#966 (2/20/25)

THE FOUR INTERNES

Above: Photo of The Four Internes, who were from Durham, North Carolina. This spiritual group was formed in 1941 by four hospital interns, thus their name. If anyone can identify by name the individuals in the photo, please contact me. When the group became a quintet (five plus a piano player), it was decided to keep the "Four Internes" name. The above promotional photo identifies them as "The Famous Interns - Federal Recording Artists". The Four Internes' members, starting in 1949, were Nick Allen (tenor), Raymond Davis (bass), Joe Davis (baritone), Theodore Freeland (tenor), Alonzo Eubanks (lead tenor), and Harold White (piano).

They did, for a time, have Eugene Mumford in their group, but he left them well before the Federal recording sessions. Eugene was the famous lead singer of The Larks, a secular vocal group, and, later, of The Dominoes. The Four Internes recorded five sessions for Federal Records from November 1951 to June 1955. For their first record on Federal (#12052), they were named "Interne Quartet". In the late 1950s, they recorded for Vee-Jay Records in Chicago as "The Interns". The Four Internes were an excellent spiritual group, as confirmed by their Cash Box Review ratings (see below). They did not record any secular songs, but with their singing style, they certainly would have been successful with it.

Above Left: Label image of Federal 12075-A, recorded in December 1951 and released in 1952. Alonzo Eubanks, a member of the group, is the composer. Another member of the group, Theodore Freeland, has songwriter credit on the flip-side label. Above Right: Label image of Federal 12087, recorded in June 1952 and released in 1952. Here, both labels credit the entire group, while BMI gives the nod to Alonzo Eubanks for both sides. At Left: FEDERAL RECORDS "GOSPEL" 45-rpm sleeve. CASH BOX, October 25, 1952: ..... Ralph Bass, King Records, has a pair of winners in Big Jay McNeeley’s "Goof" and a solid spiritual by the Four Internes, "Count Your Many Blessings".... Cash Box Review (5/17/52): THE FOUR INTERNES — FEDERAL 12071.... In That Great Gettin' Up Mornin'/Living In The Glory Land A driving spiritual is rocked by The Four Internes with contagious spirit. Though the arrangement is real jubilee the boys harmonize with a smoothness that keeps it out of the shouty classification. The lower lid is a moderate beat gospel item that the group belts out with zest and brings in a bouncy side. Cash Box Review (9/1/52): THE FOUR INTERNES — FEDERAL 12097.... Going Back To Jesus (C+) The Four Internes chant a fast rhythmic religious tune in a sharp staccato manner that appeals to an audience outside the usual sphere of gospel listeners. Count Your Many Blessings (B) The boys harmonize on a similar item but their effective chanting makes it an even better disking. Repeat: Could sell to a larger audience than the usual spiritual market. (NOTE: A rating of C+ was considered as "good" and B as "very good" .) NOTE: Cash Box reviewed the same record just five days later. Here is that review: Cash Box Review (9/6/52): THE FOUR INTERNES — FEDERAL 12097.... Going Back To Jesus (C+) A bit of wild chanting is done by the foursome who turns out another potent deck as they handle the sharp beat arrangement dynamically. Count Your Many Blessings (C+) A bouncy religious item is chanted in lively style by The Four Internes who handle the moderate tempo with dash. This type of gospel singing is not necessarily limited to special locations.

At Left: Label image of Federal 12104, recorded in June 1952 and released in 1952. The label on the flip-side of this record shows "Alonzo Erbanks" [sic] as composer. BMI credits both sides to Alonzo Eubanks. Cash Box Review (11/8/52): THE FOUR INTERNES — FEDERAL 12104.... Newborn Again (B) The Four Internes blend on a quick beat, rhythmic spiritual in that steady stirring chant style that appeals to listeners of all kinds. Home Again(C+) The quartet etches a slow item on the lower lid, and again the appealing rhythmic chant is used to good effect. (NOTE: A rating of B was considered as "very good" and C+ as "good".) LISTEN (Windows Media Player): 1. "Living In The Glory Land" - The Four Internes - Federal 12071-AA - 1952. 2. "In That Great Gettin' Up Mornin'" - The Four Internes - Federal 12071-A - 1952. 3. "Going Back To Jesus" - The Four Internes - Federal 12097 - 1952. 4. "Count Your Many Blessings" - The Four Internes - Federal 12097 - 1952. 5. "Newborn Again" - The Four Internes - Federal 12104 - 1952. 6. "Home Again" - The Four Internes - Federal 12104 - 1952. ALL SIX SONGS played in sequence.

THE FOUR INTERNES 1948 (Performing on their WDNC, Durham, NC, radio show.)

THE FOUR JACKS

The above photo courtesy of Ellison White and Todd Baptista
(Copyright 2002 - All Rights Reserved)

Above: Photo of Ellison White from the late 1950's. The Four Jacks consisted of Ellison White (bass), Bowling Mansfield (first tenor), Buell Thomas (second tenor), and George Comfort (baritone). Ellison had been with the gospel groups Wings Over Jordan and, later, The Wingmen Quartet, prior to The Four Jacks. Todd Baptista's excellent book about Ellison White, "The Last Of The Good Rocking Men", is still available. It's $10 including shipping. Contact Todd directly using .

Above Left: Label image of Federal 12075-A, recorded on March 18, 1952 and released in May 1952. The Four Jacks had backed up Shirley Haven and Cora Williams for Federal Records just three weeks prior to this March session. Above Right: Label image of Federal 12087, recorded on March 18, 1952 and released in June 1952. Mario DeLagarde, who appears as composer on both sides of this record, was a bass player and prolific writer of songs for Federal and other labels. He often collaborated with Rick Ravon Darnell and Ralph Bass. The labels show DeLagarde and Darnell as the co-composers on all four sides of the above records. On the flip of Federal 12075, "Goodbye Baby", they are joined by Bass. On the flip of Federal 12087, "I'll Be Home Again", per the label, someone named "Jimmy" joins them. However, BMI credits DeLagarde and Darnell as the only two composers. The Four Jacks had two records alone, two records backing Lil Greenwood, one record plus a third side backing Shirley Haven, and one side backing Cora Williams, all on Federal and all released in 1952. Shirley and Cora are included further down this webpage. At Left: THE BILLBOARD, August 9, 1952. Cash Box Review (7/26/52): THE FOUR JACKS — FEDERAL 12087.... The Last Of The Good Rocking Men (B) The Four Jacks beat out a moderate-quick rhythmic number with zest as they spin a happy sounding tune. The bass voiced lead vocalist does a grand job and is backed in strong style by the rest of the quartet. I'll Be Home Again (B+) The boys do a soft slow number backed by fine soft orking. (NOTE: A rating of B was considered as "very good" and B+ as "excellent" .) LISTEN (Windows Media Player): 1. "You Met A Fool" - The Four Jacks - Federal 12075-A - 1952. 2. "Goodbye Baby" - The Four Jacks - Federal 12075-AA - 1952. 3. "The Last Of The Good Rocking Men" - The Four Jacks - Federal 12087 - 1952. 4. "I'll Be Home Again" - The Four Jacks - Federal 12087 - 1952. ALL FOUR SONGS played in sequence.

EXTRA RECORD — THE WINGMEN

The above photo courtesy of Ellison White and Todd Baptista (Copyright 2002 - All Rights Reserved)

Above: 1948 photo of The Wingmen, a Los Angeles spiritual group. They are (L-R) Ellison B. White (bass), Emory F. Barnes (baritone), Cecil Dandy (second tenor), Clarence W. Small (first tenor). They had been members of Wings Over Jordan, a popular large gospel choir. Emory and Clarence are from Kalamazoo, Michigan. Ellison is from Orlando, Florida, and Cecil is from St. Petersburg, Florida.

At Left: Label image of Down Beat 124-B, released in 1948. The Wingmen Quartet had two records released on this label (#123 & #124). Down Beat, owned by Jack Lauderdale in Los Angeles, became Swing Beat in 1949 and then Swing Time in 1950. LOMPOC RECORD (Lompoc, California), April 8, 1948: ....Included in the program will be.... the Wingmen Quartet. Termed by some as the world's greatest Negro choir. The group's ability to render the Negro spirituals puts them in a class by themselves. ST. LOUIS ARGUS, September 3, 1948: "WINGMEN" QUARTET ON HEIDT SHOW NEW YORK—Four young singers, whose determination was not to be "just another quartet", will get their big break on Horace Heidt's NBC coast-to-coast program.... Clarence Small, Cecil Dandy, Emory Barnes, and Ellison White started singing together ten years ago. Then in their 'teens, they were grouped together as the "Wings Over Jordan" quartet and were heard on a national network, as well as given the chance to travel throughout the country. SOUTH PASADENA REVIEW, March 24, 1949: ....Mr. Emory Barnes, the leader, organizer, and director of the (Wingmen) quartet introduced the first tenor, Mr. Clarence Small; the second tenor, Mr. Cecil Dandy; and the bass, Mr. Ellison White. LISTEN (Windows Media Player): "Low Down The Chariot" - Wingmen Quartet - Down Beat 124-B - 1948.

AFRO-AMERICAN, September 5, 1948: TO COMPETE ON HEIDT SHOW The Wingmen Quartet, chosen to compete in the third quarter finals of the Horace Heidt NBC talent contest over NBC, September 12, from the Hollywood Bowl. (Top L-R) Emory Barnes, Ellison White, (Bottom L-R) Clarence Small, and Cecil Dandy.

