care" - Herb Kenny With The Rockets - M-G-M 11360-A - 1952.
2. "Calling You" - Herb Kenny With The Rockets - M-G-M 11360-B - 1952.BOTH SONGS played in sequence.
HERB KENNY IN THE NEWS THE CALL (Kansas City, Missouri), June 1, 1951:
HERB KENNY QUITS SPOTS FOR NOTES
PENNSAUKEN, N.J.Herb Kenny, baritone member abd twin brother to Bill Kenny of the Ink Spots, pulled out of the vocal combo last week to take a feature spot with Buddy Hawkins and the Key Notes, currently playing at the Red Hill Inn here.Herb, who has handled the baritone vocal and talking parts for the Ink Spots for many years, had a taste of solo billing last year when he cut two sides for Aladdin Records.
NEW PITTSBURGH COURIER, December 15, 1951:
EX-INK SPOT FORMS OWN RECORDING GROUP
NEW YORKHerb Kenny, former member of the Ink Spots... has organized a vocal combination which will be known as the Herb Kenny Quartet. The group will record on the Prestige label.(NOTE: Correct, except for the group name and the record company!)
THE CALL, August 22, 1952:
....Entertainment world agog over sensational split of the famous Ink Spots. BILLBOARD reports that Bill Kenny will continue with his tour, while word has reached this pillar from an authetic source that Charlie Fuqua's "original" Ink Spots with Herb Kenny, "Deek" Watson, Jimmy Holmesplus, Charlie, himselfunder the Universal Attractions banner will "rival" the Kennymen, who are being booked by the Gale Agency.At Direct Right: THE GAZETTE, December 22, 1952.
THE CALL, September 12, 1952:
NEW YORKAll trade mags and "dee jays" are saying that Herb Kenny's MGM recording of "My Song" backed with "You Never Heard a Word I Said" is fast arriving at the "hit" point.Frank Walker, prexy of MGM Records, is so pleased with Herb Kenny that his company has gone all out to promote the new "wonder of the world". After the Billy Williams Quartet left MGM Records, MGM wanted a first-rate quartet. When Mr. Walker heard Herb Kenny and his Rockets, he said "That's the voice I want, that's the group I want." Mr. Walker says Herb's voice "gets under your skin."
Herb Kenny proved at his first MGM recording session that he was as great as MGM Records bigwigs had said he was. The nations ace arranger and ASCAP writer, Fred Norman, did the musical score and conducted the recording session and voices. (Jimmie) Crawford was at the drums, Billy Kyle at the piano, Lucille Dixon at the bass violin, and (Everett) Barksdale on the guitar.
Kenny and his group will be doing some TV work in the near future, and will open this fall at a swank Eastside spot.
LISTEN (Windows Media Player):
1. "My Song" - Herb Kenny With The Rockets - M-G-M 11332-A - 1952.
2. "You Never Heard A Word I Said" - Herb Kenny With The Rockets - M-G-M 11332-B - 1952.BOTH SONGS played in sequence.
![]()
MIAMI TIMES, September 20, 1952:
Popular New York disc jockey, Willie Bryant, on his WHOM show was the first to plug Herby Kenny and his Rockets' MGM recording of "My Song". The following night Willie plugged the number twice on the air and gave Herb Kenny a terrific interview. The telephone calls really poured in to the Willie Bryant program as radio admirers congratulated Herb Kenny.So, Willie Bryant really started the ball rolling among the nation's top deejays by spinning Herb Kenny's MGM recording. By the way, Lucky Strike Cigarettes are set to sponsor Herb Kenny on his own network TV show this fall.
OTTAWA CITIZEN, December 11, 1952: KENNY'S QUARTETTE AT GATINEAU
One of the finest chaps you would ever want to meet is out at the Gatineau Country Club this week. He's Herb Kenny, formerly with the world-renowned "Ink spots", which are now disbanded.Herb, in his own modest way, figured out that the "Ink Spots" were nothing more than a name for his brother Bill who carried all the solo numbers and forthwith he decided to do something about it. What he did has turned out to be excellent and under the name of Herb Kenny and His Rockettes [sic], this singing group is every bit as good (if not better) than the Ink Spots themselves....
(NOTE: Ads in the Ottawa Citizen and Ottawa Journal for this show state that "Herb Kenny formerly with The Ink Spots And His Rockets" will be appearing.)
![]()
At Left: Label image for M-G-M 11397-A, recorded on October 3, 1952 and released in January 1953. The Cash Box Review (1/3/53):
HERB KENNY MGM 11397....
I Miss You So (B) Herb Kenny takes the lead and gets a fine backing from the Rockets and Fred Norman’s ork on a slow sentimental piece with a pretty tune and equally fine lyrics. This number might happen.
Take A Little (C) The same aggregation does a peppy job of delivering a cute bouncer. The delivery has a lively beat.(NOTE: "I Miss You So" was originally released by the Cats And A Fiddle in 1940. Co-composer Jimmie Henderson was a member of that group. A rating of C was considered as "fair" and B as "very good".)
LISTEN (Windows Media Player):
1. "I Miss You So" - Herb Kenny With The Rockets - M-G-M 11397-A - 1953.
2. "Take A Little" - Herb Kenny With The Rockets - M-G-M 11397-B - 1953.BOTH ABOVE SONGS played in sequence.
LINKS TO OTHER FEDERAL ARTISTS AND THEIR RECORDS (1951-1953)
(Will open in separate windows)TEDDY WILLIAMS AND THE FEDERALITES:
(Take My Money) Take My Love - Teddy Williams And The Federalites - Federal 12017-A - 1951
If I Didn't Love You - Teddy Williams And The Federalites - Federal 12017-AA - 1951FLUFFY HUNTER:
Love Is A Fortune - Jesse Powell Orchestra (Vocal By Fluffy Hunter) - Federal 12056 A - 1952.
The Walkin' Blues - Jesse Powell Orchestra (Vocal By Fluffy Hunter And Ensemble) - Federal 12056 AA - 1952.LITTLE WILLIE LITTLEFIELD:
K. C. Loving - Little Willie Littlefield - Federal 12110 - 1952.
Pleading At Midnight - Little Willie Littlefield - Federal 12110 - 1952.CAMILLE HOWARD:
Hurry Back Baby - Camille Howard - Federal 12134 - 1953.
NOTE: Restoration of photos, clippings, record label images, and audio files is by Tony Fournier.
1. "Moaning The Blues" - Jimmie Dale - Federal 10001-AA - 1951.
ALL NINETEEN ABOVE FEDERAL LABEL SONGS played in sequence.
|
![]()
|
Last Update: February 1, 2025
E-mail Me: