#980 (5/8/26)

Above: Bobby's Record Shop 1954 Calendar with picture of Bobby Robinson himself.

BLIND WONDERS OF D.C.

Above: Label images for both sides of Red Robin 118, released in 1953. Note the blue label, possibly to designate a spiritual record. (Above label images provided by Frank Gengaro.)

RED ROBIN 118 is by a gospel group, the Blind Wonders Of Washington D.C., singing "Night Prayer"/"Come By Here". There were only three gospel records released on the Red Robin label, Robin 102 Robert Rose Singers (1951), Red Robin 106 Two Gospel Keys (1952), and this one, Red Robin 118 (1953). Research yielded almost no information about the Blind Wonders. No photo of them of any kind was found. At Left: GOLDSBORO NEWS ARGUS (Goldsboro, North Carolina), November 22, 1952. NOTE: The picture shown in this clipping is, in all certainty, not them. The clipping indicates there were five members. A blurb in the Washington Afro-American newspaper states there were only four members in March 1960. "Night Prayer" is available for listening at YouTube. After restoration to improve the sound quality, it is presented here. Audio for the flip-side, "Come By Here", is provided by Frank Gengaro. LISTEN (Windows Media Player): 1. "Night Prayer" - Blind Wonders Of Washington D.C. - Red Robin 118 - 1953. 2. "Come By Here" - Blind Wonders Of Washington D.C. - Red Robin 118 - 1953. BOTH SONGS played in sequence. If anyone can provide a photo of them and/or further information, please contact me.

THE VELVETS

Above: CAVEAT! This may or may not be The Velvets on the Red Robin label. It was obtained from a Facebook member, who claims it is them. If anyone can verify or disprove that claim or provide a valid photo, please contact me. Per Disco-File, The Velvets on Red Robin consisted of five members.... Charles Sampson (lead tenor), Donald Raysor (tenor), Bearle Easton (baritone), Joe Brisbane (tenor), and George Thorpe (bass). Their only records are the three released on the Red Robin label (1953-1954). Charles Sampson, along with Carl Hogan, had one record on Red Robin as the duet "Charles And Carl" in 1955. There was another "Velvets" group that had one record on Bobby Robinson's Fury label in 1958. But that group seems to be related to the first "Velvets" in name only.

The Velvets' Red Robin 122 and 127 were reissued on the Pilgrim label in 1956. Pilgrim also reissued The Scarlets' Red Robin 128 and The Rainbows' Red Robin 134, both in 1956. Pilgrim is best known for their vocal group records by The G-Clefs. TRADE MAGAZINE, December 1953: ....Bobby Robinson, head of Red Robin label, this week announced a quartet of new releases. One intros Robinson's newest group, the Velvets, on a smooth ballad titled "I." Other artists in the release include newcomer Sadie Birch, Allen Bunn and Tiny Grimes. Over the past several months, the Red Robin firm has become known for its introduction of such national artists as the Du Droppers, the Vocaleers and Jack Dupree....

Above Left: Label image of Red Robin 122, released in November 1953. The labels on both sides credit "The Velvets" as the songwriters. The 45-rpm version of "I" is a different take, performed at a slower pace, than the 78-rpm. Audio of both versions is provided below. Above Right: Label image of Red Robin 127, released in May 1954. At Direct Right: Label image (45-rpm) of Red Robin 120, released in 1953. It's The Velvets' first record. Bobby Robinson takes composer credits at BMI.com for all six sides. He has a co-composer on two of the songs, Lawrence Robinson ("I") and Larry D. Robinson ("I Cried"), who are most likely Danny Robinson, Bobby's brother. In a 1972 Record Exchanger interview, Bobby Robinson said "I participated in writing most all the songs [for the Red Robin label]. They would come to me with the idea, more or less, and then we would sit down and work it out. Change this around or maybe take out a whole verse.... They would have an original melody and I would rewrite it to fit the framework of the melody." There is a second entry at BMI.com that credits Bernice Snelson for writing "Tell Her". She has composer credit on the record's label. Bernice composed several songs with King Records' prolific songwriter Henry Glover. CASH BOX, December 5, 1953: RED ROBIN ISSUES 4 DISCS NEW YORK—Red Robin, New York record company, this week released a quartet of records. The release introduces Robinson's newest group, The Velvets, on an ear pleaser, "I". [It's actually their second record on Red Robin.] The Red Robin label has become well established through its introduction of such national artists as the Du Droppers, the Vocaleers, and Jack Dupree. The other artists included in the release are newcomer Sadie Birch, Allen Bunn, and Tiny Grimes. CASH BOX, December 19, 1953: ....Bobby Robinson at Red Robin Records elated at the reaction his new group, The Velvets, have received with their melty reading of "I". Bobby proved he has the touch when he introduced The Du Droppers, The Vocaleers, and Jack Dupree. We predict here that The Velvets will further enhance his reputation.... CASH BOX, January 23, 1954: ....The reason for Prexy Bobby Robinson's beaming smile is the fact that The Velvets record of just plain "I" has at last crashed into the charts in the N.Y. area.... (Did you catch the unintended flippant phrase in that statement?) CASH BOX, January 30, 1954: ....Bobby Robinson again amazing with his uncanny knack of coming up with top groups. The Velvets with "I" are showing in the charts and The Vocaleers' new "Will You Be True", only out a week, is already showing strength. Robinson heads the Red Robin label.... CASH BOX, March 27, 1954: ....Bobby Robinson, Red Robin Records, getting ready to release a new Velvets disk that he feels will surely create a big fuss. Group is as smooth as its name.... (NOTE: This would be their third and last record on Red Robin. It was released in May 1954.) CASH BOX, April 3, 1954: ....Bobby and Dan Robinson, Red Robin label, cutting a new session with the Velvets this week. Rehearsals have the brothers really excited about the next release. Bobby and Dan also working on a new group that they have high hopes for.... (NOTE: The "new group" is probably The Scarlets, whose first record was issued in June 1954. The Topps already had a Red Robin record released in January 1954.) Cash Box Review (6/26/54): THE VELVETS — RED ROBIN 127 I Cried (B+) The Velvets come up with another potent etching as they blend beautifully on a slow pretty ballad blues. Very pleasant on the ears. Tell Her (B) The boys work sweetly on a similar pretty and come up with a tasty coupling. (NOTE: A rating of B was considered as "very good" and B+ as "excellent".)