EXTRA RECORDS — THE BOMBERS

The above photo courtesy of Bonnie Moore, George Comfort, and Todd Baptista.
(Copyright 2002 - All Rights Reserved)

Above: 1956 photo of The Bombers, clockwise from top, consisted of Bowling Mansfield (first tenor), Cecil Dandy (second tenor), Ellison White (bass), and George Comfort (baritone). Mansfield, White, and Comfort, along with Buell Thomas, had been The Four Jacks on Federal.

At Left: Label image of Orpheus A1101-A, released in December 1955. This is the first of two records by The Bombers, the second released on Orpheus in June 1956. Orpheus Records was formed in late 1955 by John Anthony Arcesi, a singer and songwriter. His goal was to develop and record other artists. The label was also intended as a vehicle to record some of his own compositions. Tony Conti, Chick Johnson, and Chris Darcy are some of the aliases that Arcesi used for composing. Johnson shows up with co-composer credit on "Malena", while Darcy appears on the flip side of the record. For the second record released by The Bombers, "Two Time Heart" is co-composed by Johnson (BMI shows John Arcesi) with Ellison White also getting credit, and "Sentence Of Love" is co-composed by Johnson (BMI shows Tony Conti). The Billboard Review (2/16/56): THE BOMBERS - ORPHEUS 1101 I'll Never Tire Of You (74) Pop-type song is intoned by a rich bari lead and good group backed by organ and rhythm. Can make some noise if it gets properly pushed. Malena (68) Great bass lead on this side, but the material is stronger on the flip. (NOTE: A ratings range of 70-79 was considered "good" and 60-69 "satisfactory.")

Above Left: THE BILLBOARD, October 11, 1952. NOTE: This is an ad for John Arcesi singing on Capitol Records. Arcesi, as stated further above, was owner and president of Orpheus Records Above Right: Label image of Orpheus 1105, released in June 1956. An unreleased side by The Bombers, "Noah's Ark", recorded for Orpheus, has been provided by Todd Baptista for use here. Interestingly, John Arcesi singing "Noah's Ark" had been released on Capitol in 1953. That label does not credit any composer.

LISTEN (Windows Media Player): 1. "Malena" - The Bombers - Orpheus A1101-A - 1955. 2. "I'll Never Tire Of You" - The Bombers - Orpheus A1101-B - 1955. 3. "Two Time Heart" - The Bombers - Orpheus 1105 - 1956. 4. "Sentence Of Love" - The Bombers - Orpheus 1105 - 1956. 5. "Noah's Ark" - The Bombers - Orpheus Unreleased - 1956. ALL FIVE SONGS played in sequence.

SHIRLEY HAVEN (BACKED BY THE FOUR JACKS)

Above: Photo of Shirley Haven from Ebony Magazine April 1946 edition. "Nineteen-year-old Shirley is seen preparing for the stage show 'Jump, Jive N' Jam' in Los Angeles. The characters in the script, all known by musical terms such as Syncopation, Discord, Downbeat, Operetta, etc., meet at Rhythm Town. Shirley portrays Miss Operetta. The name of the show was changed to 'Rhythm Town' just prior to its premiere in early June 1946." LOS ANGELES TIMES, June 7, 1946: 'RHYTHM TOWN' LIVELY COLORED STAGE OFFERING A new all-colored show, "Rhythm Town," had its hectic premiere at the Beaux Arts Theater last night.... There are some excellent voices among the singers, the lovely soprano of Shirley Haven coming first, with Sonny Woods' tenor also scoring.... PITTSBURGH COURIER, June 15, 1946: 'RHYTHM TOWN' SCORES HIT IN LOS ANGELES The unyielding perserverance and determination, despite months of rehearsals, heart-breaking disappointments and postponements by the cast of "Rhythm Town," an operetta of "Jump, Jive And Jam", was finally rewarded here Thursday night when the show opened with a creditable performance at Beaux Arts Theatre.... Winning the plaudits of first nighters in standout fashion were winsome Shirley Haven, "Miss Operetta", who possesses a soprano voice of great possibilities; Sonny Woods,.... At Right: JET MAGAZINE, July 22, 1954: ....Led by Los Angeles disc jockey, Joe Adams, the troupe, first all-Negro entertainment package to tour Korea, received the greatest reception—according to attendance figures—of any junket since the one famed comedian Bob Hope headed a few years ago.... Shirley Haven wanted to be a film actress. She appeared in several movies uncredited (probably as an extra), but did get third billing in an all-black-cast picture, "No Time For Romance", released in 1948. She did not sing in this movie. When Shirley's film career didn't work out, she decided to try singing as a career. She toured with Charles Brown, Aladdin Records star, as his featured vocalist in 1952. For Federal Records in 1952, Shirley had just the three sides (included here) released, all backed by The Four Jacks. These are her only known records. There are no unknown gaps in matrix numbers, so there may not be any unreleased Federal tracks. Click HERE for an article about SHIRLEY HAVEN by Marv Goldberg. (Will open in a separate window)

Wearing GI dungarees, Shirley Haven and Suzette Harbin chat with soldier.

At Left: Label image for Federal 12079-A, recorded on February 27, 1952 and released in May 1952. Shirley's other record, also backed by The Four Jacks on Federal, was recorded on the previous day. The flip of "Sure Cure..." is by Cora Williams And The Four Jacks (See next section). The previously mentioned team of DeLegarde and Darnell are verified by BMI as composers of this song. Somehow, "Pettus" got his name onto the label. Cash Box Review (5/31/52): SHIRLEY HAVEN AND THE FOUR JACKS - FEDERAL 12079.... Sure Cure For The Blues (B) The chantress does a sock vocal with an exciting, driving beat. Handclapping and a male vocal make this a potent platter. (NOTE: A rating of B was considered "very good.") The Billboard Review (6/7/52): SHIRLEY HAVEN-FOUR JACKS - FEDERAL 12079.... Sure Cure For The Blues (68) Shirley Haven and the Jacks sing this bouncy item with spirit, and the ork backs them smoothly. However, tune is routine. (NOTE: A ratings range of 40-69 was considered "satisfactory".) LISTEN (Windows Media Player): "Sure Cure For The Blues" - Shirley Haven And The Four Jacks - Federal 12079-A - 1952.

At Left: Label image of Federal 12092, recorded on February 26, 1952 and released in August 1952. Shirley Haven had just the three sides (all included on this webpage) released. Mario DeLagarde, who appears as composer on all three of Shirley Haven's sides, was a bass player and prolific writer of songs for Federal (and other labels). He often collaborated with Ravon Darnell, as he did here on all three sides. The Billboard Review (9/6/52): SHIRLEY HAVEN-FOUR JACKS - FEDERAL 12092.... Stop Fooling Around (68) Shirley Haven, with the help of the Four Jacks, turns in an effective performance of a routine jump item. Performance is better than material. Troubles Of My Own (60) Disking shows off a lot of vocal tricks on the part of the thrush and the Four Jacks as well. Vocal effects, however, don't cover-up the weakness of the effort. (NOTE: A ratings range of 40-69 was considered "satisfactory".) Cash Box Review (10/4/52): SHIRLEY HAVEN - FEDERAL 12092.... Troubles Of My Own (C+) Shirley Haven, with the assistance of The Four Jacks, sings a slow rhythmic item. Stop Fooling Around (B) The undersiding is a quick tempo number treated to a driving vocal by the chirp who comes off with an exciting end. (NOTE: A rating of B was considered "very good" and C+ was "good".) LISTEN (Windows Media Player): 1. "Troubles Of My Own" - Shirley Haven And The Four Jacks - Federal 12092 - 1952. 2. "Stop Fooling Around" - Shirley Haven And The Four Jacks - Federal 12092 - 1952. BOTH SONGS played in sequence.

Above: EBONY MAGAZINE, April 1946: LEADING MAN AND LADY Sonny Woods and Shirley Haven, just 19, run through some songs for the (Jump, Jive N' Jam) show. Woods was former vocalist with Louis Armstrong, served two years in the army. He comes from Pittsburgh, she from Santa Cruz, California. (NOTE: Sonny Woods had two records on the Hollywood label with The Twigs in 1954 and two on the Middle-Tone label with The Four Winds in 1956-1957.)

SHIRLEY HAVEN NEWSPAPER CLIPPINGS

Above Left: ROANOKE TIMES, May 5, 1952. Above Middle: ATLANTA DAILY WORLD, November 19, 1952. Above Right: LOS ANGELES TRIBUNE, July 16, 1954: TRIBUNE DAPPER — Bob Thomas gets to hand out the NAACP's Achievement Award to actress Shirley Haven (fourth from left) at Inter–Frat Council's fete last week at the Cosmopolitan Hotel. Looking on (from left) are: Unidentified Omega; Louise (Bo) Franklin, president of the Benevolent Variety Artists, who is working hard for "Miss 102" honors; Alphaman, Dr. Delo Overstreet Gray; and singing star Josephine Premice. (NOTE: Josephine Premice was a Haitian–American actress and singer, known for her work on the Broadway stage.)

CORA WILLIAMS (BACKED BY THE FOUR JACKS)

Above: Photo of Cora Williams from JET Magazine, December 17, 1964 edition. PHOTO'S CAPTION: "VOLUMINOUS VOICE: Filling the enormous expanse of McCormack Place with her melodious voice, soloist Cora Williams rears back, closes her eyes, and makes 'a joyful noise unto the Lord' as she sings during a concert hosted by the Pentecostal Church Musicians Alliance in Chicago."

