(Formerly Known As "Record Of The Week")

#935 (2/21/22)

SPECIALTY RECORDS - PART THREE (1947-1952)

Includes Audio For Thirty-Six Songs
(Audio Restored By Dave Saviet - Images Restored By Tony Fournier)


EARLY SPECIALTY RECORDS (Continued From Part Two):
[NOTE: The above left image provided by Dr. Ysaye M. Barnwell.]
Above: Two photos of Roy Milton And His Solid Senders. They appear to be from the same session. Milton is at the drums. Camille Howard is the piano player. Dr. Barnwell's uncle, David Robinson, is the bass player.

As shown in the first two parts of this article, Roy Milton, along with Camille Howard, were a huge part of Art Rupe's early success in the record business. They continued as one of the top consistent moneymakers on Rupe's Specialty Records through the label's first several years of existence.

THE BILLBOARD, April 24, 1948: ROY MILTON
TURNING point in Roy Milton's career was December 24, 1945, the day his group cut its famous waxing of RM Blues for the now defunct Juke Box label. Song was an immediate hit and put the Milton combo into the money class. Since then, Milton has signed a long-term record deal with Specialty, and has followed up his first wax hit with such top sellers as Milton's Boogie, True Blues, Thrill Me, and Keep a Dollar in Your Pocket.

In 1946, the Milton sides appeared frequently on The Billboard's list of Most Played Juke Box Race Records, being topped only by Louis Jordan and Lionel Hampton. On personal appearance tours, the Milton combo draws equally as much loot as Jordan in many locations, and nearly always runs into percentage.

Milton originally started with the Ernie Fields band in 1934, and formed his own combo in 1938. He gives much credit for the success of the ork to Camille Howard, his pianist-vocalist, who has been featured with the band for years. In his arrangements, Milton avoids out-and-out bebop, relying instead on intricate, modern versions of race and pop tunes.

Currently on a personal tour, Milton plans to produce a series of film shorts in collaboration with Art Rupe, Specialty Records topper, and featuring Milton and His Solid Senders.

Booked by Reg Marshall Agency. Personally managed by Ben Waller.

CASH BOX, October 30, 1948:
....Specialty Records disclosed that the current Roy Milton recording of "Everything I Do Is Wrong” backed by "Hop, Skip And Jump” has already passed the 200,000 mark in sales; while the Camille Howard disking of "Barcarolle Boogie” and "Has Your Love Grown Cold” has topped 100,000.

Pete Kameron, former jazz concert promoter, band manager and West Coast manager for Capitol songs and other publishers, has been handed exploitation and promotion reins for Specialty, it was learned, and is currently engaged in setting up a new publishing firm, Venice Music, Inc. The addition to Specialty’s staff was necessitated by Art Rupe’s plans for expansion in the record and publishing field.

CASH BOX, January 29, 1949:
....Options on Camille Howard and Roy Milton picked up and Art Rupe tells us he’s about to add some other top-notch talent who are leaving a couple majors but he wasn’t ready to name names....

Above: Label images for both sides of Specialty SP 510 A/B, recorded on March 8, 1947 and released in June 1947. On both sides, vocal is by Roy Milton and piano is by Camille Howard. Camille's piano was a big reason for the group's success! The labels are still using the original design.

At Left: THE BILLBOARD, June 7, 1947.

Above: THE BILLBOARD, June 28, 1947.

At Right: CASH BOX October 6, 1947.
Joe Lutcher's record is featured further down this page.



The Billboard Review (6-14-47):

ROY MILTON — Specialty 510.... True Blues/Camille's Boogie
This is race chanting true to the Roy Milton tradition. Small jazz group sets the beats lowdown in the groove as Milton wails the woes of True Blues. An arresting honky-tonk eight-to-the-bar piano rolls out the beats on the reverse with Milton slinging the lyrics in solid fashion.

The Roy Milton name on a race juke sticker will attract plays.

Above: Label images for both sides of Specialty SP524A/B, recorded on December 31, 1947 and released in April 1948. On the "B" side, co-composer Dallas Bartley was the bass player in Milton's band. Earlier (1944-1946), Bartley had led his own band.
At Right: THE BILLBOARD, May 8, 1948.

Cash Box Review (4-24-48):

ROY MILTON — Specialty 524.... I've Had My Moments/Train Blues
Roy Milton and his crew come through for ops in a big way here with a duo dab of wax for ops with race spots. Sparkling the top deck with hush-hush treatment, Roy sets pipes to spin off an alluring touch to "I’ve Had My Moments”. Disk appears to be extremely attractive, and should come in for a load of coin once it gets around. Background music by the group blends adequately to boom this deck all the more.

Roy pulls a switch on the flip to go off to the other end with a ton of hot and holler. Stuff is tailor made for the fast set that love to jump. Keep in mind Milton’s sensational popularity and then run out and get next to this bit.

(NOTE: Interestingly, The Billboard reviewed the same record with starkly different conclusions! See next.)

The Billboard Review (4-24-48):

ROY MILTON — Specialty SP-524
Train Blues (68)
Not much lyrically but side exhudes [sic] rhythm enough to pull juke coin.
I've Had My Moments (55) Not much of a song; neat tenor sax spot.
(NOTE: Ratings had a range of 0-100 with 40-69 as "satisfactory".)


LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "True Blues" - Roy Milton And His Solid Senders (Vocal By Roy Milton) - Specialty SP 510 A - 1947.
2. "Camille's Boogie" - Roy Milton And His Solid Senders (Vocal By Roy Milton) - Specialty SP 510 B - 1947.
3. "I've Had My Moments" - Roy Milton And His Solid Senders - Specialty SP 524 A - 1948.
4. "
Train Blues" - Roy Milton And His Solid Senders - Specialty SP 524 B - 1948.

ALL FOUR SONGS played in sequence.

Above: Label images for both sides of Specialty SP 303 A/B, recorded on April 19, 1947 and released in July 1948. Joe Lutcher had two records on the Specialty label, both released in 1948 and both from the same 1947 recording session. Joe moved to Capitol Records in the summer of 1947, well before his records on Specialty were released. The probable motive for Specialty's late interest in releasing Joe's records was his hit song with Capitol, "Shuffle Woogie", in early 1948.
Above: Photo of Joe Lutcher, who was a vocalist, saxophonist, clarinetist, bandleader, composer, and arranger. Joe had cut many sides for Capitol Records before moving to Specialty. He was the younger brother of famous singer/pianist Nellie Lutcher.