CASH BOX — DECEMBER 12, 1953.

LISTEN (Windows Media Player): 1. "They Tried" - The Velvets - Red Robin 120 - 1953. 2. "She's Gotta Grin" - The Velvets - Red Robin 120 - 1953. 3. "I (78-RPM Version)" - The Velvets - Red Robin 122 - 1953. 4. "At Last" - The Velvets - Red Robin 122 - 1953. 5. "I Cried" - The Velvets - Red Robin 127 - 1954. 6. "Tell Her" - The Velvets - Red Robin 127 - 1954. 7. "I (45-RPM Version)" - The Velvets - Red Robin 122 - 1953. ALL SEVEN SONGS played in sequence. At Direct Right: Label image of Pilgrim 706, issued in April 1956. The Red Robin 122 release of the same record was two and one-half years earlier. Red Robin 127 was issued on Pilgrim 710 in May 1956. CASH BOX R&B SLEEPER OF THE WEEK (12/5/53): THE VELVETS — RED ROBIN 122 — I/At Last The label that has already turned up two nationally famous groups now pitches their third effort and if this disk is any indication, Red Robin has another hit team in The Velvets. The upper lid, "I", is a top notch effort on a lovely slow ballad. Lead is smooth as their title indicates and the harmony is fine. Style and quality is distinctive enough to make them different from the run of the mill quartets around in such profusion today. A good group and a good disk. The flip, "At Last", is a mellow and melty slow ballad smoothly blended but just a little below the quality of the upper deck. It's "I" by at least two lengths.

SADIE BIRCH

At Left: NEW PITTSBURGH COURIER, December 19, 1953: CANARY — Sadie Madison, Cincinnati thrush, is scoring with the new Kelly Owens combination of Clifford (Scotty) Scott on tenor sax and clarinet; Mickey Baker, guitar; and Bobby Donaldson, drums. Recently spotlighted on a variety CBS-TV program, the boys are being given praise for their splendid rhythmic coordination with Owens at the organ and Miss Madison on vocals. ******************************************************************** Why is a picture of Sadie Madison shown when Red Robin 121 is credited to Sadie Birch? Because of the contention that Sadie Madison and Sadie Birch might be the same person! I had questioned whether "Sadie Madison" was a pseudonym for somebody else in a 2024 King Records article. Here is the latest evidence: 1. They are both named "Sadie" and are both blues singers from Cincinnati. 2. Sadie Birch clippings state that she had recorded for King Records. No evidence of that was found. However, Sadie Madison did record for King Records. 3. Sadie Madison was the featured vocalist with the Kelly Owens' band during the time period of Red Robin's late 1953 release of Sadie Birch's record. Kelly Owens' band backs Birch on that record. What are the odds that Owens would have two singers named "Sadie" in that same short time period? 4. Except for the Red Robin record, no evidence was found that Sadie Birch was ever with the Kelly Owens band. 5. There are clippings for Sadie Birch prior to and after the Red Robin record. But no clippings of Sadie Madison were found other than the one shown at left. 6. The singing voice and style of Sadie Madison and Sadie Birch are virtually the same. I like her (their?) singing, it has much of Little Esther in it. The motive for using two names is still not determined. But, either way, the "same person" theory does spice up this "Sadie Birch" section.

Above Left: CASH BOX, November 28, 1953. NOTE: "New Hits" numbers 3 and 4 are included further down in this article. At Right Top: INDIANAPOLIS RECORDER, January 26, 1952. NOTE: "Sadie Birch Lovely Song Stylist" No mention of "King Recording Artist". At Right Bottom: KENTUCKY POST (Covington, Kentucky), October 23, 1954. NOTE: "Sadie Birch King Recording Artist" No mention of "Red Robin".