At Left: Label image of Federal 12079-AA, recorded on February 27, 1952 and released in May 1952. Per Disco-File, this recording also includes The Jades. There are twenty-one different "Jades" groups in Disco-File, the earliest record by any of them was released in 1958. BMI gives composer credit to Ralph Bass (Federal Records' top man) and Rick Ravon Darnell, but not Mario DeLagarde. This seems to be the only side ever released by Cora Williams on any label. Per Disco-File, Cora was formerly known as "Mimi Bartell". Cash Box Review (5/31/52): CORA WILLIAMS-FOUR JACKS - FEDERAL 12079.... I Ain't Coming Back Anymore (B+) Cora Williams gives out with a smooth and full vocal effort on a moderate beat item. Cora's lush piping is supported in subdued manner by the instrumentalists and the Four Jacks harmony. (NOTE: In the actual review, "Cora Williams" was incorrectly replaced with "Shirley Haven", who sings on the flip-side. A rating of B+ was considered "excellent".) The Billboard Review (6/7/52): CORA WILLIAMS-FOUR JACKS - FEDERAL 12079.... I Ain't Coming Back Anymore (65) Cora Williams overdoes her vocal on this new ballad, while the Four Jacks lend good support. (NOTE: A ratings range of 40-69 was considered "satisfactory".) The lower Billboard ratings, when compared to Cash Box, were typical for their reviews of black vocal groups. Another example is the large difference in the reviews of Federal 12092, found further up on this webpage. LISTEN (Windows Media Player): "I Ain't Coming Back Anymore" - Cora Williams And The Four Jacks - Federal 12079-AA - 1952.

LIL GREENWOOD

[The above photo courtesy of Hans Joachim Krohberger.]

Above: 1950 photo of Lillie Greenwood, who grew up in Mobile, Alabama, before moving to California. She was a rhythm and blues singer and a composer. Lillie began her singing career with Roy Milton's band. Her first five records were released on the Modern label, all in 1950. Lillie, in October 1951, signed a contract with Specialty Records, resulting in one record released in February 1952. She then moved to Federal Records in 1952. There, as Lil Greenwood, she had two records with The Four Jacks backing her vocally, and another two backed by The Lamplighters. On one side of the Four Jacks' records, she is paired with Little Willie Littlefield. All eight sides have been included here.

Above Left: Label image of Federal 12082-A, recorded on April 25, 1952 and released in June 1952. Little Willie Littlefield joins in on the fun on the flip offering. Above Right: Label image of Federal 12093, also recorded on April 25, 1952 and released in August 1952. At Direct Right: Label image of Federal 12082-AA, the flip-side of "My Last Hour". The Four Jacks were on six records (twelve sides) for Federal. That was accomplished in four sessions from February 26, 1952 to April 25, 1952. CASH BOX, June 7, 1952: ....Ralph Bass of Federal has cut his first sides on Little Willie Littlefield and Lil Greenwood and is banking on their duet, "Monday Morning Blues", to do great things for the two artists and no harm to the Syd Nathan label whatsoever.... Cash Box Review (6/28/52): LIL GREENWOOD - FEDERAL 12082.... My Last Hour (C+) Lil Greenwood sings a slow sad tune dramatically as the Four Jacks lend light support. Monday Morning Blues (B) The fem thrush is assisted on this one by Little Willie. The pair pipe the slow rhythmic blues with feeling. Orking is stronger on this end as they cover a spirited arrangement with a louder sound. (NOTE: A rating of C+ was considered "good" and B was "very good".) Cash Box Review (8/30/52): LIL GREENWOOD - FEDERAL 12093.... Never Again (B+) With a slow dramatic number for material, Lil Greenwood, backed by the Four Jacks, projects a moving and tear filled vocal. A soft musical backdrop is furnished for the fem thrush. Grandpa Can Boogie Too (B) A fast boogie beat provides the chantress with a cute change of pace. (NOTE: A rating of B+ was considered "excellent" and B was "very good".) LISTEN (Windows Media Player): 1. "My Last Hour" - Lil Greenwood And The Four Jacks - Federal 12082-A - 1952. 2. "Monday Morning Blues" - Lil Greenwood, Little Willie, and The Four Jacks - Federal 12082-AA - 1952. 3. "Never Again" - Lil Greenwood And The Four Jacks - Federal 12093 - 1952. 4. "Grandpa Can Boogie Too" - Lil Greenwood And The Four Jacks - Federal 12093 - 1952. BOTH SONGS played in sequence.

LIL GREENWOOD

LITTLE WILLIE LITTLEFIELD

Above Left: Label image of Federal 12158, released in November 1953. Note the label format change to a silver top and silver print. Lil Greenwood is the composer on both sides. Above Right: Label image of Federal 12165, released in February 1954. The labels for both sides show Lil and Jesse Ervin as co-composers. BMI credits "Lillian Greenwood" as the lone composer of "All Is Forgiven". Federal used vinyl, rather than shellac, for their "Dee Jay" records. That's because vinyl produces less background noise. The uncredited "Quartet" shown on the labels for the above records (all four sides) is "The Lamplighters". At Direct Left: Lillie Greenwood from the early 1950s. The full inscription is "Best Wishes, Lillie Greenwood. Vocalist with Roy Milton's Orchestra." The Billboard Review (9/6/52): LIL GREENWOOD - FEDERAL 12165.... Mercy Me (74) Miss Greenwood has a bright, sexily rhythmic side here as she pleads (not quite sincerely) with her boyfriend not to love her so hard. She builds the material to an exciting pitch at the end. All Is Forgiven (68) A conventional slow blues read with tasteful simplicity by the singer. A vocal quartet and small ork furnish a relaxed but firm beat. (NOTE: A ratings range of 70-79 was considered as "good" and 40-69 as "satisfactory".) LISTEN (Windows Media Player): 1. "I'll Go" - Lil Greenwood And Quartet (The Lamplighters) - Federal 12158 - 1953. 2. "I'm Crying" - Lil Greenwood And Quartet (The Lamplighters) - Federal 12158 - 1953. 3. "All Is Forgiven" - Lil Greenwood And Quartet (The Lamplighters) - Federal 12165 - 1954. 4. "Mercy Me" - Lil Greenwood And Quartet (The Lamplighters) - Federal 12165 - 1954. ALL FOUR SONGS played in sequence.

At Far Left: EBONY MAGAZINE, April 1960. (Photo of Lil Greenwood) At Direct Left: CLEVELAND CALL AND POST, February 2, 1952. NOTE: Gleason's Musical Bar, located in Cleveland, is referenced in the following two blurbs. Freddie Woods was a bandleader. THE CALL (Kansas City, Missouri), February 15, 1952. LIL GREENWOOD SENDS 'EM LOS ANGELES—Lil Greenwood, blues singer deluxe with Roy Milton's Solid Senders, is captivating audiences everywhere she appears. Fact is, she's proving a show stopper and stealer all in one. At the Apollo in New York recently, she broke it up and followed the same tactics at the Howard in Washington. Her antics and mannerisms, plus a tremendous blues voice have skyrocketed her to overnight popularity. She's presently bringing down the house at Gleason's Musical Bar in Cleveland where the Solid Senders are holding forth.... CALIFORNIA EAGLE, February 28, 1952. LIL GREENWOOD SIZZLES IN EAST Hailed as a Judy Canova in beige, Lillie Greenwood, rollicking blues artist with Roy Milton's Solid Senders, is stopping the show wherever she appears. She did it it in New York at the Apollo a fortnight ago, followed suit at the Howard Theater in Washington, and is currently standing Cleveland on its ear with her sensational showmanship at Gleason's Musical Bar. Following their stay in Cleveland, the Solid Senders shove off for Atlanta for an engagement at the Roy Peacock. They're due back in California early in March.

Above: Roy Milton's Solid Senders performing at the Key Hole Club in San Antonio in the 1950s. Milton is at the drums. Camille Howard is at piano at far left. The female vocalist looks like Lillie Greenwood, who was Milton's female vocalist in the early 1950s. Please let me know if anyone can positively confirm or refute. In the photo, she seems to display "antics, mannerisms", "rollicking (singing)" and "sensational showmanship" as used to describe Lillie in the previous two clippings. And that is an outlandish, but fantastic, outfit that she is wearing! NOTE: Coverage of Lil Greenwood's back-up vocal group, THE LAMPLIGHTERS, will be included in the upcoming "Federal Records - Part Three" article.

EXTRA RECORD — LILLIE GREENWOOD NOTE: This record was included in the Modern Records - Part Two article. It's repeated here with added information.

Above: "SAMPLE" format label images for both sides of Modern Records 20-771A/B, recorded in July 1950 and released in 1950. If something looks off, it's because "Disatisfied" should be spelled "Dissatisfied". "Taub" was a name that Jules Bihari, president of Modern Records, used when stealing someone else's writer credits. I have no clue who "Szabo" might be. There are 204 various Szabo names listed at BMI.com. I suspect it's some more Bihari Brothers' trickery. BMI credits Lillian Greenwood and Jules Bihari as composers of "Disatisfied Blues". While there are twenty-eight "I'm Goin' Crazy" titles listed at BMI, none seem to be this one. Must be that Jules missed his chance here. LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "Disatisfied Blues" - Lillie Greenwood - Modern 20-771A - 1950. 2. "I'm Goin' Crazy" - Lillie Greenwood - Modern 20-771B - 1950. BOTH SONGS played in sequence.

LITTLE WILLIE LITTLEFIELD NOTE: Some of the following is taken from the "Modern Records - Part Two" article. However, the following section has been significantly expanded.

