(Formerly Known As "Record Of The Week")

#936 (3/25/22)

THE MIRROR (Los Angeles, CA), October 24, 1953: Wanna get into the big money end of the recording business? Establish your own label. Let me tell you how one man did it. Arthur Rupe came here in 1944 with a few hundred bucks, a classical music background, and a yen for waxing. He bought into a small label, but bought right out again when his partner couldn't see the merits of a couple of struggling artists named Frankie Laine and Nat Cole. Art looked the business over and decided his best chance for success lay in the rhythm and blues field. He knew nothing about this strange music so he took the most direct method of learning it. Bought a stack of what were then known as "race" records and locked himself in a room for two weeks until he knew what made it tick. One of Rupe's first artists was Roy Milton, whose "R.M. Blues" has sold over 700,000 copies. Each year for the past three years one of Art's Specialty label discs has been voted R&B Record of the Year or runner-up for the honor. And his original stake has run into the important money. Milton is one of the better-known artists in this field. He came out of Oklahoma as a young fellow and formed his own group because, as he admits, "I played so badly nobody would give me a job". Today, Roy's band can have its choice of bookings anywhere this haunting music is appreciated. (NOTE: It's up to you to believe the part about "locked himself in a room". But what is missing is that Camille Howard played a major role in Roy Milton's success.)

Above Left: THE BILLBOARD, July 15, 1950. We'll hear from Percy Mayfield, Jimmie Liggins, Sister Wynona Carr, and Specialty's gospel/spiritual artists in a future part of this article. Above Right: THE BILLBOARD, July 14, 1951.

THE HUCKLE-BUCK: "The Huckle-Buck" started as an instrumental, became a dance, and then had lyrics incorporated. The original version, by Paul Williams And His Hucklebuckers, was released in 1949, followed shortly afterward by Roy Milton And His Solid Senders on Specialty. The song became a big hit, so many record companies wanted to cash in on its success. Some of the other record companies to release "The Huckle-Buck" in 1949: Bob Marshall/Cozy Cole Orchestra on Decca, Lorene Carter/Lionel Hampton Orchestra on Decca, Big Sis Andrews And Her Huckle-Busters on Capitol, The Pig Footers on Mercury, Pearl Bailey/Hot Lips Page Orchestra on Harmony, .... And Kenny White/Andy Kirk And His Clouds Of Joy on Vocalion, Cab Calloway And His Cab-Jivers on Hi-Tune, Benny Goodman Orchestra on Capitol, Charlie Shavers/Tommy Dorsey Orchestra on RCA Victor, and Frank Sinatra With The Ken Lane Quintet on Columbia.

Above: CASH BOX, April 2, 1949. The first of many vocal versions of "The Huckle-Buck".

Above Left: Label image for Specialty SP 328 A, recorded on February 22, 1949 and released in March 1949. Above Right: INDIANA RECORDER, September 25, 1948. (Roy Milton) CASH BOX, March 26, 1949: ....Roy Milton's "Huckle-Buck" looks like a fast comer for Specialty and the flip of "Sympathetic Blues" could be another winner.... Camille Howard's new "The Mood I'm In" and "Instantaneous Boogie" also sound like a double-headed hit for the gal who's done it before. Cash Box Review (4-9-49): ROY MILTON — Specialty 328.... The Huckle-Buck The side is a vocal rendition of a ditty that is hotter than a ten dollar pistol. Band vocal on this side makes you rock with the rhythm the Milton boys offer. Should garner some heavy coin. Ops get with it.

Above: Paul Williams Band.

Above Left: Photo of Paul Williams, saxophone player, band leader, composer, and arranger. Williams had the first version of "The Huckle-Buck", which was named after his band "The Hucklebuckers". Upon this record becoming a huge hit, he became known as Paul "Hucklebuck" Williams. Above Right: Label image for Savoy 683 A, recorded on December 15, 1948 and released in January 1949. Cash Box Review (2-5-49): PAUL WILLIAMS — Savoy 683.... The Huckle-Buck Wait'll the hep jazzophile crowd of juke box fans hear this hit! Sure to garner a top spot in ops' machines is this latest offering by the Paul Williams crew. "The Huckle-Buck" has Paul and his gang offering a knock out piece of wax that seems a cinch to win wide favor. Pronounced heat and rhythm displayed here, with the slow-paced haunting rhythm of his sax section in the forefront makes this hit the winner it is. We go for it, we're sure you will too.

Above Left: Label image for Capitol 57-70,000, recorded on March 2, 1949 and released in March 1949. Roy Alfred contributed the lyrics for the song, hence his name was added post-Paul Williams' instrumental version. Above Right: Photo of Big Sis Andrews. She played the saxophone. Her usual group name was "Big Sis Andrews And Her Blues Busters". Cash Box Review (4-23-49): BIG SIS ANDREWS — Capitol 57-70000.... The Huckle-Buck Big Sis Andrews and Her Huckle-Busters cut a grand side with the tune that's sweeping the country, "The Huckle-Buck". The gal handles the vocal in refreshing style. Just listen in.

Above Left: Photo of Oran "Hot Lips" Page, trumpeter, singer, and bandleader. Above Right: Photo of Pearl Bailey, singer and actress (stage and screen). Her biggest hit song was "Takes Two To Tango" in 1952.

Above: Label image for Harmony 1049, recorded on June 23, 1949 and released in July 1949. The flip, "Baby, It's Cold Outside" was a hit for Pearl Bailey and Hot Lips Page.

Above: Photo of Pearl Bailey in the Columbia recording studio. Harmony was a subsidiary label of Columbia Records.

Above Left: Label image for Vocalion 55009, recorded on May 13, 1949 and released in May 1949. Above Right: Photo of Andy Kirk, well-known as a bandleader for many years, also played the saxophone and tuba. LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "The Huckle-Buck" - Roy Milton And His Solid Senders (Vocal By Ensemble) - Specialty SP 328 A - 1949. 2. "The Huckle-Buck" - Paul Williams And His Hucklebuckers (Instrumental) - Savoy 683 A - 1948. 3. "The Huckle-Buck" - Big Sis Andrews And Her Huckle-Busters (Vocal By Ensemble) - Capitol 57-700,000 - 1949. 4. "The Huckle-Buck" - Pearl Bailey And Hot Lips Page - Harmony 1049 - 1949. 5. "The Huckle-Buck" - Andy Kirk And His Clouds Of Joy (Vocal By Kenny White) - Vocalion 55009 - 1949. ALL FIVE SONGS played in sequence.

ROY MILTON — 1952: CASH BOX, February 16, 1952: ....James Martin, Chi distributor of MGM and Atlantic, is rumored to be getting the hot Specialty line for the midwest. Label has some of the best in Blues. What with Roy Milton to mention only one. Camille Howard, long a Specialty product, is another steady seller on the company's roster of top artists....

Above: Label images for both sides of Specialty X-SP/SP 438, recorded in July 1952 and released in August 1952. Notice that now on the label is "Roy Milton And Orchestra" in place of "Roy Milton And His Solid Senders". Cash Box Review (8-20-52): ROY MILTON — Specialty 438 Night And Day (B) This is not the Cole Porter tune of the same name. Roy Milton, who wrote the item, sings the slow blues with warmth and dramatic phrasing. The musical aggregation sets the proper mood for the artist. Am I Wasting My Time? (C+) Roy sings a middle beat in his approved style and the ork comes in for bows for the fine musicianship displayed. (NOTE: A rating of B was considered as "very good" and C+ as "good".)

Above Left: CASH BOX, September 20, 1952. Specialty often used this small advertisment format. Above Right: CASH BOX, December 1952.

Above: Label image for Specialty XSP-446, recorded in December 27, 1947 and released in December 1952. The flip is "Believe Me Baby", not included here. Cash Box Review (12-20-52): ROY MILTON — Specialty 446 Blue Turning Grey (B) Side is a slow rhythmic item and Milton's vocal lends appeal to a danceable tune. (NOTE: A rating of B was considered as "very good".) LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "Night And Day" - Roy Milton And Orchestra - Specialty X-SP 438 - 1952. 2. "Am I Wasting My Time? " - Roy Milton And Orchestra - Specialty SP 438 - 1952. 3. "Blue Turning Grey" - Roy Milton And Orchestra (Vocal By Roy Milton And Ensemble) - Specialty XSP-446 - 1952. ALL THREE SONGS played in sequence.

Above: CALIFORNIA EAGLE, May 29, 1952: MOTHER'S BIG GIFT — Maestro Roy Milton presents Jackie Robinson's mother with flowers at Milton's mother's dance. Mrs. Robinson was honored guest on the occasion. Impressario Leon Heflin smiles his approval. Milton and the Solid Senders depart this week for a cross country trek. (NOTE: An impressario is someone who organizes, and often finances, concerts, plays or operas.)

ROY MILTON POTER — JANUARY 1952

Above: Roy Milton posters from February 1952 and September 1952. Notice the change from "And His Solid Senders" to "And His Orchestra". According to the September poster, Camille Howard was still with him.

OH BABE!: "Oh Babe!" is a song composed by Louis Prima and Milton Kabak. It was introduced on record by Prima and Keely Smith on Prima's new Robin Hood label in September 1950. Specialty Records got into the act with Roy Milton And His Solid Senders' version of the song about a month or so later. Other records of "Oh Babe!" released in 1950 include: The Echo-Aires/Buddy Williams Orchestra on Rainbow, Sonny Parker And Ensemble/Lionel Hampton Orchestra on Decca, Wynonie Harris/Lucky Millinder Orchestra on King, Kay Starr/Frank DeVol Orchestra on Capitol, .... And Jimmy Preston/Burnetta Evans on Derby, Ralph Flanagan Orchestra on RCA Victor, Kay Brown on Mercury, Benny Goodman Sextet on Columbia, Leroy Holmes on M-G-M, The Ames Brothers on Coral, and Larry Darnell on Regal. CASH BOX, October 7, 1950: A hot tune that has the majors going wild is "Oh Babe" etched by Louis Prima on Robin Hood Records. Ditty has been hailed by several vet dj's as the "greatest jump tune since the war". While the majors themselves haven't as yet gotten around to cutting the tune, several indie platteries turned up with records this past week. Derby has issued a rhythm and blues rendition, with reports that Savoy had waxed it also. The Robin Hood disking has been going so well, that the firm has added pressing facilities and are being deluged with orders.... Columbia records were reported hopping on the tune, as was Decca and RCA Victor. It was reported that the majors plan on using their top name dance bands on the side. CASH BOX, November 4, 1950: Speaking of "Oh Babe," Art Rupe of Specialty may have set some kind of a record for the recording biz by supervising via long distance phone Roy Milton's cutting of the hot tune.... Roy and his crew did the job in Detroit, while on tour, with Art directing the proceedings a la Bell from his Hollywood office. Art, who just learned that he's the youngest sole owner of a plattery in the country, wanted to maintain his record of having supervised every record ever put out on the Specialty label.

Above: CASH BOX, November 11, 1950.

Above: Label image for Specialty SP 381 B, recorded on October 18, 1950 and released in October 1950.

Above Left: Photo of Keely Smith And Louis Prima. They got married in 1953. Above Right: Label image for Robin Hood 101, released in September 1950. This was the first release on Prima's new "Robin Hood" label.

CASH BOX — OCTOBER 21, 1950

CASH BOX SLEEPER OF THE WEEK — OCTOBER 7, 1950

CASH BOX, November 11, 1950: PRIMA PLAYS PARAMOUNT, N.Y. NEW YORK—Louis Prima and his orchestra have been signed for the Christmas show at the Paramount Theater in New York. This marks the first time that a band will play that theater twice whin a four-month period. Prima's last engagement there was in August. The Prima crew is currently blazing with "Oh Babe", which music operators and disk jockeys report is high up on popular request lists throughout the country. After he finishes his stint at the Paramount, Prima takes off for Hollywood, where he'll make a film with Betty Grable at Twentieth Century-Fox. (NOTE: The referenced movie could not be found on the IMDB website.) CASH BOX, November 11, 1950: The Louis Prima crew is currently blazing with "Oh Babe", which music operators and disk jockeys report is high up on popular request lists throughout the country.... Cash Box Review (10-7-50): LOUIS PRIMA ORCH. — Robin Hood 101.... Oh Babe! Sure fire material for the hep crowd is this fresh Louis Prima waxing. "Oh babe" is the side we're raving about, and you will be too. Ditty is a mellow bit of jump music, featuring more drive and beat than we've heard in a long while. Vocal by the maestro and Keely Smith is split, with the band joining in for an echo of the title. It's a cinch to clinch with music fans everywhere. The side shines a mile wide—grab it!

Above: Label image for Rainbow 30033, released in October 1950. The Echo-Aires were members of Buddy William's orchestra.

Above Left: NEW JOURNAL, November 24, 1948. Buddy Williams, who played saxophone, clarinet, and piano. At the time of this record, Williams had a seventeen member orchestra. Above Right: EVENING SUN, November 12, 1951. Buddy Williams. His orchestra was also known on Rainbow as "Buddy Williams' Rhythmairs". Cash Box Review (10-14-50): BUDDY WILLIAMS ORCH. — Rainbow 30033.... Oh Babe! Smooth swing version of one of the greatest jump tunes ever is offered by the Buddy Williams crew in excellent fashion. Side features a top notch vocal chorus, in addition to some wonderful ork tones. Tempo is mellow throughout, with this etching bound to reap top play. We like the side. Cash Box Review (11-25-50): (Yes, Cash Box reviewed this record twice.) BUDDY WILLIAMS ORCH. — Rainbow 30033.... Oh Babe! A good jump number gets a rhythmic going over from Buddy Williams and the orchestra on this side. With the Echo-Aires coming through on the vocal, it makes for good listening. This side gets our nod.

Above Left: November 1950 King Records advertisement. Above Right: Label image for King 4418-AA, recorded on October 18, 1950 and released in that month. The orchestra's ensemble backs Wynonie Harris vocally.

Above Left: Photo of Lucius "Lucky" Millinder, famous bandleader, "recording exclusively for King". Above Right: Photo of Wynonie Harris. He joined Millinder's orchestra as featured vocalist in 1944, but left in late 1945 because of disagreements. The Cash Box Review (11/18/50): LUCKY MILLINDER — KING 4418.... Oh Babe Lucky Millinder and Wynonie Harris combine to turn out a good version of a current rhythm number. The orchestra provides a loud accompaniment as Wynonie gives the lyrics a going over. This one is right for machines.

Above Left: Photo of the renowned Lionel Hampton, vibraphonist, pianist, percussionist, singer, and orchestra leader. Above Right: Label image for Decca 27305, recorded on October 13, 1950 and released in that month. Sonny Parker is backed by the band vocally. The Billboard Review (11-25-50): LIONEL HAMPTON ORK (Sonny Parker) — Decca 27305 Oh Babe! (75) Hamp's big, brassy crew cuts up an adequate, if not particularly exciting, coverage on this good rockin' novelty hit. Could pick up some loot in r&b quarters. (NOTE: Ratings had a range of 0-100 with 70-79 as "good".) LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "Oh Babe!" - Roy Milton And His Solid Senders (Vocal By Roy Milton And Band) - Specialty SP 381 B - 1950. 2. "Oh Babe!" - Louis Prima And Keely Smith - Robin Hood 101 - 1950. 3. "Oh Babe!" - Buddy Williams And His Golden Echo Music (Vocal By The Echo-Aires) - Rainbow 30033 - 1950. 4. "Oh Babe!" - Lucky Millinder Orchestra (Vocal By Wynonie Harris And Ensemble) - King 4418 - 1950 5. "Oh Babe!" - Lionel Hampton Orchestra (Vocal By Sonny Parker And Ensemble) - Decca 27305 - 1950. ALL FIVE SONGS played in sequence.

KING PERRY: LAS VEGAS DAILY OPTIC, October 26, 1953: King Perry and his Orchestra will appear at the Elks Club Saturday night for a Halloween dance. The Negro artist is known from coast to coast for his outstanding engagements at leading army installations, colleges, ballrooms, and clubs in the U.S. and Canada. Born Oliver Perry in Gary, Ind., in 1925, the musician started hs career playing the violin at the age of 9. He became first chair violinist in the high school orchestra at 16. He studied at Storer College where he learned to play trumpet, bass, and drums. He spent two years studying theory, harmony, ear training, arranging, composition, counterpoint, and piano. King Perry and his musicians will be accompanied by Del St. John, girl vocalist and dancer. (NOTE: Strange that his pictures show him with a saxophone, but there is no mention of that instrument in the above article.) CASH BOX, July 29, 1950: SPECIALTY SIGNS KING PERRY ORK HOLLYWOOD—Art Rupe, prexy of Specialty Records, Inc., announced the inking of King Perry and His Piedpipers of Swingdom to an exclusive recording contract. For his tee-off shot under the Specialty banner, Perry waxed two new tunes, "Everything's Gonna Be All Right Tonight", backed by "Mellow Gal Blues". Words and music for both numbers, best described as "blues with a bounce", were penned by Perry, who also made the arrangements, led the ork, and chanted the vocals. Kicked into national distribution just three days after being recorded, Perry's platter is coaxing the juke box gentry to change many a quarter into nickels. (NOTE: The two referenced songs were recorded in June 1950 and released on Specialty 367.)

Above: Label images for Specialty SP 398 A/B, recorded in February 1951 and released in 1951. Here King Perry's orchestra's name has been changed from "....His Piedpipers Of Swingdom" to simply "....His Pied Pipers". The Billboard Review (4-28-51): KING PERRY (His Pied Pipers) — Specialty SP-398 Blue and Lonesome (72) Hard-hitting combo, with a live sound, shuffle-boogies behind an okay male vocal blues. I've Had My Moments (65) Warbler and band sound good on a trifling novelty blues at faster tempo than flip. (NOTE: Ratings had a range of 0-100 with 40-69 as "satisfactory" and 70-79 as "good".)

THE KING PERRY SEXTET

Above Left: EDMONTON JOURNAL, June 12, 1954. Above Right: Photo of Oliver Hazart "King" Perry, who was a saxophonist, clarinetist, band leader, composer, and arranger. LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "Blue And Lonesome" - King Perry And His Pied Pipers - Specialty SP 398 A - 1951. 2. "Natural Born Lover" - King Perry And His Pied Pipers - Specialty SP 398 B - 1951. BOTH SONGS played in sequence.

EXTRA RECORDS — KING PERRY:

Above Left: Label image for Excelsior OR 524-B, released in 1948. An ensemble backs King Perry vocally on this song. There are no composer credits shown on the label. Above Right: EDMONTON JOURNAL, July 27, 1951.

Above: Label images for both sides of Hollywood 1030, released in 1955. King Perry's band backs him vocally on these two sides. As seems to be the usual, Perry composed both sides of this record. The Billboard Review (2-12-55): KING PERRY — Hollywood 1030 Pitching a Party (73) Perry describes a pretty uninhibited fling-ding here at which deejays will balk, but it won't be too hard to sell to operators. (NOTE: Here, "fling-ding" is referring to a double-entendre song.) Back to Kansas City (68) With all the members of the band joining in on choruses, Perry sings the praises of the Missouri city. Their efforts are pleasant enough but not memorable. (NOTE: Ratings had a range of 0-100 with 40-69 as "satisfactory" and 70-79 as "good".) LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "The Ice Man" - King Perry Orchestra (Vocal By King Perry And Ensemble) - Excelsior OR-524-B - 1948. 2. "Back To Kansas City" - King Perry And His Band (Vocal By King Perry And Band) - Hollywood 1030 - 1955. 3. "Pitching A Party" - King Perry And His Band (Vocal By King Perry And Band) - Hollywood 1030 - 1955. ALL THREE SONGS played in sequence.

CASH BOX, October 18, 1952 SPECIALTY MAKES BOW IN FOLK FIELD LOS ANGELES—Art Rupe, prexy of Specialty Records, Inc., this past week disclosed the firm’s venture into the folk and western music fields. Having long successfully specialized in the jazz and blues field, Rupe expressed equal confidence that the firm would meet with favor in their new market. "We have long noted an increase in the demand for folk and western music", Rupe stated, "and feel that we can give music operators a long string of hits". New artists signed to Specialty pacts are Biff Collie, Claude King, and Shod Jackson. First records of the three have already been released. CASH BOX, February 9, 1952 ....Our belated congratulations to Art Rupe of Specialty Records and his beauteous, brainy, blonde secretary Lee, who were married Christmas Day in Las Vegas. Lee will continue on the job.... CASH BOX, March 15, 1952 ....Hitting the road for a tour down South after talent and distrib contact are Art Rupe and his beautiful new Missus, Lee, who appears to be continuing on her job in charge of the Specialty office staff.... CASH BOX, April 26, 1952: ....Honeymooners Art & Lee Rupe back to Specialty from Southern trip and signed new artist Lloyd Price..... CASH BOX, August 16, 1952: ....Just a few doors down the Sunset Strip, Art Rupe of Specialty tells us that Lloyd Price’s "Lawdy, Miss Clawdy" may turn out to be the biggest record in the label’s history.... CASH BOX, December 20, 1952: ....Art Rupe, Specialty Records prexy, boasts one of the most diversified careers ever. And a swell guy too....

LLOYD PRICE Lloyd Price, from New Orleans, was a singer, composer, arranger, and band leader. He could play the piano and trumpet. His first record, "Lawdy Miss Clawdy", released on the Specialty label, became a big rhythm and blues hit for him. While he had many records on Specialty, none sold as well as the first. When Price later moved to ABC Paramount Records, he produced hits, such as "Just Because", "Stagger Lee", and "Personality". The latter record provided him the appropriate nickname "Mr. Personality".

LLOYD PRICE

LLOYD PRICE (AT RIGHT)

Above Left: Label image of Specialty SP 428 A, recorded on March 13, 1952 and released in 1952. As shown on the label, Lloyd Price composed the song. Above Right: Label image of Specialty XSP-452, recorded in December 1952 and released in 1952. Not the Fats Domino 1955 song of the same title.

"LAWDY MISS CLAWDY" CLIPPING

LLOYD PRICE

CASH BOX — DECEMBER 6, 1952

CASH BOX AWARD O' THE WEEK — JANUARY 24, 1953

Above Left: Label image of Specialty XSP-457, recorded on June 26, 1952 and released in 1952. Lyoyd Price is the composer. Above Right: Label image of Specialty XSP-471, recorded in April 16, 1953 and released in 1953. Again, Lloyd Price is composing his own material.

Above Left: Photo of Lloyd Price. Above Right: CASH BOX AWARD O' THE WEEK, March 28, 1953 .

Above: Label images for both sides of Specialty SP/XSP-535, recorded in April 1954 and released in 1954. On this record, The Dukes, a vocal group, back up Lloyd Price.

At Left: Label image of Specialty SP-540, recorded in December 1954 and released in January 1955. His band backs Lloyd Price vocally on this record. The Billboard Review (1-29-55): LLOYD PRICE — Specialty 540.....Tryin' To Find Someone To Love (71) Price turns in a nice vocal on a slow-tempo blues item, aided by support from the side-men, and a big beat by the ork. It's listenable blues and could get some spins. (NOTE: Ratings had a range of 0-100 with 70-79 as "good".) LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "Lawdy Miss Clawdy" - Lloyd Price - Specialty SP 428 A - 1952. 2. "Ain't It A Shame?" - Lloyd Price - Specialty XSP-452 - 1952. 3. "What's The Matter Now?" - Lloyd Price (Vocal By Lloyd Price And Band) - Specialty XSP - 1952. 4. "I Wish Your Picture Was You" - Lloyd Price - Specialty XSP 471 - 1953. 5. "OO-EE Baby" - Lloyd Price And The Dukes - Specialty SP-535 - 1954. 6. "Chee Koo Baby" - Lloyd Price And The Dukes - Specialty XSP-535 - 1954. 7. "Trying To Find Someone To Love" - Lloyd Price (Vocal By Lloyd Price And Band) - Specialty SP-540 - 1955. ALL SEVEN SONGS played in sequence. CASH BOX, January 23, 1954: ....Looks like Art Rupe, prexy of Specialty Records, just doesn't have enough pull with his old Uncle Sammy to get Lloyd Price out of the Army. So now all Lloyd can do is listen to the two sides on his latest release and agree that "It's Too Late For Tears" and "Let Me Come Home Baby" or is it Uncle? — Oh Well!....

MERCY DEE Mercy Dee Walton, born in Texas and afterward moved to California, was a singer, pianist, composer, and band leader.

MERCY DEE

MERCY DEE

Above: Label images for both sides of Specialty XSP/SP-466, recorded on May 13, 1952 and released in 1953. The female singer on "Rent Man Blues" is Mercy Dee's wife, Thelma "Lady Fox" Walton, but no credit is on the label for her. Marv Goldberg adds: ".... when Mercy Dee was asked about Thelma, his answer was "I'll say my wife". That's a "no". The Billboard New Records To Wastch—R&B (7-25-53): MERCY DEE—Rent Man Blues—Specialty 466 Mercy Dee, helped by an unbilled singer has turned in a strong reading here of a bright blues tune. Side has fresh lyrics and could be a big slicing, like the thrush's "One Room Country Shack." Flip is "Fall Guy". (NOTE: Not sure why the use of the term "thrush", which normally refers to a female singer.) The Billboard Review (8-1-53): MARY DEE [sic] — Specialty SP-466 Rent Man Blues (85) The chirp could have another big one in this blue blues item. Opens with chatter between her and male rent collector, and builds lyrically to a strong finish. Lots of loot in the offing for this solid disking. Fall Guy (70) Unidentified male solos throughout on a blues item. Could be Mercy Dee on the piano. (NOTE: Ratings had a range of 0-100 with 70-79 as "good" and 80-89 as "very good".) (NOTE: This seems to explain the "thrush" word in the above blurb. The reviewer thinks that MERCY (MARY) DEE is the female singer.) LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "Rent Man Blues" - Mercy Dee - Specialty XSP-466 - 1953. 2. "Fall Guy" - Mercy Dee - Specialty SP-466 - 1953. BOTH SONGS played in sequence.

