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#983 (8/26/26)
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BY TONY FOURNIER |
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This article is about United Records and its subsidiary label, States Records, located in Chicago. Their output was mostly rhythm and blues, with a little gospel, all done by black artists.
The United label was formed in mid-1951 by Lew Simpkins, co-owner and president, and Leonard Allen, co-owner and vice president. United had black ownership, like several other record manufacturing companies in Chicago, including Parrot/Blue Lake, Vee-Jay, Miracle, J.O.B, and Ebony. Simpkins had been the A&R man for Miracle Records in the late 1940s and for related Premium Records until it closed in 1951. Both labels were located in Chicago. Allen was new to the record business, but provided the funding needed to get United Records underway. United was heavy into instrumentals featuring their star orchestras led by Tab Smith, Jimmy Forrest, Gene Ammons, Eddie Chamblee, "Nature Boy" Brown, and Tiny Grimes. Their "big name" blues roster consisted of Roosevelt Sykes and Memphis Slim. Happily, there were also some vocal groups, such as The Four Blazes/Blasers, The Dozier Boys, The Five C's, The Moroccos, The Pastels, The Sheppards, The Palms, and The Musketeers (backing Debbie Andrews). Subsidiary label, States (great name selection), was started in May 1952. This label continued the focus on instrumentals with Paul Bascomb, Tommy Dean, Sax Kari, Jimmy Coe, Cozy Eggleston, and Lefty Bates. Vocal groups included Browley Guy And The Skyscrapers, The Hornets, The Danderliers, The Five Chances, Cliff Butler and His Doves, The Strollers, and The (Five) Palms. When Simpkins died in April 1953, Allen took over full ownership and the presidency of the company. United/States Records closed their doors at the end of 1957. |
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Above: (Left) Lew Simpkins and (Right) Leonard Allen (holding a 78-rpm of Tab Smith's latest United record). United Records had 217 releases starting in 1951 and ending in 1957. THE BILLBOARD, July 28, 1951:
....Lou Simpkins, formerly with Premium and the now defunct Miracle label, Chicago, announced his new diskery, United Recordings. Simpkins, along with some Chicago partners, has cut Roosevelt Sykes, ex-Victor and Regal; Robert Anderson, ex-Premium sacred group leader; Tab Smith, ex-Premium tenor and alto artist; the Night Hawks, ex-Chase [sic, Chess] group, and Nature Boy Brown, singer, to the rhythm and blues line.He has 12 distributors but is seeking several more....
CASH BOX, May 24, 1952:
Lew Simpkins, president of United Records, proudly announced the introduction of States Record Co. as a subsidiary to United Records. In nine months United has risen to one of the nation's hottest R and B labels. Twenty‐six distributors have been appointed to handle the new label. The first releases, scheduled for May 18th, feature Paul Bascomb; a sensational new singing team, The Guy Brothers; and a gospel group called the Caravans....CASH BOX, September 20, 1952: UNITED RECORDS EXPANDS
CHICAGO — With the recently formed State Record Company and Pamlee Publishing Company lined up with United Records, Lew Simpkins, prexy, found it necessary to take several thousand extra feet of floor space in order to accommodate his expanded enterprises.Last week Simpkins appointed Record Industries, Ltd. to represent his three lines in Johannesburg, South Africa. Simpkins will supply the masters on new releases and sheet music from Pamlee. Record Industries will make the pressings for distribution through South Africa.
CASH BOX, May 9, 1953: LEW SIMPKINS DIES
CHICAGO — Lew Simpkins, President of United Records, passed away Monday, April 27, 1953, at Mayo Brothers, Rochester, Minn., from what is reported to have been leukemia, at the age of 35. Simpkins went to Mayo Brothers for a general checkup after complaining of pains.His career in the music business is well known here. He was very successful with United Records from the very first. He was a musician in his own right. Also a lyricist. Well known for his A&R efforts. A discoverer of many fine artists in the R&B field.
The business of United Records continues with Leonard Allen, Vice-President of the firm, in complete charge. Allen has been connected with Lew Simpkins from the start. Both investing to create United Records.
THE BILLBOARD, May 9, 1953:
LOU SIMPKINS [sic, LEW], UNITED PREXY, DIES IN MINN.