Above: Photo of Little Willie Littlefield at the piano. Little Willie Littlefield, from Houston, Texas, was a singer, pianist, composer, and band leader. His first record was released in 1948 on Eddie's Records, a label formed by Eddie Henry, a Houston record shop owner. As a result, Modern Records signed him to a contract. Little Willie's first two records for Modern, both released in 1949, were hits. He had a total of at least a dozen records on the Modern label from 1949 to 1951. In 1952, Little Willie moved to Federal Records, a subsidiary of King Records. That year he recorded "K. C. Loving" on Federal. This is the song, composed by Mike Stoller and Jerry Leiber, that later became a big 1959 hit for Wilbert Harrison as "Kansas City". Above Left: COMMERCIAL APPEAL (Memphis, Tennessee), July 8, 1951. NOTE: Imagine paying only 60 cents for all this and also with a movie included! Jimmy Grissom is included in the Federal Records - Part One article. THE CALL (Kansas City, Missouri), June 20, 1952: LITTLE WILLIE LITTLEFIELD FEATURED AT ORCHID ROOM ....Little Willie Littlefield has proved to be a big hit with Orchid Room patrons and is being held over to give more of the public an opportunity to hear him. Rippling the "88" for his own vocalizing, the youthful singer is a double hit. ....Littlefield will be heard over the Saturday and Monday matinee broadcasts via KCLO, and will appear with the ever popular Gene Carter combo.... ARIZONA SUN (Phoenix, Arizona), August 29, 1952: LITTLE WILLIE LITTLEFIELD IN RETURN DATE "Mad man of the guitar and piano" will appear at Riverside Ballroom Thursday, September 4. One of the most talented young artists in show business, bar none, Little Willie Littlefield was born in Houston, Texas. He attended Jack Yates High School. While there, he studied no music, but was an outstanding member of a championship track team. High School completed, he began to work as pro in 1948 at the Eldorado Ballroom. The same year, he workd at the Club Ambassador an engagement which jumped his career. Later he signed with Modern Records. Next, he did an appearance before 18,000 in the Cavalcade of Jazz at Wrigley Field, Los Angeles [baseball park]. Little Willie appeared on a bill with the fabulous Lionel Hampton. Following his "smash hit" there, Little Willie subsequently went into the Melodee Club, Los Angeles for sixteen weeks.

Above: Label images for both sides of Federal 12110, released in 1952. Cash Box Review (1/17/53): LITTLE WILLIE LITTLEFIELD - FEDERAL 12110.... K. C. Loving (B) Little Willie Littlefield sings a moderate rhythmic jump item with feeling. Orking is solid. Pleading At Midnight (C+) Flip is a slow blues done with style by Littlefield. A pleasing lift is provided by a smooth bit of saxing in the break. (NOTE: A rating of B was considered "very good" and C+ was "good".) LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "K. C. Loving" - Little Willie Littlefield - Federal 12110 - 1952. 2. "Pleading At Midnight" - Little Willie Littlefield - Federal 12110 - 1952. BOTH SONGS played in sequence.

LITTLE WILLIE LITTLEFIELD — PIANO PLAYER MAN

Above Left: Label image of Eddie's Records 1202-A, released in 1948. There are two "Little Willie's Boogie" titles listed at BMI.com. One is composed by Little Willie Littlefield and the other by Joe Josea, which is a pseudonym for Joe Bihari. That's quite a feat as Little Willie released the song before joining Modern Records. Above Right: Label image of Federal 12221, both sides recorded on May 9, 1953, but not released until 1955. Little Willie Littlefield composed both instrumental sides of this record. One is a boogie, the flip-side is a blues number. Little Willie has 99 song titles credited to him at BMI including one BMI Award Winning Song, "At Midnight", which he released on the Modern label in 1949. At Direct Left: ARIZONA SUN (Phoenix, Arizona), May 5, 1952. At Direct Right: CASH BOX COVER, October 29, 1949. NOTE: That's Little Willie Littlefield pounding on the piano. Cash Box Review (5/14/55): LITTLE WILLIE LITTLEFIELD - FEDERAL 12221.... Sitting On The Curbstone (C+) Little Willie Littlefield plays a lot of piano blues on this deck. It’s a slow tempo piano solo. Good juke box and radio programming. Jim Wilson Boogie (C+) Willie drives a gaudy boogie beat with a flying rhythmic left hand and a flashy right. Two good sides for the boxes. (NOTE: A rating of C+ was considered "good".) Here are three instrumental songs with Little Willie playing piano, two boogies and one blues: LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "Little Willie's Boogie (Instrumental)" - "Little Willie Littlefield" - Eddie's Records 1202-A - 1948. 2. "Jim Wilson Boogie (Instrumental)" - Little Willie Littlefield - Federal 12221 - 1955. 3. "Sitting On The Curbstone (Instrumental)" - Little Willie Littlefield - Federal 12221 - 1955. ALL THREE SONGS played in sequence.

NOTE: Restoration of photos, clippings, record label images, and audio files is by Tony Fournier.