Above: Label images for Specialty SP 309 A/B. These sides were recorded on December 31, 1947 and the record released in August 1948. The "A" side is repeated here from Part Two to show the complete record. The "B" side is an instrumental piano boogie that showcases Camille's ability on the keys. Still the old design label, but in an appealing yellow color.
Above Left: Photo of Camille Howard, vocalist, piano player extraordinaire, composer, and long-time member of Roy Milton's Solid Senders.

Above Right: Photo of Camille Howard plugging her latest Specialty record with KKLA (Los Angeles) disk jockey Wayne Bulgrin. Note the "old style" Specialty sleeves. Don't you just hate it when they put stickers on the labels? And, yes, Wayne does look a lot like a young Johnny Carson.

At Direct Right: THE BILLBOARD, October 9, 1948.

Cash Box Review (9-25-48):

CAMILLE HOWARD — Specialty 309.... Has Your Love Grown Cold/Barcarolle Boogie"
Following on the heels of her nothing short than sensational "You Don’t Love Me”, chirp Camille Howard keeps riding high with this pair sure to win wide favor from music ops. The gal’s heavy pipes purr the soothing wordage to "Has Your Love Grown Cold” in knockout style and manner. Wax will literally be gobbled up once it makes the rounds. Music is haunting and is suitable for the dance crowd with its shuffle rhythm really lending itself to the song.
(NOTE: "You Don't Love Me" can be heard in Part Two of this article.)

On the flip with some of her great ivory styling, Camille offers "Barcarolle Boogie”. It’s wonderful boogie and offered in the best of fashion. Both sides spell coin play in a big way!

(NOTE: Again, The Billboard takes a harsher view of this record! See next.)

The Billboard Review (9-25-48):

CAMILLE HOWARD — Specialty 309
Has Your Love Grown Cold?
Thrush warbles ordinary ballad with easy assurance but not much fire.
Barcarolle Boogie Camille does a short boogie-woogie 88 solo on the Offenbach theme. Playing is thumping and mechanical, and incongruity of treatment and material is apparent, but old may pan out in race locations.
(NOTE: The above referenced "theme" is a "barcarolle" (Venetian gondolier folk song) written by French composer Jacques Offenbach in the 1860's.)


LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Rockin' Boogie" - Joe Lutcher And His Society Cats - Specialty SP 303 A - 1948.
2. "Blues For Sale" - Joe Lutcher And His Society Cats - Specialty SP 303 B - 1948.
3. "Has Your Love Grown Cold?" - Camille Howard - Specialty SP 309 A - 1948.
4. "
Barcarolle Boogie" - Camille Howard - Specialty SP 309 B - 1948 (Instrumental).

ALL FOUR SONGS played in sequence.


CASH BOX, December 6, 1947:
....Prexy Art Rupe of Specialty Records has been busy waxing sides with Jimmy Liggins. Art is getting set to meet Roy Milton in St. Louis and finish out the last two weeks of Milton’s tour, prepping sides for wax while en route, then back to Hollywood where he’ll record more of those hot Milton numbers.... (NOTE: Jimmy Liggins will be featured in Part Four of this article.)

CASH BOX, January 3, 1948:
....Art Rupe, prexy of Specialty Records, held up all of his releases until after this week, in order to get in all of the sessions before the Petrillo edict takes effect. Rupe has really been pressing some terrific juke box stuff with Roy Milton and Jimmy Liggins heading the list of recording artists...
(NOTE: The Petrillo Ban, effective on December 31, 1947, forbid recording by any members of the American Federation of Musicians.)

CASH BOX, April 10, 1948: SPECIALTY NAMES DAVIS NATIONAL SALES MANAGER
HOLLYWOOD, CAL.—Art Rupe, president of Specialty Records Co., this week announced the appointment of John W. Davis as National Sales & Promotion Manager. Davis, who was with the Musicraft Record Co. prior to his heading the Central Record Dist. Co. in this city, will leave shortly on a national tour to coordinate Specialty activities and appoint new distributors wherever territories are open.

Rupe, who plans to meet his new sales chief in New Orleans in a few weeks, expressed great confidence in Davis’ future with the firm and stated "We are sure that Mr. Davis will prove himself to be very valuable to the firm. During ten years as an operator and a distributor and promotion expert, Davis has shown qualities which will prove him to be an asset for Specialty Records."

CASH BOX, November 20, 1948:
....Pete Kameron, Specialty Records new promotion chief, tells us of three new releases coming up by Camille Howard, Roy Milton and Jimmy Liggins. Specialty is also readying their first batch of western platters in conjunction with Art Rupe’s entering the music publishing field on his own via Venice Music Publishing Co. Kameron reports the firm is now shopping around for some topflight western talent....

CASH BOX, December 18, 1948:
Art Rupe of Specialty bubbling with good news over purchase of ten press plants and mills, with monthly capacity of half a million platters. Art says formula to be used in disks has been location tested for past year and proved much more durable than any other. He hopes soon to release an unbreakable record in the competitive price range. Still bubbling, Art told us that several of the bigger Eastern independent platteries have already approached him on a reciprocal pressing deal.


NEW SPECIALTY LABEL DESIGN:
Above Left: Label image for Specialty SP 330 A, recorded on February 22, 1949 and released in 1949. Roy Milton sings lead and the band backs him vocally. The flip-side, "Junior Jumps", is an instrumental.

Above Right: Label image for Specialty SP 370 B, recorded in July 1950 and released in 1950. This is an instrumental with Camille Howard playing the boogie piano.


CASH BOX REVIEW — JUNE 18, 1949

The Billboard Review (6/11/49):

ROY MILTON — Specialty SP 330
There Is Something Missing (72)
Quiet, and hauntingly attractive, ballad, warbled by the maestro Milton.
(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)

Cash Box Review (8/19/50):

CAMILLE HOWARD — Specialty 370.... I'm Blue/Fire-Ball Boogie"
Chirp Camille Howard on deck with some new wax, and the strains of "I'm Blue" and "Fire-Ball Boogie" in the offing for music ops. Top deck has the lass purring a smooth blues ballad, while on the flip she tickles the ivory's in hot, mellow fashion. We like the blues ballad—we're sure you will too.

CASH BOX, April 23, 1949: SPECIALTY ANKLES L.A. FOR STRIP
HOLLYWOOD—Specialty Records will abandon its downtown Los Angeles offices in favor of the Sunset Strip when it moves into its 8508 Sunset Boulevard location May 1. This gives the Strip its second diskery, Specialty moving four doors away from Tempo's offices.

According to Art Rupe, Specialty prexy, diskery wants to be closer to Hollywood now that it owns two publishing firms. As reported earlier by The Billboard, Specialty recently acquired Greenwich Music (ASCAP) and Venice Music (BMI) and placed Pete Kameron in charge of the two firms. Strip location will facilitate Kameron in working on pubberies' items.

CASH BOX, July 23, 1949:
....Beautiful layout Art Rupe has on the Sunset Strip and the Specialty topper is just about settled enough now to concentrate on selling M-G-M records—that’s right, Art’s Greenwich Music pubbery has the Barney Ross-Jay Chernis tune "Crying" on the M-G-M label via Billy Eckstine and he threw in a terrific plug for the disc, adding, of course, that Specialty’s Roy Milton has a very fine thing in "There Is Something Missing"....

Above: Label images for Specialty SP 336 A/B, recorded in August 1949 and released in 1949. On both sides, Baby Davis sings lead and the band backs her vocally. For some reason, the "B" side label does not credit her, maybe due to a lack of room. "Frosty" Pyles, the band's guitar player, is the "A" side composer.

At Left: SAN BERNARDINO COUNTY SUN, August 7, 1948.
Buddy Banks Sextet.
(NOTE: The female singer in this picture is "Fluffy" Hunter.)

Above: MIRROR NEWS, September 27, 1955.
Baby Davis.



CALIFORNIA EAGLE — JANUARY 19, 1950 — BUDDY BANKS WITH BABY DAVIS
At Direct Right: VENTURA COUNTY STAR FREE PRESS, May 17, 1950.
Buddy Banks Sextet Featuring Baby Davis.
(NOTE: Does anyone have any of these KVVC radio air checks that include The Robins?)

CASH BOX, March 26, 1949:
....Another firm stepping out in change of locale is Specialty, prexy Art Rupe informing us that they’re moving from modest quarters on Venice Blvd. to the Sunset Strip, 8508 Sunset to be exact. It’s a beautiful, spacious layout, but smart, practical Art assures us that he, Pete Kameron and the firm will be "going Hollywood" ONLY in their address. Otherwise, Art intends to maintain the same kind of operation and flow of steady, money-making records....

CASH BOX, August 20, 1949:
....Lee, that gracious and not uncurvacious blonde secretary of Art Rupe, buzzed us in the boss’ absence with several new releases.... including another new Rupe artist, Buddy Banks, making music for "Happy Home Blues" with Baby Davis on the vocal....
(NOTE: Buddy Banks was not "new" to Art Rupe, who had released Banks on the Juke Box label in 1945 and again on Sterling in 1946.)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "There Is Something Missing" - Roy Milton And His Solid Senders (Vocal By Roy Milton And Band) - Specialty SP 330 A - 1949.
2. "Fire-Ball Boogie" - Camille Howard (Instrumental) - Specialty SP 370 B - 1950.
3. "Happy Home Blues" - Buddy Banks And His Buddies (Vocal By Baby Davis And Band) - Specialty 336 A - 1949.
4. "The Nite Is Fading Too Soon" - Buddy Banks And His Buddies (Vocal By Baby Davis And Band) - Specialty 336 B - 1949.

ALL FOUR SONGS played in sequence.

EXTRA RECORD — FLUFFY HUNTER:
Above: Label images for both sides of Federal 12056-A/AA, released in February 1952. Warning: The "AA" side is quite risqué! This is the first of four records by her on the Federal label (1952-1954), the last two with no mention of Jesse Powell.
Above Left: ALABAMA TRIBUNE, January 16, 1948. HOLLYWOOD LOANS SWING-STATIONAL GLAMOUR GIRL
Fluffy Hunter, lovely, exotic, shapely, dreamy-eyed 22-year-old night club entertainer, has succeeded in getting a brief recess from the swanky pleasure palaces of the Cinema City, where she has been headlining, to make her first appearance for local amusement lovers.

Although she was described by a Hollywood critic as "a dynamic, exciting, terrific one-girl show", she is but one of an all-star stage revue, headed by none other than the world famous baseball star, Jackie Robinson.

Above Middle: ARIZONA DAILY STAR SUN, January 8, 1950. Fluffy Hunter at Jimmy's Chicken Shack (Tucson, AZ).

Above Right: MIAMI HERALD, May 1, 1953. Jesse Powell, who was a bandleader, saxophonist, composer, and arranger.

Above Left: Photo of Fluffy Hunter.

Above Right: CASH BOX AWARD O' THE WEEK, March 8, 1952.

Click HERE for an article about Fluffy Hunter by Marv Goldberg. (Will open in a separate window)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Love Is A Fortune" - Jesse Powell Orchestra (Vocal By Fluffy Hunter) - Federal 12056 A - 1952.
2. "The Walkin' Blues" - Jesse Powell Orchestra (Vocal By Fluffy Hunter And Ensemble) - Federal 12056 AA - 1952.

BOTH SONGS played in sequence.

Above: Label images for Specialty SP 386 A/B, released in 1951. As shown on the label, both Roy Milton and Camille Howard vocalize on the "A" side. In the "pop" field, this song was done by Frankie Laine and Jo Stafford on Columbia and also Hot Lips Page and Mildred Anderson on RCA Victor.

"Bye Bye Baby Blues"


CASH BOX AWARD O' THE WEEK — MARCH 24, 1951

Above Left: INDIANAPOLIS RECORDER, November 1, 1952. Roy Milton And Camille Howard.

Above Right: CASH BOX, July 30, 1949. Roy Milton And Camille Howard.

At Right: THE BILLBOARD, March 24, 1951.

CASH BOX, March 17, 1951:
"That’s the One for Me" seems to be the one for Art Rupe of Specialty, twice yet. Art tells us that he thinks so highly of the Hill & Range Alamo Music tune that he has cut it with two of his top artists, Roy Milton and Joe Liggins.

Don’t believe we’ve heard the ditty yet, but if you can go by form and promise—and the Rupe judgement—then this one should be a sure winner.

Its writers are Harvey Brooks ("Little Bird Told Me") and Ellis Walsh ("Saturday Night Fish Fry"), while its publishers are the same people who had "Rag Mop" and a host of other hits that took off in the blues and rhythm field via an independent label.

Specialty’s headman says this is the first time that he’s ever put two of his top riders on the same horse....

A Billboard Pick (3/10/51): THAT'S THE ONE FOR ME, Roy Milton—Camille Howard, SP 386
Essentially a rhythm and blues novelty by a team of standard r. and b. record faves, this one has the makings of a pop sleeper a la "A Little Bird Told Me". Material is first-rate novelty stuff, and it's done with much moxie and spirit to a strong swing beat.

The Billboard Review (3/31/51):
ROY MILTON-CAMILLE HOWARD — Specialty SP 386
That's The One For Me (89)
This Sparkling duet, with exceptional novelty material and a compelling vocal and combo performance, could score in pop as well as r&b—and big in both.
Bye Bye Baby Blues (76) Milton chants a medium-slow blues alone, with effective ork backing. Good side, but overshadowed by flip.
(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good" and 80-89 as "excellent".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "That's The One For Me" - Roy Milton And His Solid Senders (Vocal By Roy Milton And Camille Howard) - Specialty SP 386 A - 1950.
2. "Bye, Bye Baby Blues" - Roy Milton And His Solid Senders (Vocal By Roy Milton) - Specialty SP 386 B - 1950.

BOTH SONGS played in sequence.


JOE LIGGINS:
Above: Label images for Specialty SP 338 A, recorded on April 13, 1950 and Specialty SP 338 B, recorded on April 24, 1950. The record was released in May 1950. Joe Liggins has composer credit on both sides.

Interestingly, Specialty decided to re-record and release "The Honeydripper Part II", but not Part I. Wonder if the original plan was that "The Honeydripper Part I" would be the "A" side.


JOE LIGGINS (AT FAR RIGHT) AND HIS HONEYDRIPPERS

THE BILLBOARD, January 28, 1950: SPECIALTY WAXERY INKS LIGGINS UNIT
HOLLYWOOD—Joe Liggins and His Honeydrippers, once one of Exclusive Records' top sellers, was inked to a long term pact by the Specialty label. Specialty Prexy Art Rupe is currently negotiating for the Liggins Exclusive masters. Should he be unable to come to terms for the past platterings, Rupe said he intends to recut the Liggins best sellers. In joining Specialty, Joe finds himself with the same label as his brother, Jimmy Liggins.

Joe Liggins's initial release under the Specialty banner will be "Rag Mop", backed by an original "Ramblin' Blues" [Specialty 350]. According to Rupe, Liggins's version of the fast-selling "Rag Mop" ditty will be aimed especially at the rhythm and blues market.

CASH BOX, May 13, 1950: SPECIALTY RE-CUTS "HONEYDRIPPER"
HOLLYWOOD—Art Rupe, prexy of Specialty Records, Inc., this city, this past week disclosed that he had re-cut two of Joe Liggins’ all-time best sellers when the five year ban on the recording of the material had elapsed. Liggins etched "Honeydripper" and "I Gotta Right To Cry [sic]."

Rupe pacted the noted "honeydripper" to a long tenn contract when the latter’s deal with Exclusive Records lapsed after the diskery closed. "Honeydripper" and "I Gotta Right To Cry" [sic] has clipped the million mark in sales.

The Billboard Review (6/17/50):

JOE LIGGINS — Specialty SP 338
I've Got a Right To Cry (77)
Medium tempo ballad job features engaging warbling by Liggins and stylish combo work.
The Honeydripper (82) A remake of the famous instrumental smash parallels the original closely in spirit and form, might catch some coin again.
(NOTE: Ratings had a range of 0-100 with 70-79 as "good" and 80-89 as "excellent".)
Above Left: Photo of Joe Liggins, vocalist, pianist, band leader, composer, and arranger.

Above Right: Label image for Specialty SP 355 A, recorded on January 20, 1950 and released in 1950.


JOE LIGGINS (AT PIANO) AND HIS HONEYDRIPPERS


CASH BOX, JULY 1, 1950 — JOE LIGGINS — PINK CHAMPAGNE


CASH BOX, MAY 13, 1950 — JOE LIGGINS — PINK CHAMPAGNE

Above Left: FRESNO BEE THE REPUBLICAN, August 30, 1945. Joe Liggins And His Honeydrippers.

Above Right: AKRON BEACON JOURNAL, March 17, 1946. Joe Liggins And His Honeydrippers.

CASH BOX, May 6, 1950:
Joe Liggins’ Specialty disk, "Pink Champagne", kicking up quite a storm in the blues and rhythm field....

CALIFORNIA EAGLE, June 30, 1950: JOE LIGGINS MAKES COMEBACK WITH A BANG
HOLLYWOOD—The phenominal comeback of Joe Liggins is an unprecedented one, and the most sensational in the realm of the band business today! Joe skyrocketed into national prominence with his own composition, entitled "The Honeydripper", five years ago.

With the end of the war came the inevitable slump in show business, from which few were able to emerge.

Joe's new release, another of his compositions, "Pink Champagne", not only made the trade hit parades, but for the last five weeks has remained in the number one position of The Billboard's List of Most Played Juke Box Records, and also made the same position on the Best Selling Rhythm and Blues Chart in the Record Stores. In another national record publication, "Pink Champagne" retains the top position.

CASH BOX, July 8, 1950:
Art Rupe tells us that "Pink Champagne" has really caught on, with Victor's Ralph Flannagan cutting the tune and several other majors slated to follow....

CASH BOX, July 22, 1950:
Art Rupe of Specialty beaming widely, and with good cause too. His "Pink Champagne" disking by Joe Liggins is going bigger than ever....

CASH BOX, March 3, 1950: LIGGINS SIGNS NEW PACT
HOLLYWOOD—Joe Liggins, whose "Pink Champagne" turned into a top money making blues and rhythm disk of 1950, just signed a new 3-year pact with Specialty Records, reported prexy Art Rupe.

The new pact gives Liggins a sizeable yearly guarantee and a hefty royalty rate which should put him in the highest recording brackets. First platter to be cut after the inking is "That’s The One For Me" backed by "Bob Is My Guy" [Specialty 394].
(NOTE: "That’s The One For Me" had previously been released on Specialty by Roy Milton And His Solid Senders - see further above, this page.)

The Cash Box Review (4/1/50):

JOE LIGGINS — Specialty 355.... Pink Champagne
Lots of harmony on that "Champagne" shellac with Joe Liggins pitching in a groovy and rhythmic beat. Ensemble chanting on the words should draw Liggins’ fans. It is the compulsive beat on "Champagne" that makes it the heavy nickel nabber.

The Billboard Review (April 1950):

JOE LIGGINS — Specialty 355
Pink Champagne (83)
Effective orking uses a persistent 6/8 rhythm underneath a unison vocal about "pink champagne, that mellow wine". Could catch hold.
(NOTE: Ratings had a range of 0-100 with 80-89 considered as "excellent".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "I've Got A Right To Cry" - Joe Liggins And His Honeydrippers - Specialty SP 338 A - 1950.
2. "The Honeydripper (Part 2)" - Joe Liggins And His Honeydrippers - Specialty SP 338 B - 1950.
3. "Pink Champagne" - Joe Liggins And His Honeydrippers - Specialty Sp 355 A - 1950.

ALL THREE SONGS played in sequence.

EXTRA RECORD — PINK CHAMPAGNE - LIONEL HAMPTON:
Above Left: Label image for Decca 27164, released in February 1952. Vocal is by the band's ensemble, The Hamptones.

Above Right: Photo of Lionel Hampton, vibraphonist, pianist, drummer, singer, and orchestra leader.

The Billboard Review (9/9/50):

LIONEL HAMPTON — Decca 27164
Pink Champagne (72)
Slow beat treatment of this r&b hit spots vocal by Hamptones and the boss' vibes. Late release should confine this to Hamp's fans.
(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
"Pink Champagne" - Lionel Hampton Orchestra (Vocal By The Hamptones) - Decca 27164 - 1950.


THE HONEYDRIPPER:
Above Left: Label image for Exclusive 207 A, released in 1945. This original version by Joe Liggins And His Honeydrippers features Parts One and Two, both instrumentals with vocal by the band.

Above Right: Label image for Black & White 101-A, released in 1945. While Sammy Franklin's record also has both parts, Part Two is an instrumental only. This is the first of two back-to-back records Franklin And His Atomics had released on Black & White. Number 102-B is an instrumental aptly named "Atom Boogie".


Above: THE BILLBOARD, June 3, 1946: LIGGINS AUTOGRAPHS MILLIONTH DISC AT EXCLUSIVE’S OPEN HOUSE PARTY
HOLLYWOOD—Joe Liggins of “The Honeydrippers” fame, optimistically autographed his one millionth record (in advance) and presented it to Bill Gersh of The Cash Box at the open house party given by Exclusive Records for all their friends in their new building at Sunset and Vine in Hollywood, this past week.

From left to right in the pic: Bill Gersh of The Cash Box; Leon René, president of Exclusive Records; Barney (Shugy) Sugerman of Runyon Sales Company, New York, who flew to Hollywood to attend the open house party; Jack Gutshall of the Jack Gutshall Distributing Co., Los Angeles; and seated at the desk, Joe Liggins, himself....

René reported that over 500 prominent personalities in the entertainment world attended the open house party which officially opened the firm's new offices in their building at Sunset and Vine, this city. Festivities continued from noon until 10 P.M. Hosts at this affair were Leon René, president of Exclusive Records, Ben Ellison, general manager, and Buddy Baker, musical director.

Exclusive’s artists, Herb Jeffries, the DeCastro Sisters, Bob Hayward, and others were present to show visitors thru the beautiful and luxurious offices of the firm. René has authored such outstanding song hits as “Sleepy Time Down South,” “Twilight ’Til Dawn,” “When The Swallows Come Back To Capistrano” and “Gloria”.


Above Left: THE BILLBOARD, September 15, 1945. Joe Liggins And His Honeydrippers.
Jack Gutshall was the distributor for Exclusive Records in the Los Angeles area.

Above Middle: THE BILLBOARD, October 6, 1945. Joe Liggins And His Honeydrippers.

Above Right: THE BILLBOARD, March 23, 1946. Joe Liggins And His Honeydrippers.


Above Left: THE BILLBOARD, September 15, 1945. Sammy Franklin And His Atomics.
Paul Reiner was a distributor for Black & White Records.

Above Right: Photo of Sammy Franklin at the piano, modifying a song during a recording session.

THE BILLBOARD, September 22, 1945: JOE LIGGINS AND HIS HONEYDRIPPERS
Liggins has hit the No. 1 position in The Billboard "Most Played Juke Box Race Records" listing with his recording of The Honeydripper, Parts 1 and 2, of which occupy both sides of the Exclusive Records disk.

Number is hot with the Delta Rhythm Boys, Jimmie Lunceford, Sammy Franklin (with whom Liggins used to work), and others having releases of it skedded in near future.

Liggins is booked for a solid tour of one-nighters thru the South and New England (28 days in October). Then he goes into the Apollo Theater for a week and follows with the Howard in Washington.

THE BILLBOARD, December 22, 1945: MOST-PLAYED JUKE BOX RACE RECORDS
Records listed as race-type disks. "Most" is based on more than 500 reports received, played in the nation's juke boxes, direct from operators all over the country.
1. THE HONEYDRIPPER, Joe Liggins, Exclusive
2. BEULAH'S BOOGIE, Lionel Hampton, Decca
3. THE HONEYDRIPPER, Jimmie Lunceford/Delta Rhythm Boys, Decca
4. THE HONEYDRIPPER, Roosevelt Sykes, Bluebird

Above Left: Label image for Decca 23451 A, released in September 1945.

Above Right: Photo of The Delta Rhythm Boys (L-R) Rene DeKnight, Traverse Crawford, Carl Jones, Kelsey Pharr, and Lee Gaines. This is their line-up for "The Honeydripper".

(NOTE: Other artists that had versions of The Honeydripper are Roosevelt Sykes on Bluebird, Cab Calloway on Columbia, Tommy Dorsey on Decca, and Ray Anthony on Capitol.)


Above: COURIER-JOURNAL, November 15, 1945. Jimmie Lunceford appearing with The Delta Rhythm Boys in Louisville, Kentucky.

ARIZONA DAILY STAR SUN, January 20, 1946:
"The Honeydripper" is the first record by Jimmie Lunceford to reach these battered ears in many months. There is no attempt on this to copy the piano of either Roosevelt Sykes or Joe Liggins, but a band with lots of drive and a rhythm section that rocks like solid make the record hard to beat.

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "The Honeydripper (Part 1)" - Joe Liggins And His Honeydrippers - Exclusive 207-A - 1945.
2. "The Honeydripper (Part 2)" - Joe Liggins And His Honeydrippers - Specialty SP 338 B - 1950.
3. "The Honeydripper (Part 1)" - Sammy Franklin And His Atomics - Black & White 101-A - 1945.
4. "The Honeydripper" - Delta Rhythm Boys And Jimmie Lunceford Orchestra - Decca 26451 A - 1945.

ALL FOUR SONGS played in sequence.


THE FIDELITY LABEL:

THE BILLBOARD, November 17, 1951: RUPE INVESTS IN FIDELITY; SETS DISTRIBS
HOLLYWOOD—Art Rupe, Specialty Records prexy, this week put coin into Fidelity Records, and will handle the tyro [a beginner or novice] waxery's operations in addition to setting up Fidelity's national distribution. Unrevealed bankrollers of the new label are film officials and stockholders in Specialty.

Fidelity's capital investment is close to $50,000. Initial releases on Fidelity include masters by Joe Turner and Roberta Martin Singers, the Hollywood Four Flames' waxing of "Tabarin" and spirituals by Reuben Henry. Rupe will follow with four platters a month regular sked. Diskery will release its talent roster by the end of the month at the conclusion of pending deals.

Specialty Record Sales Company will handle Fidelity's line in Philadelphia, while it is expected Central Record Sales Company will rep the label in this area. Rupe hopes to line up at least 30 outlets for the new corporation, four less than the number of distributors that handle Specialty. Rupe may offer Fidelity to his own distributors. It isn't mandatory, however. In a quick survey of his own distribs, Rupe found that most of them would take on Fidelity's line.

Fidelity will operate as a sister firm to Specialty, with the latter having exclusive rights to the other's original cleffings. Specialty owns Greenwich Music (ASCAP) and Venice Music (BMI). The deal is not reciprocal and all Specialty artists will remain with the Rupe-owned plattery. Should the operation prove successful, Rupe indicated a merger might take place.

Specialty's pressing plant in Philadelphia and various local plants will press for Fidelity. Rupe is in his sixth year as topper of the Coast rhythm and blues indie. His present stable includes such blues performers as Joe Liggens, Roy Milton, Percy Mayfield, Camille Howard, to name a few.

Fidelity's backers are considering branching into the pop and Western fields should the blues department hit its stride. Fidelity will maintain offices adjoining Specialty and possibly create an Eastern division.

(NOTE: Joe Turner and the Roberta Martin Singers each had two records released on the label. The Hollywood Four Flames, as The Four Flames, had just the one referenced record as shown below. Fidelity Records was not a success and folded less than a year later.)

Above: Label images for both sides of Fidelity F 3001 A/B, released in December 1951. "Tabarin" was composed by Murry Wilson, father of The Beach Boys' Brian, Dennis, and Carl Wilson. "W-I-N-E" was written by Clyde Tillis, a member of The Four Flames. [NOTE: This record provided by Joe Marchesani.]
Above Left: Photo of The (Hollywood) Four Flames from late 1951, (L-R) Clyde "Thin Man" Tillis (tenor), David Ford (tenor), Bobby Byrd (bass, baritone, tenor), and Curlee Dinkins (baritone/bass). Willie Ray Rockwell (tenor) was another member who was in and out of the group, at times replacing Tillis on recordings.

Above Right: Photo of The (Hollywood) Four Flames circa 1952, (L-R) Leon Hughes, Bobby Byrd, Curlee Dinkins, and David Ford. Hughes was another tenor who on ocassion replaced Tillis/Rockwell on recordings. They were also known as The Hollywood Flames, Hollywood's Four Flames, and The Flames. [NOTE: This photo is courtesy of Marv Goldberg.]

Click HERE for an article about The Hollywood Flames by Marv Goldberg. Also, this article includes the meaning of "Tabarin."
(Will open in a separate window)

Above: Label images for both sides of Fidelity F 3004 A/B, released in February 1952. Amos Easton, also known as Bumble Bee Slim, is credited as composer on both sides. This is the only record by Bumble Bee released on Fidelity. He did, as Amos Easton, have one record issued on Specialty (1951).
Above Left: Photo of Bumble Bee Slim.

Above Right: CASH BOX, March 15, 1952. Bumble Bee Slim.
(NOTE: Interesting that the "B" side is being pushed here. The Billboard rated both sides as equal...see below.)


Above: Photo of Bumble Bee Slim And Georgia White. This photo possibly was taken in the mid-1930s, when Bumble Bee and Georgia were both recording for the Decca label.

CASH BOX, September 1, 1951:
....Art Rupe of Specialty has signed up veteran blues artist Amos Easton, known as Bumble Bee Slim back on the old Vocalion label. Art has also signed Junior Blues, who natch lives up to his monicker by singing ’em....
(NOTE: No records by "Junior Blues" were found on either Specialty or Fidelity.)

The Billboard Review (2/9/52):

BUMBLE BEE SLIM — Fidelity F-3004
Lonesome Old Feeling (73)
Slim's reading of an okay blues is reminiscent in style of Charles Brown's work, but he lacks the powerful feeling of the master. Nevertheless, this is an admirable performance.
Ida Red (73) Material here is a highly attractive and somewhat ingenious buck-dance ditty. Slim's vocal takes a back seat to the combo's fine beat.
(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Tabarin" - The Four Flames - Fidelity F 3001 A - 1951.
2. "W-I-N-E" - The Four Flames - Fidelity F 3001 B - 1951.
3. "Lonesome Old Feeling" - Bumble Bee Slim - Fidelity F 3004 A - 1952.
4. "Ida Red" - Bumble Bee Slim - Fidelity F 3004 B - 1952.

ALL FOUR SONGS played in sequence.

EXTRA RECORD — THE FLAMES:
Above: Label images for both sides of Spin 101 A/B, released in mid-1952.

Willie Ray Rockwell sings lead on the "A" side and Bobby Byrd does the honors on the flip side. "Strange Land Blues" by blues singer Walter Davis in 1931 is a different song with an opposing theme (love for California).

For this record, The Flames' line-up is Willie Ray Rockwell (tenor), Bobby Byrd (bass, baritone, tenor), Curlee Dinkins (baritone, bass), and David Ford (tenor).

The Flames, under various names, also had releases on Selective (1950-52), Unique (1951), Recorded In Hollywood (1952), Aladdin/7-11 (1952-54), Swing Time (1953-54), Lucky (1954), Money (1954-55), and Decca (1954-55).

CASH BOX, September 13, 1952: RENÉ, LOVE LAUNCH SPIN RECORDS
LOS ANGELES—Spin Records, newest of the independents to enter the recording field, has been started here by songwriter Otis René and bandleader Preston Love.

Ready for distribution are the firm's first four sides. They are "Strange Land Blues" b/w "Cryin' For My Baby" featuring The Four Flames [sic], and "Kissin' Boogie" b/w "Jumpin' For Charles". Love's combo is featured on the latter sides, which are authored by Johnny Otis.

Love at one time worked with the Lionel Hampton and Johnny Otis orchestras, and is considered one of the top-flight saxmen and musicians in the country today.

Otis René, who years ago studied at the Universary of Illinois School of Pharmacy, helped write the great favorite of years back, "Sleepy Time Down South", plus many other popular songs of the past decade.

(NOTE: No evidence could be found of any other releases on this label other than the two noted.)

Preston Love
Otis René
Cash Box Review (9/20/52):
THE FLAMES — Spin 101
Strange Land Blues (C+)
The Flames get together on a slow beat piece and treat it to a soft reading. The Preston Love ork sets an easy mood.
Cryin' For My Baby (C-) The flipside is a quick tempo rocker driven out forcefully by The Flames and embellished with handclapping.
(NOTE: A rating of C- was considered as "fair" and C+ as "good".)

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "Strange Land Blues" - The Flames - Spin 101 A - 1952.
2. "Cryin' For My Baby" - The Flames - Spin 101 B - 1952.

BOTH SONGS played in sequence.


THE VICTORIANS:
Above Left: Label image for Specialty 411 A, recorded on August 3, 1949 and released in August 1951. The 1949 recording date might explain the "early" sound of this vocal group. The flip-side is "Don't Break My Heart Again".

Above Middle And Right: Label images for both sides of Specialty 420 A/B, recorded on August 3, 1949 and released in December 1951.

Above Left: THE BILLBOARD, October 6, 1951.

Above Right: Photo of The Victorians, who consisted of Richard Beck, Robert Le Fox, Wiseman Moon, and Richard Wing.
[NOTE: This photo provided by Todd Baptista.]

From Marv Goldberg (2-23-22):

This is a 100% fictionalized version of how bandleader Ted Lewis discovered them....
INDIANAPOLIS STAR (Indianapolis, Indiana), December 9, 1947:
TED LEWIS discovered the quartet he will introduce tonight during a pleasure drive in the country. Hearing close harmony emanating form a small country church, he investigated and found four painters singing while they worked. He dubbed the group the "Victorians" and slated it for a guest appearance on his show (6:15 p.m., WIRE).

And here's when they were on the Arthur Godfrey Talent Scouts show....
HARRISBURG TELEGRAPH (Harrisburg, Pennsylvania), July 19, 1947: "TALENT SCOUTS" SAY IT WITH MUSIC....
Tyro talent sleuths, on the lookout for worthy aspirants, have come up with two popular singers, an operatic tenor, a marimba player, and a male quartet, to vie for top honors on the "Arthur Godfrey's Talent Scouts" broadcast on Friday, July 25, at 9:30 p.m., EDT, over WHP....

"The Victorians", a male quartet whose members are Richard Beck, Richard Wing, Robert Fox, and Wiseman Moon, all of New York, will harmonize "That Chick's Too Young To Fry".

CASH BOX, August 27, 1949:
....Art Rupe is back on the job, raving about The Victorians, a rhythm vocal group that he signed to an exclusive recording contract and immediately cut several sides in New York for release in near future....

CASH BOX, November 10, 1951:
....Art Rupe reports his first release by The Victorians, "Don’t Break My Heart Again" and "I Guess You’re Satisfied", as getting a nice reception around the country....

The Cash Box Review (9/15/51):

THE VICTORIANS - SPECIALTY 411.... Don't Break My Heart Again/I Guess You're Satisfied
Two pretty ballads are delivered on this waxing by the Victorians. The top deck features the group soloist on a potent tune on which the rest of the boys join in to offer a good backing.

The under level is another slow number that the vocal group takes hold of and brings to a listenable conclusion. The upper half looks hot.

(NOTE: Once again, The Billboard takes a harsher view of the same record! See next review.)

The Billboard Review (10/6/51):

THE VICTORIANS - SPECIALTY 411....
I Guess You're Satisfied
(66) An o.k. r. and b. ballad gets a routine reading from a male vocal group.
Don't Break My Heart Again (64) More of the same style chanting on a less effective ballad. [ouch!!]

(NOTE: A ratings range of 40-69 was considered "satisfactory.")

The Billboard Review (2/9/52):

THE VICTORIANS - SPECIALTY 420....
Part Time Sweetheart
(67) Attempt to come up with another "Paper Doll" type of disc does not quite come off because of a forced lyric and an uncertain go by the group.
Naturally Too Weak For You (63) Vocal group displays a warm blend on a ditty that's "naturally too weak" to make the grade. [double ouch!!]

(NOTE: A ratings range of 40-69 was considered "satisfactory.")

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "I Guess You're Satisfied" - The Victorians - Specialty SP 411 A - 1951.
2. "Don't Break My Heart Again" - The Victorians - Specialty SP 411 B - 1951.
3. "Naturally Too Weak For You" - The Victorians - Specialty SP 420 A - 1951.
4. "Part Time Sweetheart" - The Victorians - Specialty SP 420 B - 1951.

ALL FOUR SONGS played in sequence.

EXTRA RECORD — THE VICTORIANS:

Above: Label images for both sides of Metro M-7465, released in April 1948. It was re-issued on Mero M-7465 in July 1948. The Victorians had one more record on Mero, on their own this time, released in October 1948.
Above: THE BILLBOARD, May 1, 1948. The Billboard issued a correction in their 5/15/48 edition: "CORRECTION The Metro Records ad which appeared in our May 1st issue erroneously listed "You'll Always Be My Sweetheart" record as being #746, it should have read #7465".
Above: CASH BOX, June 19, 1948. M-G-M Records was successful with an injunction to prevent Metro Records from using their copyrighted name. Hence the change to "Mero" Records. M-G-M did eventually form a "Metro Records" label in the late 1950s.

The Billboard Review (5/15/48):

BOB STEWART-THE VICTORIANS - METRO M-7465....
Dreaming Of You
(60) Vocal group, barber-shop style, back up Bob's pleasing tenor. Halfway through the boys "double it" in Mills Brothers fashion. Possibility for back-room jukes.
You'll Always Be My Sweetheart (60) As above.

(NOTE: A ratings range of 40-69 was considered "satisfactory.")

LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.]
1. "You'll Always Be My Sweetheart" - Bob Stewart And The Victorians - Metro M-7465 - 1948.
2. "Dreaming Of You" - Bob Stewart And The Victorians - Metro M-7465 - 1948.

BOTH SONGS played in sequence.


SPECIALTY LABEL - GENERAL:

SPECIALTY 78-RPM SLEEVE (FRONT) — 1951


SPECIALTY 78-RPM SLEEVE (BACK) — 1951


THE BILLBOARD — FEBRUARY 24, 1951

THE BILLBOARD — JULY 14, 1951

CALIFORNIA EAGLE, December 8, 1949: SPECIALTY HIRES NEGRO PUBLICIST
HOLLYWOOD—In order to more effectively publicize its recording artists, Specialty Records announced this week that Lillian Cumber has been appointed National Promotional, Publicity, and Public Relations Director of its firm.

Specialty Records, under the direction of its new publicist, is formulating ideas for a merchandise tie-in that will boost sales of its recordings.

Mrs. Cumber's appointment makes the first time in history of the Hollywood Record Industry that a Negro woman has been appointed to head such an important position.

At Direct Right: ARIZONA DAILY STAR SUN, August 4, 1950:
HAS NICE POSITION—Lillian Cumber, local columnist, spends her other time, when not writing, filling capably the position as Public Relationist with Specialty Records.

THE BILLBOARD, July 1, 1950: SPECIALTY GOES TO 45 RPM
HOLLYWOOD—Specialty Records will go to 45 r.p.m. within the next 90 days. Art Rupe, Specialty's prexy, told The Billboard that decision to go to the new speed came after he surveyed dealers. Plan is to release simultaneously with 78 r.p.m. all new issues while going back into the catalog to convert past top sellers.

CASH BOX, February 24, 1951: SPECIALTY WAXES 45 RPM
HOLLYWOOD—Art Rupe, topper of Specialty Records swung his firm into production of 45 rpm discs in answer to increasing demands from the trade. All future Specialty releases will be waxed on both 45 and 78. Initial batch of tunes to be issued on 45 include "Lost Love" by Percy Mayfield, "Little Joe’s Boogie" by Joe Liggins, "That’s The One For Me" by Roy Milton, and a group of gospels and spirituals by the Pilgrim Travelers, Brother Joe May, and the Soul Stirrers.

THE BILLBOARD, November 25, 1950:
While Specialty Records has not issued LP's, Prexy Art Rupe told The Billboard that he expected to go into the LP field early in 1951. Reason label hasn't gone into the LP field is because production facilities have been tied up with top sellers....


CASH BOX — JUNE 28, 1952

Above: CASH BOX, April 7, 1951. At MOA (Music Operators Of America) Convention, held at The Palmer House in Chicago on March 19-21, 1951: (L-R) I. Nathan, Art Rupe, and Dan Russotto. Both Issy Nathan and Russotto represented the Hit Record Distributing Company in Cincinnati. Syd Nathan, president of King Records, was not at this convention.

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 FOUR FEATURES "THE HUCKLEBUCK" (FIVE VERSIONS), ROY MILTON (1952), "OH BABE!" (FIVE VERSIONS), KING PERRY, LLOYD PRICE, MERCY DEE, AND KENZIE MOORE (JOE DYSON'S BAND).

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.]

          1. "True Blues" - Roy Milton And His Solid Senders (Vocal By Roy Milton) - Specialty SP 510 A - 1947.
          2. "Camille's Boogie" - Roy Milton And His Solid Senders (Vocal By Roy Milton) - Specialty SP 510 B - 1947.
          3. "I've Had My Moments" - Roy Milton And His Solid Senders - Specialty SP 524 A - 1948.
          4. "
Train Blues" - Roy Milton And His Solid Senders - Specialty SP 524 B - 1948.
          5. "Rockin' Boogie" - Joe Lutcher And His Society Cats - Specialty SP 303 A - 1948.
          6. "Blues For Sale" - Joe Lutcher And His Society Cats - Specialty SP 303 B - 1948.
          7. "Has Your Love Grown Cold?" - Camille Howard - Specialty SP 309 A - 1948.
          8. "
Barcarolle Boogie" - Camille Howard - Specialty SP 309 B - 1948 (Instrumental).
          9. "
There I Something Missing" - Roy Milton And His Solid Senders (Vocal By Roy Milton And Band) - Specialty SP 330 A - 1949.
        10. "Fire-Ball Boogie" - Camille Howard (Instrumental) - Specialty SP 370 B - 1950.
        11. "Happy Home Blues" - Buddy Banks And His Buddies (Vocal By Baby Davis And Band) - Specialty 336 A - 1949.
        12. "The Nite Is Fading Too Soon" - Buddy Banks And His Buddies (Vocal By Baby Davis And Band) - Specialty 336 B - 1949.
        13. "
Love Is A Fortune" - Jesse Powell Orchestra (Vocal By Fluffy Hunter) - Federal 12056 A - 1952.
        14. "The Walkin' Blues" - Jesse Powell Orchestra (Vocal By Fluffy Hunter And Ensemble) - Federal 12056 AA - 1952.
        15. "That's The One For Me" - Roy Milton And His Solid Senders (Vocal By Roy Milton And Camille Howard) - Specialty SP 386 A - 1950.
        16. "Bye, Bye Baby Blues" - Roy Milton And His Solid Senders (Vocal By Roy Milton) - Specialty SP 386 B - 1950.
        17. "I've Got A Right To Cry" - Joe Liggins And His Honeydrippers - Specialty SP 338 A - 1950.
        18. "The Honeydripper (Part 2)" - Joe Liggins And His Honeydrippers - Specialty SP 338 B - 1950.
        19. "Pink Champagne" - Joe Liggins And His Honeydrippers - Specialty Sp 355 A - 1950.
        20. "Pink Champagne" - Lionel Hampton Orchestra (Vocal By The Hamptones) - Decca 27164 - 1950.
        21. "The Honeydripper (Part 1)" - Joe Liggins And His Honeydrippers - Exclusive 207-A - 1945.
        22. "The Honeydripper (Part 2)" - Joe Liggins And His Honeydrippers - Specialty SP 338 B - 1950.
        23. "The Honeydripper (Part 1)" - Sammy Franklin And His Atomics - Black & White 101-A - 1945.
        24. "The Honeydripper" - Delta Rhythm Boys And Jimmie Lunceford Orchestra - Decca 26451 A - 1945.
        25. "Tabarin" - The Four Flames - Fidelity F 3001 A - 1951.
        26. "W-I-N-E" - The Four Flames - Fidelity F 3001 B - 1951.
        27. "Lonesome Old Feeling" - Bumble Bee Slim - Fidelity F 3004 A - 1952.
        28. "Ida Red" - Bumble Bee Slim - Fidelity F 3004 B - 1952.
        29. "Strange Land Blues" - The Flames - Spin 101 A - 1952.
        30. "Cryin' For My Baby" - The Flames - Spin 101 B - 1952.
        31. "I Guess You're Satisfied" - The Victorians - Specialty SP 411 A - 1951.
        32. "Don't Break My Heart Again" - The Victorians - Specialty SP 411 B - 1951.
        33. "Naturally Too Weak For You" - The Victorians - Specialty SP 420 A - 1951.
        34. "Part Time Sweetheart" - The Victorians - Specialty SP 420 B - 1951.
        35. "You'll Always Be My Sweetheart" - Bob Stewart And The Victorians - Metro M-7465 - 1948.
        36. "Dreaming Of You" - Bob Stewart And The Victorians - Metro M-7465 - 1948.
 
          ALL THIRTY-SIX ABOVE SONGS played in sequence.

          ALL TWENTY-FIVE ABOVE SPECIALTY AND FIDELITY SONGS played in sequence.


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