At Left: Label image of Red Robin 121, released in late 1953. This is Sadie Birch's only record on the Red Robin label. Kelly Owens and Band back her up. If anyone can provide a better 78-rpm label scan, please email it to me. The top-side label credits "Kelly Owens" as the songwriter. BMI.com credits Eva Johnson and Kelly Bruce Owens as co-composers. Per BMI.com, Leroy Kirkland and Mamie Thomas are the composers of the flip-side, "The Man I Crave". The Red Robin label agrees with that. Kelly Owens was a piano and organ player, bandleader, songwriter, and arranger. NEW YORK AGE, February 13, 1954: Kelly Owens, formerly known as a great pianist, is now proving he is equally great as an organist. He and his own unit scoring at Downbeat Club in Providence, R.I. (NOTE: On the Red Robin record, he plays the organ.) Cash Box Review (12/12/53): SADIE BIRCH — RED ROBIN 121 The Man I Crave (B) Sadie Birch intro'd on the Red Robin label with a middle tempo bouncer. Thrush waxes a belty reading that could stir up lots of action. Love Needs A Helping Hand (C+) Chantress dishes up a slow blues in which she is both tender and then gusty when the mood calls for it. (NOTE: A rating of C+ was considered as "good" and B as "very good".)

EXTRA RECORD — SADIE MADISON

Much of this section is taken from the previously mentioned King Records article. It's included here for completeness.

Above Left: Label image of King 4666, recorded on June 20, 1953 in Cincinnati and the record released in 1953. "Let-Down Blues" has interesting sound effects throughout (train, footsteps, knocking on door). The flip-side, "Beat Patch", is an instrumental. According to the label, Louis Stephens, a member of Todd's orchestra, composed this song. The title is not registered at BMI.com. Sadie sings in a similar style as Little Esther, who was on King's subsidiary label, Federal, but left the company in 1953, the year of this record's release. "Let-Down Blues" was composed by Henry Glover and Fred Weismantel. Glover wrote 633 songs (BMI), Weismantel wrote 217 songs (ASCAP), and of these they wrote 18 songs together. They were both A&R men for King Records. LISTEN (Windows Media Player): "Let-Down Blues" - Todd Rhodes Orchestra (Vocal By Sadie Madison) - King 4666 - 1953.

Above Right: Photo of Todd Rhodes. He had quite the collection of interesting ties as well as "revolving door" female vocalists. The latter includes Kitty Stevenson, LaVern/LaVerne Baker, Connie Allen, Sadie Madison, Honey Brown, Alberta Adams, Letha Jones, and Rose Mitchell. The first four listed vocalists had records with him. The Billboard Review (11/7/53): TODD RHODES ORK — King 4666.... Let-Down Blues (75) First-rate vocal by chirp Sadie Madison, train sounds and chatter bits combine for a strong mood blues reading. Cute tag line adds interest. (NOTE: A ratings range of 70-79 was considered as "good".) The musicians on this record are Todd Rhodes (piano), Charlie Hooks (alto sax), Louis Stephens (tenor sax), Robert Fort (baritone sax), Joe Williams (bass fiddle), and George De Hart (drums).

TINY GRIMES AND HIS ROCKIN' HIGHLANDERS

Above: Photo of Lloyd "Tiny" Grimes And His Rockin' Highlanders. Yes, they are wearing formal Scottish outfits, including kilts. Tiny is second from the right with the guitar. If anyone can identify the others in this photo, please contact me. Tiny and his group had just one record issued on the Red Robin label. Both sides are instrumentals. The musicians on this record are Tiny Grimes (guitar), Red Prysock (tenor sax), Freddie Redd (piano), Charles "Ike" Isaacs (bass fiddle), and Jerry Potter (drums). Note that Red Prysock And His House Rockers had three records on Red Robin (1952-1955). Wonder if Tiny Grimes or any of the Highlanders were involved in any (or all) of those records. Red Prysock is included in the Red Robin Records - Part One article.

BALTIMORE AFRO-AMERICAN, April 7, 1945: TINY GRIMES CHUCKED PIANO FOR GUITAR NEW YORK—Meet the world's fastest guitar player. His name is Lloyd (Tiny) Grimes, and his claim to fame is that he matched on his guitar, note for note, the breakneck speed of the piano playing of the great and incredible Art Tatum, blind genius of the keyboard. Grimes, whose records prove his claim, played for a year as a part of the Art TatumTrio that included the fabulous Slam Stewart on bass fiddle/ It is on the record, "I Know That You Know", that Grimes proves what he claims.... [Both Grimes and Stewart are right there with Tatum when the record ends.] Tiny right now is rehearsing with Cozy Coles, drumming star of "Carmen Jones", for a spot in Billy Rose's "The Seven Lonely Arts". A native of Newport News, Virginia, he came to New York in 1934 as a piano player with his own trio. He joined the Cats And A Fiddle in 1941 and stayed with them for a year. He then went to California where he met Tatum. (NOTE: This article does not tell why or when Tiny switched from piano to guitar. In 1941, he played the piano with The Cats And The Fiddle. By 1945, he had moved to the guitar.) Grimes worked with Tatum for about a year and nine months, beginning at the Streets Of Paris in Los Angeles and eventually East to open at Fifty-second Street's famous Three Deuces [a jazz club located in New York City]. He made about ten recordings with Tatum and his list also includes ten sides with Coleman Hawkins, about one dozen sides with Cozy Coles, and other recordings with Ike Quebec, tenor saxophonist. Grimes, who manages himself, gives all the credit to his wife, Chinky Grimes, an exotic dancer, now appearing at the El Grotto in Chicago, and to whom he was married in 1941. He wants most of all to have a quintet like Louis Jordan's. "Big bands are too much trouble" he says. (NOTE: Tiny's combo on the Red Robin record is a quintet.) At Direct Right: Photo of (L-R) Hugues Panassié, Red Prysock, and Tiny Grimes in New York City circa 1946. Panassié was a French critic, record producer, and author of various jazz journals. Red Prysock, tenor saxophonist, was a regular member of Tiny's musical ensembles for several years. Trivia: The saxophone was invented in 1840 by the Belgian Antoine Joseph Sax.

Above Left: Label image of Red Robin 123, recorded on June 20, 1953 in Cincinnati and the record released in 1953. Both sides are instrumentals. The labels and BMI.com agree that Tiny Grimes composed both songs. Above Right: CASH BOX, January 16, 1954. NOTE: "Juicy Fruit" seems to have been the favored side of this record. The Cash Box reviewer also favored it over "Second Floor Rear" (see futher below). At Direct Right: CLEVELAND CALL AND POST, 1950. (Clipping provided by Richard Koloda.) NOTE: Bottom-Left... "The World's Greatest Swing Guitarist". Tiny Grimes was a regular performer at Gleason's Bar in the late 1940s to the early 1950s.) Cash Box Review (12/26/53): TINY GRIMES — RED ROBIN 123 Juicy Fruit (B) An intriguing sax instrumental that would make a solid piece of pop material. Should show up strong in the boxes. Second Floor Rear (C+) Flip is an easy to listen to treatment of a middle tempo instrumental. Sax again featured instrument with good guitar support. (NOTE: A rating of C+ was considered as "good" and B as "very good".) CASH BOX, February 6, 1954: ....Bobby Robinson, Red Robin Records, in great spirits these days. His "I" by the Velvets has broken strong in the charts, Tiny Grimes "Juicy Fruit" going great guns in Cleveland, Chicago, Philadelphia, and New York, and his latest, "Will You Be True" by the Vocaleers, getting a really big response.... LISTEN (Windows Media Player): 1. "Second Floor Rear (Instrumental)" - Tiny Grimes - Red Robin 123 - 1953. 2. "Juicy Fruit (Instrumental)" - Tiny Grimes - Red Robin 123 - 1953. BOTH SONGS played in sequence.

Above Left: BALTIMORE AFRO-AMERICAN, January 3, 1948. NOTE: Check out the Three B's And A Honey article for much more information about them. Above Right: CLEVELAND CALL AND POST, October 18, 1952. At Direct Right: STAR LEDGER (Newark, New Jersey), November 2, 1955. CLEVELAND CALL AND POST, September 15, 1951: FABULOUS TINY GRIMES INTO EBONY CLUB HIGHLIGHTING ITS GALA parade of stars, which has been an unending procession since the first of the year, the fabulous Ebony Club at 69th and Cedar will play host to the fabulous Tiny Grimes and his stellar houserockers for one colossal week starting Monday, September 17th. Be there! This is surprise news—but good news—because Grimes, always a popular entertainment favorite in Cleveland, has never played Ebony before, though it has been hinted for some time that Ebony would have the great guitar specialist in response to the tremendous demand. Grimes is not news to Cleveland for he has racked up one of the most imposing box office records ever established in this area, since his original advent at the plush Cafe Tia Juana. Since then he has gone on to make record stands and play record dances and, in short, set a terrific pattern for jump music in this area, which has now become the watchword in entertainment circles. Ebony Club, which has played to record outfits one right after the other, can hardly be expected to smash its all-time box office records with Grimes—it doesn't seem possible anymore—but it just might happen! ....

EXTRA RECORD — TINY GRIMES AND HIS ROCKING HIGHLANDERS

Above: Photo of Tiny Grimes playing his guitar during a performance.

Above: Label image of United 109, recorded in November 1951 and released in 1951. "Solitude" has a vocal by the band. The flip-side is an instrumental composed by Tiny Grimes. The musicians performing on this record are Tiny Grimes (guitar), Red Prysock (tenor sax), Freddie Redd (piano), Charles "Ike" Isaacs (bass fiddle), and Jerry Potter (drums). That's the same as on their Red Robin record. At Direct Left: CASH BOX, March 22, 1952. NOTE: Song title on the record label is "Rockin' The Blues Away". Are The Highlanders "Rockin'" or "Rocking"? Answer is both. LISTEN (Windows Media Player): 1. "Solitude" - Tiny Grimes And His Rocking Highlanders - United 109 - 1951. 2. "Rockin' The Blues Away (Instrumental)" - Tiny Grimes And His Rocking Highlanders - United 109 - 1951. BOTH SONGS played in sequence.

Above: CLEVELAND CALL AND POST, December 25, 1948. NOTE: Cleveland claimed Tiny Grimes as one of their own. At Right: CLEVELAND CALL AND POST, September 29, 1951. NOTE: Tiny's group was called the "Rockin', Rocking, Mad, and Scottish Highlanders" or just "His Highlanders" All good.

Above Left: CLEVELAND CALL AND POST, July 2, 1949. Above Right: CLEVELAND CALL AND POST, September 22, 1951. NOTE: THE "NIGHTMARE BLUES" MAN!! LISTEN (Windows Media Player): 1. "Nightmare Blues" - Tiny Grimes Quintet (Vocal By Red Prysock) - Atlantic 869 - 1949. 2. "Hot In Harlem (Instrumental)" - Tiny Grimes Quintet (Featuring Red Prysock, Tenor Sax) - Atlantic 869 - 1949. BOTH SONGS played in sequence. Neither of the songs on this record were registered at BMI.com. Labels for both sides show "Prysock-Grimes" as the composers. The line-up on this record is Tiny Grimes (guitar), Red Prysock (tenor sax), Jimmy Saunders (piano), Charles "Ike" Isaacs (bass fiddle), and Jerry Potter (drums), which is the same as for Red Robin, except for piano. CASH BOX REVIEW (2/5/49): TINY GRIMES QUINTET — ATLANTIC 869 Hot In Harlem/Nightmare Blues The Tiny Grimes Quintet in the driver's seat with some wax that should wear white in no time at all on the phonos. Top deck, an ode to The Cash Box feature [column] "Hot in Harlem" runs thru in ultra fast tempo with Tiny on guitar and some great sax work by Red Prysock featured throughout. It's the kind of tune to which the jump fans get wild, and one they'll keep on pouring nickels to hear. The flip, tagged "Nightmare Blues" has Red Prysock doing the vocals, with the slow, moody lyrics of this blues ditty echoing the title. "Hot In Harlem" should be just that—hot! Get it—but fast!

Above: Still shot of Tiny Grimes And His Orchestra from the 1945 Soundie "Never Too Old To Swing". In front are Red Prysock (saxophone) and Tiny Grimes (guitar).

ALLEN BUNN

Above: Photo of Alden "Allen" Bunn, from North Carolina, who was a singer and guitarist.

At Left: Label image of Red Robin 124, released in 1953. The labels for both sides show "Allen Bunn" as composer, BMI.com credits both songs to "Alden Bunn", his real name. This is the only record that Allen had on the Red Robin label. Regarding "My Kinda Woman", Allen sang lead and played guitar on "Eyesight To The Blind", basically the same song, except for a change in the lyrics, when he was with The Larks. That was on the Apollo label, released in 1951. See further down this page. "My Kinda Woman" has an uncredited vocal group backing Allen Bunn. Per Marv Goldberg's article about The Larks, Allen claimed it was The Larks backing him. However, Marv points out that members of both the first and second "Larks" groups said that it wasn't them. Maybe Allen was thinking about when he was a member of The Larks. An Unlikely Theory: Perhaps it was a vocal group provided by Bobby Robinson? Such as a local group or maybe The Velvets, who were under contract with him at the time. Their "At Last" and Allen Bunn's "My Kinda Woman" have consecutive matrix numbers (3042 and 3043). However, the group's sound and style are completely different, so it's unlikely to be them. (NOTE: The above comments are meant to be thought-provoking, nothing more.) Cash Box Review (12/19/53): ALLEN BUNN — RED ROBIN 124 My Kinda Woman (C+) Allen Bunn sings a slow Southern blues bemoaning his having the wrong kinda woman. Guitar background sets the proper mood. Too Much Competition (C+) Flip is a similar item with a rhythmic middle tempo. Chanter does an ok vocal job. (NOTE: A rating of C+ was considered as "good".)

EXTRA RECORD — THE LARKS

The Larks (Top L-R) Allen Bunn (baritone), Gene Mumford (tenor), Raymond Barnes (tenor), (Bottom L-R) David McNeil (bass), and Thermon Ruth (tenor). This is the "first" Larks group, who recorded for Apollo from 1950 to 1952. Click HERE for an article about The Larks by Marv Goldberg. (Will open in a separate window)

LISTEN (Windows Media Player): "Eyesight To The Blind" - The Larks - Apollo 427 - 1951.

At Left: Label image of Apollo 427, recorded in March 1951 and released in June 1951. The members in the group for this record are the same as in the further above photo. Allen Bunn sings lead and plays the guitar on the shown side. The label does not show a composer, but BMI.com credits Sonny Boy Williamson, who recorded it for Trumpet Records in 1951. Below: CASH BOX, July 28, 1951.

CASH BOX AWARD O' THE WEEK — JUNE 30, 1951

The "Second" Larks group on a parade float in Somerset, New Jersey in 1954. (Photo provided by Lou Rallo.) This "Larks" recorded for Lloyds, Apollo's subsidiary label, in 1954 and for Apollo in 1955. Around the table clockwise, starting with the person in front.... Orville Brooks, Gene Mumford, David Bowers (face partly blocked from view), Isaiah Bing, and Glenn Burgess (at far right). (Thank you to Marv Goldberg for identifying them by name.)

EXTRA RECORD — ALLEN BUNN

Above Left: Photo of Allen Bunn aka "Tarheel Slim" later in his career. Above Right: Label image of Apollo 436, recorded in February 1952 and released soon afterward. It's Allen's first record of three on the Apollo label (1952-1953). LISTEN (Windows Media Player): 1. "The Guy With A "45"" - Allen Bunn And Trio - Apollo 436 - 1952. 2. "She'll Be Sorry" - Allen Bunn And Trio - Apollo 436 - 1952. BOTH SONGS played in sequence.

The labels on both sides credit "Allen Bunn" as the composer. BMI.com agrees, but as "Alden Bunn". BMI credits "Alden Bunn" with 54 song titles. On the other side of this record, "She'll Be Sorry", it sounds like a duet is singing. The harmonica is the prominent instrument. If anyone knows the members of Allen's trio, please contact me. The harmonica sounds like Sonny Terry, but that is conjecture on my part.