FEDERAL RECORDS - PART ONE FEATURES THE DOMINOES, LEON RENÉ, THE CAPRIS, LITTLE ESTHER, GLADYS PALMER, VALAIDA SNOW, JIMMY GRISSOM, JOHN DOLPHIN, AND HERB KENNY AND THE COMETS/ROCKETS. ALSO INCLUDED IS AN INTRODUCTION TO FEDERAL RECORDS AND SPOTLIGHTS ON THE SONGS "WHEN THE SWALLOWS COME BACK FROM CAPISTRANO", "THAT'S WHAT YOU'RE DOING TO ME", "DOUBLE CROSSING BLUES", AND "FOOL THAT I AM". FEDERAL RECORDS - PART THREE (BIG DOUBLE-SIZE ISSUE) FEATURES THE LAMPLIGHTERS, THE TENDERFOOTS, SPOTLIGHT ON THE SONG "CINDY"/"SINDY", JIMMY WITHERSPOON, JIMMY WITHERSPOON WITH THE LAMPLIGHTERS, THE ROYALS, THE MIDNIGHTERS. ALSO LINDA HAYES WITH THE PLATTERS, THE PLATTERS, JOE HOUSTON WITH THE PLATTERS, JAMES BROWN WITH THE FAMOUS FLAMES, THE SHEIKS, THE DIKES, AND THE FIVE CHANCES.

Listen to this article's audio selections using Windows Media Player:           1. "Living In The Glory Land" - The Four Internes - Federal 12071-AA - 1952.           2. "In That Great Gettin' Up Mornin'" - The Four Internes - Federal 12071-A - 1952.           3. "Going Back To Jesus" - The Four Internes - Federal 12097 - 1952.           4. "Count Your Many Blessings" - The Four Internes - Federal 12097 - 1952.           5. "Newborn Again" - The Four Internes - Federal 12104 - 1952.           6. "Home Again" - The Four Internes - Federal 12104 - 1952.           7. "You Met A Fool" - The Four Jacks - Federal 12075-A - 1952.           8. "Goodbye Baby" - The Four Jacks - Federal 12075-AA - 1952.           9. "The Last Of The Good Rocking Men" - The Four Jacks - Federal 12087 - 1952.         10. "I'll Be Home Again" - The Four Jacks - Federal 12087 - 1952.         11. "Low Down The Chariot" - Wingmen Quartet - Down Beat 124-B - 1948.         12. "Malena" - The Bombers - Orpheus A1101-A - 1955.         13. "I'll Never Tire Of You" - The Bombers - Orpheus A1101-B - 1955         14. "Two Time Heart" - The Bombers - Orpheus 1105 - 1956.         15. "Sentence Of Love" - The Bombers - Orpheus 1105 - 1956.         16. "Noah's Ark" - The Bombers - Orpheus Unreleased - 1956.         17. "Sure Cure For The Blues" - Shirley Haven And The Four Jacks - Federal 12079-A - 1952.         18. "Troubles Of My Own" - Shirley Haven And The Four Jacks - Federal 12092 - 1952.         19. "Stop Fooling Around" - Shirley Haven And The Four Jacks - Federal 12092 - 1952.         20. "I Ain't Coming Back Anymore" - Cora Williams And The Four Jacks - Federal 12079-AA - 1952.         21. "My Last Hour" - Lil Greenwood And The Four Jacks - Federal 12082-A - 1952.         22. "Monday Morning Blues" - Lil Greenwood, Little Willie, and The Four Jacks - Federal 12082-AA - 1952.         23. "Never Again" - Lil Greenwood And The Four Jacks - Federal 12093 - 1952.         24. "Grandpa Can Boogie Too" - Lil Greenwood And The Four Jacks - Federal 12093 - 1952.         25. "I'll Go" - Lil Greenwood And Quartet (The Lamplighters) - Federal 12158 - 1953.         26. "I'm Crying" - Lil Greenwood And Quartet (The Lamplighters) - Federal 12158 - 1953.         27. "All Is Forgiven" - Lil Greenwood And Quartet (The Lamplighters) - Federal 12165 - 1954.         28. "Mercy Me" - Lil Greenwood And Quartet (The Lamplighters) - Federal 12165 - 1954.         29. "Disatisfied Blues" - Lillie Greenwood - Modern 20-771A - 1950.         30. "I'm Goin' Crazy" - Lillie Greenwood - Modern 20-771B - 1950.         31. "K. C. Loving" - Little Willie Littlefield - Federal 12110 - 1952.         32. "Pleading At Midnight" - Little Willie Littlefield - Federal 12110 - 1952.         33. "Little Willie's Boogie (Instrumental)" - "Little Willie Littlefield" - Eddie's Records 1202-A - 1948.         34. "Jim Wilson Boogie (Instrumental)" - Little Willie Littlefield - Federal 12221 - 1955.         35. "Sitting On The Curbstone (Instrumental)" - Little Willie Littlefield - Federal 12221 - 1955.             ALL THIRTY-FIVE ABOVE SONGS played in sequence.           ALL TWENTY-SIX ABOVE FEDERAL LABEL SONGS played in sequence.

Above: EBONY MAGAZINE, April 1960. Lil Greenwood performing with Duke Ellington on piano.

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