EXTRA RECORDS — MERCY DEE:

Above: Label images for both sides of Flair 1077, released in 1955. On "Come Back Maybelline" there is no composer credit given on the label, although it is a direct steal of Chuck Berry's "Maybelline". Vocal on the "True Love" side is by the band's ensemble. CASH BOX, September 3, 1955: ....It was inevitable. The Flair label has the answer to Maybellene with "Come Back Maybellene" by Mercy Dee.... Cash Box Review (9-3-55): MERCY DEE — Flair 1077.... Come Back Maybelline (B+) Mercy Dee drives out a rocking treatment of the sequel to Maybellene. Dee hits hard and the band hits harder. Should pick up a good part of the available sales. True Love (C+) Dee chants a middle beat effort with a hillbilly flavor. Easy, familiar rhythmic melody. (NOTE: A rating of B+ was considered as "excellent" and C+ as "good".) THE BILLBOARD, September 3, 1955: The "Maybellene" Sweepstakes shifted into high gear the past week with several interesting developments. For one thing, the excitement over the tune has apparently brought back "answer" songs. Chuck Berry's original on Chess prompted Groove's "Come Back Maybellene" with John Greer, which in turn was followed by Flair's Mercy Dee disk of the same title. Secondly, it has brought back John Greer, who has now been booked for a flock of personal appearances. Meanwhile, Chuck Berry continues not only No. 1 on the r.&b. chart, but high on the pop best seller list, way ahead of pop versions by Jim Lowe on Dot and Johnny Long on Coral.

The above record and photo of John Greer were provided by Paul Ressler. Somehow, Leroy Kirkland takes composer credit for a song basically written by Chuck Berry. The Cash Box Review at above right is from August 27, 1955. LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] "Come Back Maybelline" - John Greer - Groove G-0119 - 1955.

Above Left: CASH BOX, September 3, 1955. Above Right: Label image for Flair 1078, released in 1955. Enjoyable piano on this one. Cash Box Review (11-5-55): MERCY DEE — Flair 1078.... Have You Ever (C+) Mercy Dee wails a slow southern blues that should find a market in the down home territory. (NOTE: A rating of C+ was considered as "good".) The Billboard Review (11-5-55): MERCY DEE — Flair 1078.... Have You Ever (72) Harvest time has got him worn out and weary. A mildly interesting piano in the Southern style. (NOTE: Ratings had a range of 0-100 with 70-79 as "good".) LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "Come Back Maybelline" - Mercy Dee - Flair 1077 - 1955. 2. "True Love" - Mercy Dee (Vocal By Band Ensemble) - Flair 1077 - 1955. 3. "Have You Ever" - Mercy Dee - Flair 1078 - 1955. ALL THREE SONGS played in sequence.

KENZIE MOORE (JOE DYSON'S BAND) Kenzie Moore was the featured male vocalist in Joe Dyson's band.

Above: Label images for both sides of Specialty XSP/SP-462, released in 1953. Composer on both sides is John Vincent, previous owner of Champion Records in Mississippi. This is the second of two records by Kenzie Moore on the Specialty label, both released in 1953.

Above: CLARION LEDGER, July 3, 1953: SIGNS CONTRACT Joe Dyson (seated, right) is shown signing a contract with Specialty Records early in the year. Dyson has just signed with Frank Sands, of the Gale Agency, New York, to go on tour with his orchestra. Others in the picture are Art Rupe (seated, left) President of Specialty, and (standing, left to right) Johnny Imbragulio, Jackson record dealer, Kenzie Moore, vocalist, Earnest Slaughter, piano, and Lewis Lee, tenor saxophone. The latter three are members of Dyson's band. THE BILLBOARD, April 4, 1953: SPECIALTY BUYS OUT CHAMPION, OPENS BRANCH HOLLYWOOD—Specialty Records this week absorbed Mississippi-based Champion Records and opened a branch office in Jackson, Miss. John Vincent, former owner of Champion, will head Specialty's new Southern office. Outright purchase of the year-old Champion Records, rights to the title, and acquisition of its 20 rhythm and blues and hillbilly masters presages Specialty's first major expansion. Vincent, inked by Specialty Prexy Art Rupe, becomes a veritable triple-threat man in his new capacity. He'll represent the diskery in the South as a distributor, artist, and repertoire agent. He'll record artists in the area. This is first time Rupe has delegated recording chores to anyone. Rupe has no plans for continued use of the Champion label. Two of four artists signed by Vincent for Specialty formerly recorded for Champion. They are Joe Dyson, young Jackson college band leader, and Ben Branch of Memphis. Others inked to a year's exclusive Specialty contract, with usual options, are vocalist Kenzie Moore, also of Jackson, and Frankie Sims, Dallas blues singer. (NOTE: No records by either Ben Branch or Frankie Sims could be found in the Specialty catelog.) The Billboard Review (5-30-53): KENZIE MOORE — Specialty 462 I'm Beggin' You Baby (76) Singer exhorts his gal to come back to him in a vocal that's full of feeling. Backing is very interesting thruout, with a strong tenor solo sparking the combo. My Baby's Gone Again (73) Moore wails out his sorrow about losing his baby, with the band beating out a slow but provocative backing. (NOTE: Ratings had a range of 0-100 with 70-79 as "good".) Cash Box Review (6-6-53): KENZIE MOORE — Specialty 462.... My Baby's Gone Again (B+) A slow blues is the material and Kenzie Moore sings the sad item in dejected fashion. I'm Beggin' You Baby (B) A similar number with Moore performing in acceptable manner. Joe Dyson's band backs the vocalist on both decks. (NOTE: A rating of B+ was considered as "excellent" and B as "very good".) LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "I'm Beggin' You Baby" - Kenzie Moore With Joe Dyson's Band - Specialty XSP-462 - 1953. 2. "My Baby's Gone Again" - Kenzie Moore With Joe Dyson's Band - Specialty SP-462 - 1953. BOTH SONGS played in sequence.

SPECIALTY RECORDS - PART ONE FEATURES ATLAS RECORDS, JUKE BOX RECORDS, ROY MILTON RECORDS, MILTONE RECORDS, THE SEPIA TONES, MARION ABERNATHY, BUDDY BANKS, ROY MILTON AND HIS SOLID SENDERS, JIMMIE GRISSOM, EFFIE SMITH, FRANKIE AND HER BOYS, AND MP4 VIDEO OF ROY MILTON/JUNE RICHMOND. SPECIALTY RECORDS - PART TWO FEATURES STERLING RECORDS, LILLETTE AND HER ESCORTS, DOLORES BROWN, EARLY SPECIALTY RECORDS, THE "SPECIAL" LABEL, ROY MILTON AND HIS SOLID SENDERS, "WHEN I GROW TOO OLD TO DREAM", JUMP JACKSON AND HIS BAND, CAMILLE HOWARD, AND "RED LIGHT". SPECIALTY RECORDS - PART THREE FEATURES EARLY SPECIALTY RECORDS (CONT'D), ROY MILTON AND HIS SOLID SENDERS, JOE LUTCHER, CAMILLE HOWARD, BUDDY BANKS AND HIS BUDDIES, BABY DAVIS, FLUFFY HUNTER, JOE LIGGINS AND HIS HONEYDRIPPERS, LIONEL HAMPTON AND THE HAMPTONES, "THE HONEYDRIPPER", FIDELITY RECORDS, THE FOUR FLAMES, BUMBLE BEE SLIM, AND THE VICTORIANS. SPECIALTY RECORDS - PART FIVE FEATURES FLOYD DIXON, JIMMY LIGGINS, EARL KING, PERCY MAYFIELD, THE MAYTONES, WILLIE JOHNSON, GUITAR SLIM, ROY MILTON (1953-1955), CAMILLE HOWARD, TONY ALLEN, THE CHIMES, MARVIN AND JOHNNY, JESSE BELVIN, AND THREE DOTS AND A DASH. SPECIALTY RECORDS - PART SIX FEATURES VERNON GREEN AND THE PHANTOMS, LITTLE RICHARD, WYNONA CARR, LARRY WILLIAMS, DON AND DEWEY, SAM COOKE, THE SOUTHERN HARMONIZERS, THE SOUL STIRRERS, SISTER WYNONA CARR, THE MEDITATION SINGERS, THE ORIGINAL GOSPEL HARMONETTES, THE PILGRIM TRAVELERS, AND ALEX BRADFORD AND THE BRADFORD SPECIALS.

Listen to all of this article's audio selections using Windows Media Player: [Audio restoration by Dave Saviet.]

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