Above Left: CASH BOX CHOICE THIS WEEK, March 15, 1952. Above Right: Photo of Little Ann And Tarheel Slim (Allen Bunn). Little Ann was Allen's wife, Anna Lee Sandford. They started with Aladdin's subsidiary label, Lamp, in the mid-1950s as "The Lovers". Allen came full circle with solo and duet recordings, as "Tarheel Slim" and "Tarheel Slim And Little Ann" (with variations), for Bobby Robinson's Fire and Fury labels (1958-1962).

Above Left: Label image of Lamp 2005, released in 1957. Labels and BMI.com agree that Allen (Alden) Bunn composed the top side song and Henry Coger composed the other side song. Cash Box Review (5/11/57): THE LOVERS — LAMP 2005 Gotta Whole Lot Of Lovin' To Do (B) The Lovers swing out with an infectious quick beat bouncer built into a standard melody. Happy side the kids can hop to. Darling It's Wonderful (B) The Lovers team on a slow beat pretty that floats along on a tender vein. Easy drifty type wax. This side could command attention. The stronger etching. (NOTE: A rating of B was considered as "very good".) LISTEN (Windows Media Player): 1. "Darling It's Wonderful" - The Lovers - Lamp 2005 - 1957. 2. "Gotta Whole Lot Of Lovin' To Do" - The Lovers - Lamp 2005 - 1957. 3. "Forever I'll Be Yours" - Tarheel Slim & Little Ann - Fire 1021 - 1960. 3. "Anything For You" - Tarheel Slim & Little Ann - Fire 1021 - 1960. ALL FOUR SONGS played in sequence.

Above Middle: CASH BOX, August 17, 1957. Above Right: Label image of Fire 1021, released in 1960. The labels on both sides of this record show "Bunn" as the composer, but neither side's songs seem to be registered with BMI. "Fast Music" is not listed at BMI as a publisher. Tarheel Slim And Little Ann had at least eight records released on the Fire and Fury labels. "Forever I'll Be Yours" was reissued on Fire 506 in 1962. Not many 78-rpm records were being pressed in 1960. The 7-inch 45-rpm format had taken over almost completely by then. It's amazing that one person, namely Bobby Robinson, was able to run successful record companies out of such a tiny record retail shop.

CASH BOX AWARD — JUNE 18, 1960

EXTRA RECORD — SONNY BOY WILLIAMSON

Above Left: Photo of Sonny Boy Williamson, singer, harmonica player, and songwriter. There were two harmonica playing blues singers named "Sonny Boy Williamson", this is the second one. Real name: Alex Miller. Above Right: Label image of Trumpet 215, released in 1954. "Sonny Boy" Williamson is credited at BMI.com as the songwriter. It's unknown to me why the label shows "W. Williamson". At Direct Right: Photo of Sonny Boy Williamson. The Billboard Review (8/7/54): SONNY BOY WILLIAMSON — TRUMPET 215 She Brought Life Back To The Dead (73) For the Southern blues market this could be a strong item. Williamson's chanting and harmonica playing figure to make noise. Ops will go for it. (NOTE: A ratings range of 70-79 was considered as "good".) Cash Box Review (9/4/54): SONNY BOY WILLIAMSON — TRUMPET 215 She Brought Life Back To The Dead (B) Williamson sings an interesting blues item with lyrics that extol "she" who brought life back to the dead. A good performance. Harmonica and strings are the instrumental support. (NOTE: A rating of B was considered as "very good". Blues enthusiasts, don't worry, "strings" refers to a guitar, probably belonging to Elmore James.) NOTE: Sonny Boy Williamson recorded two distinct studio versions of "Eyesight To The Blind" for Trumpet Records in 1951, due to a fire that destroyed the first session's masters. Both were released with the same catalog number (Trumpet 129), with the first recorded on January 4, 1951, and the second on March 12, 1951. The two versions may have different musicians backing Sonny Boy, but it's his harmonica that's prevalent on both. Audio for both versions is provided below. LISTEN (Windows Media Player): 1. "Eyesight To The Blind (Long Version)" - "Sonny Boy" Williamson - Trumpet 129 - 1951. 2. "Eyesight To The Blind (Short Version)" - "Sonny Boy" Williamson - Trumpet 129 - 1951. 3. "She Brought Life Back To The Dead" - "Sonny Boy" Williamson - Trumpet 215 - 1954. ALL THREE SONGS played in sequence.

SUMMARY: The women in the five blues songs featured in this "Allen Bunn" section are all professed to have super-human abilities. A. My Kinda Woman: "... make a freight train jump the rails." B. Eyesight To The Blind (Larks): "... bring eyesight to the blind." and "... the deaf and dumb get to talk." C. The Guy With A "45": "... make a dumb man talk." D. Eyesight To The Blind (Sonny Boy): "... bring eyesight to the blind." and "... the deaf and dumb get to talk." E. She Brought Life Back To The Dead: "... brought life back to the dead."

THE TOPPS

Per Disco-File, The Topps consisted of Albert Evans, Robert "Bobby" Evans, Leroy Henderson, Fred Holmes, and Jerome Patterson. Prior to forming The Topps, Bobby Evans was the lead singer and, per the Doo Wop Blog website, Fred Holmes was the original bass singer of The Heartbreakers. Leroy Henderson recorded with The Five Vultures and The Serenaders (NOT the Red Robin group) in 1952, but nothing was released by them until the 1970s on labels such as Roadhouse and Outhouse. No other vocal groups with released records were found that included either Albert Evans or Jerome Patterson as members.

Above: Photo of The Heartbreakers. Bobby Evans, who became lead singer of The Topps, is in front at bottom. (Photo courtesy of Jean-Christophe Piazza.)

Above Left: Label image of Red Robin 126, recorded in November 1953 and released in January 1954. This is the first of two records The Topps had on Red Robin, both released in 1954. The group toppled not long afterwards without "re-turning" for any further records. "L. Green-H. Green" are credited on the above shown label as the composers, but they are not listed at BMI.com. Broadcast Music, Inc. represents songwriters, composers, and publishers. I've no clue who the "Greens" might have been, except there was a Lawrence "Lucky" Green in The Heartbreakers vocal group. However, BMI.com does give credit for composing "What Do You Do" to our larcenous-minded friends, "Larry D. Robinson" and "Morgan C. Robinson". The flip-side, "Tippin'", was composed by Robert Evans, as shown on the label and verified at BMI.com. Above Right: CASH BOX, January 23, 1954. NOTE: Red Robin was hoping disk jockeys would give the group some spins. CASH BOX, January 23, 1954: ....Bobby Robinson, Red Robin bossman, has another top group, he says, in The Topps. Bobby says "The Topps are in the same class and styling as The '5' Royales and The Clovers." Welllll—if that's so—nuff said.... CASH BOX, January 23, 1954: ....The reason for Red Robin Prexy Bobby Robinson's beaming smile is the fact that The Velvets' record of just plain "I" has at last crashed into the charts in the N.Y. area. His heart is also skipping beats every now and then because of the finding of a very swingsational new group from down Washington way called The Topps, whose first slicing should be shaking up the racks and juke boxes any minute now. Keep your eye on these cats, for insiders say they're a good bet to be sitting on top of the world this year for sure.... (Note how the writers in the above two Cash Box blurbs sneak the word "top" into their commentaries. The Topps' second (and last) record was issued about a half year later, not exactly on top of their first.) The Billboard Review (2/20/54): THE TOPPS — RED ROBIN 126 What Do You Do (71) Good chanting of a rhythmic effort by The Topps, new group on the label. Side should pull spins. Tippin' (64) Novelty effort in slow tempo is handed a nice performance by the group. (NOTE: A ratings range of 40-69 was considered as "satisfactory" and 70-79 as "good".) LISTEN (Windows Media Player): 1. "What Do You Do" - The Topps - Red Robin 126 - 1954. 2. "Tippin'" - The Topps - Red Robin 126 - 1954. 3. "I've Got A Feeling" - The Topps - Red Robin 131 - 1954. 4. "Won't You Come Home Baby" - The Topps - Red Robin 131 - 1954. ALL FOUR SONGS played in sequence.

Above: Label image of Red Robin 131, released in 1954. The labels for both sides show Eddie "Tex" Curtis as composer. Curtis was an ASCAP affiliated composer. ASCAP lists the above shown side songwriters as "Eddie Curtis" and "Dave Martin", but ASCAP has no listing for the flip-side. Wait! Was Bobby Robinson at it again? Yes, he was. BMI.com gives sole credit for "Won't You Come Home Baby" to "Morgan Bobby Robinson". The both-sided Curtis written songs makes one wonder if it's his orchestra backing The Topps on this record. The recording date is unknown, but it was sometime in the summer of 1954. At that time, Eddie "Tex" Curtis And His Orchestra were recording for the Gee label located in New York City. So there was the ability, availability, and time frame. The main means of comparison between the Red Robin and Gee records are the short saxophone breaks, which are quite similar in sound. Curtis himself was a piano player. If anyone can confirm or disprove the above conjecture, please contact me.

EXTRA RECORD — THE HEARTBREAKERS

Above: Photo of The Heartbreakers. Bobby Evans, lead singer of The Heartbreakers, was also the lead singer of The Topps. He's at bottom-left in the photo. Per Disco-File, the members of this group on records consisted of Evans, George Davis, Lawrence "Lucky" Green, James Ross, and Lawrence Tate. (Photo courtesy of Jean-Christophe Piazza.)

At Left: Label image of RCA Victor 47-4849, recorded in March 1952 and released in July 1952. This is the fourth of four records that The Heartbreakers had on RCA Victor (1951-1952). The label at left shows "Lillian Claiborne" as the composer and that it's an "ASCAP" song. However, ASCAP.com lists no songs for her. BMI.com does credit 101 song titles to her, but none are "There Is Time". The Heartbreakers recorded their first songs for Claiborne in Washington, D.C. She sold the "Heartbreaker" and "Wanda" masters to RCA Victor instead of releasing them on her own DC label. That label is most known to vocal group collectors for its records by The Cap-Tans. RCA Victor matrix numbers are coded. For this record, E = 1950s, 2 = specific year (1952), V = Victor (popular series), and W = 7" 45rpm. Cash Box Review (11/8/52): THE HEARTBREAKERS — RCA VICTOR 47-4849 There Is Time (C+) The Heartbreakers harmonize a slow romantic ballad with sentimental feeling. The backing is soft and in the mood of the piece. It's O.K. With Me (C+) The group works over a quick rhythmic bounce in fetching style. A fem lead [sic] carries the melody with the balance of the group filling out smartly. (NOTE: A rating of C+ was considered as "good".) LISTEN (Windows Media Player): 1. "There Is Time" - The Heartbreakers - RCA Victor 47-4849 - 1952. 2. "It's O.K. With Me" - The Heartbreakers - RCA Victor 47-4849 - 1952. BOTH SONGS played in sequence.

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

RED ROBIN RECORDS - PART ONE FEATURES SPOTLIGHTS ON BOBBY ROBINSON AND JOEL TURNERO. ALSO INCLUDED ARE MORRIS LANE AND BAND, CHARLIE SINGLETON AND HIS ORCHESTRA, VOCALIST FREDDIE JACKSON, THE MELLO-MOODS, THE SWALLOWS, THE VIBES, TWO GOSPEL KEYS, RED PRYSOCK AND HIS HOUSE ROCKERS, THE DU-DROPPERS, AND THE EMBERS. RED ROBIN RECORDS - PART TWO FEATURES CHAMPION JACK DUPREE, THE EMPIRES, SONNY TERRY, BROWNIE McGHEE, THE VOCALEERS, THE CRYSTALS/OPALS, AND THE SERENADERS/MUSKETEERS/ROYALS/SCOOTERS. RED ROBIN RECORDS - PART FOUR FEATURES THE SCARLETS, THE FIVE SATINS, SANDRA GRIMES, DOLLY COOPER, THE RAINBOWS, CLARENCE "JUNIOR" LEWIS, CHARLES AND CARL, CARL HOGAN AND THE MIRACLES, THE VALENTINES, THE SEQUINS, THE EMANONS, AND GEORGE ZIMMERON AND THE THRILLS.

Listen to this article's audio selections using Windows Media Player:           1. "Night Prayer" - Blind Wonders Of Washington D.C. - Red Robin 118 - 1953.           2. "Come By Here" - Blind Wonders Of Washington D.C. - Red Robin 118 - 1953.           3. "They Tried" - The Velvets - Red Robin 120 - 1953.           4. "She's Gotta Grin" - The Velvets - Red Robin 120 - 1953.           5. "I (78-RPM Version)" - The Velvets - Red Robin 122 - 1953.           6. "At Last" - The Velvets - Red Robin 122 - 1953.           7. "I Cried" - The Velvets - Red Robin 127 - 1954.           8. "Tell Her" - The Velvets - Red Robin 127 - 1954.           9. "I (45-RPM Version)" - The Velvets - Red Robin 122 - 1953.         10. "Love Needs A Helping Hand" - Sadie Birch - Red Robin 121 - 1953.         11. "The Man I Crave" - Sadie Birch - Red Robin 121 - 1953.         12. "Let-Down Blues" - Todd Rhodes Orchestra (Vocal By Sadie Madison) - King 4666 - 1953.         13. "Second Floor Rear (Instrumental)" - Tiny Grimes - Red Robin 123 - 1953.         14. "Juicy Fruit (Instrumental)" - Tiny Grimes - Red Robin 123 - 1953.         15. "Solitude" - Tiny Grimes And His Rocking Highlanders - United 109 - 1951.         16. "Rockin' The Blues Away (Instrumental)" - Tiny Grimes And His Rocking Highlanders - United 109 - 1951.         17. "Nightmare Blues" - Tiny Grimes Quintet (Vocal By Red Prysock) - Atlantic 869 - 1949.         18. "Hot In Harlem (Instrumental)" - Tiny Grimes Quintet (Featuring Red Prysock, Tenor Sax) - Atlantic 869 - 1949.         19. "My Kinda Woman" - Allen Bunn (With Vocal Group) - Red Robin 124 - 1953.         20. "Too Much Competition" - Allen Bunn - Red Robin 124 - 1953.         21. "Eyesight To The Blind" - The Larks - Apollo 427 - 1951.         22. "The Guy With A "45"" - Allen Bunn And Trio - Apollo 436 - 1952.         23. "She'll Be Sorry" - Allen Bunn And Trio - Apollo 436 - 1952.         24. "Darling It's Wonderful" - The Lovers - Lamp 2005 - 1957.         25. "Gotta Whole Lot Of Lovin' To Do" - The Lovers - Lamp 2005 - 1957.         26. "Forever I'll Be Yours" - Tarheel Slim & Little Ann - Fire 1021 - 1960.         27. "Anything For You" - Tarheel Slim & Little Ann - Fire 1021 - 1960.         28. "Eyesight To The Blind (Long Version)" - "Sonny Boy" Williamson - Trumpet 129 - 1951.         29. "Eyesight To The Blind (Short Version)" - "Sonny Boy" Williamson - Trumpet 129 - 1951.         30. "She Brought Life Back To The Dead" - "Sonny Boy" Williamson - Trumpet 215 - 1954.         31. "What Do You Do" - The Topps - Red Robin 126 - 1954.         32. "Tippin'" - The Topps - Red Robin 126 - 1954.         33. "I've Got A Feeling" - The Topps - Red Robin 131 - 1954.         34. "Won't You Come Home Baby" - The Topps - Red Robin 131 - 1954.         35. "There Is Time" - The Heartbreakers - RCA Victor 47-4849 - 1952.         36. "It's O.K. With Me" - The Heartbreakers - RCA Victor 47-4849 - 1952.             ALL THIRTY-SIX ABOVE SONGS played in sequence.           ALL NINETEEN ABOVE RED ROBIN LABEL SONGS played in sequence.           At Right: CASH BOX, March 3, 1954.

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