CHICAGO — Lou Simpkins, president of the United Record Company, died at the age of 35 at St. Mary's Hospital, Rochester, Minn. He had been ill for six weeks.Simpkins formed United in partnership with Leonard Allen, who will assume the presidency of the firm. Some of the recent releases of United are "My Hat's on the Side of My Head" by The Four Blazers, "Security Blues" by Roosevelt Sykes, and "Night Train" by Jimmy Forrest. The firm has dealt strictly in the r.&b. field.
Simpkins is survived by his widow, Eva, and two children, Randy and Pamela.
CASH BOX, May 16, 1953:
.... . Lots of music men saddened to learn of the passing of Lew Simpkins, prexy of United Records. Lew made a bundle of friends in the disk biz, dating back to his days with Miracle Records....
CASH BOX — AUGUST 2, 1952
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| NOTE: Some of the United and States Records' artists also recorded for other record companies that have been the subject of my previous articles. Some images, audio files, and information may be repeated here in order to provide fuller coverage. |
ROOSEVELT SYKES
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Above: Photo of Roosevelt Sykes, from St. Louis, who was born Roosevelt Sykes Bey. He was a blues singer, piano player, and songwriter. He enjoyed a long recording career, on several record labels, starting in the 1920,s and going well into the 1960s. He used several aliases along the way, including Dobby Bragg, Easy Papa Johnson, St. Louis Johnny, The Blues Man, The Honey Dripper, and Willie Kelly. Roosevelt had five records on the United label (1951-1953).
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Above Left: Label image of United U-101, recorded in July 1951 and released in September 1951. This is the first record released on United Records. Both sides were composed by Roosevelt Sykes and BMI.com agrees. Roosevelt wrote most of his recorded sides. He is credited at BMI for over 400 titles, almost all of them written solo.
Above Right: Label image of United U-139, recorded in August 1952 and released in January 1953. Again, both sides were composed by Roosevelt Sykes and BMI.com concurs. The flip-side is an instrumental, "Too Hot To Hold", the label incorrectly showing "To Hot To Hold".
ASIDE: BMI.com also credits Memphis Slim for composing "Four O'Clock Blues" in a separate entry. However, this seems to be a problem with an incorrect song title. Slim wrote "Five O'Clock Blues" and released it on the United label. BMI does not have an entry for Slim's "Five O'Clock Blues". Slim and that record will be included further along in this article.
The above shows the two label designs that were used by United Records. The original design was used for the first twenty-five releases. The changeover occurred in September 1952.
The addition of the stars to the label cemented the connection to the American flag, especially after the subsidiary record company, "States", had been formed earlier in the year.
Btw, it's an optical illusion that the label above right looks larger than the one at above left.
At Direct Right: CASH BOX, January 24, 1953.
The Billboard Review (9/15/51): ROOSEVELT SYKES — UNITED U‐101
Lucky Blues (71) Veteran blues shouter Sykes reiterates that he's a master at the medium with a lusty shout of a routine slow blues.
Fine And Brown (80) The tempo's a shade brighter here and the blues material is much stronger. Sykes again sings well and the combo backing is forthright and driving. Good blues wax.(NOTE: A ratings range of 70-79 was considered as "good" and 80-89 as "very good".)
LISTEN (Windows Media Player):
1. "Fine And Brown" - Roosevelt Sykes And His Honey Drippers - United U-101 - 1951.
2. "Lucky Blues" - Roosevelt Sykes And His Honey Drippers - United U-101 - 1951.
3. "Four O'Clock Blues" - Roosevelt Sykes And The Honeydrippers - United U-139 - 1953.
4. "Too Hot To Hold (Instrumental)" - Roosevelt Sykes And The Honeydrippers - United U-139 - 1953.ALL FOUR SONGS played in sequence.
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Above Left: THE BILLBOARD, October 4, 1952.
NOTE: "...greatest blues waxing in '80' years..." Really?Above Right: Photo of Roosevelt Sykes at the piano.
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At Left: Label image of United U-129, recorded in August 1952 and released in November 1952. At Right: Label image of United U-152, recorded in March 1953 and released in July 1953. This is Roosevelt's fifth and last release on United Records.
Roosevelt's vocal on "Come Back Baby" sounds like it's been overdubbed. "Tell Me True" sounds very popish.
As usual, Roosevelt composed all four songs on the above two records and BMI.com agrees.
At Direct Right: CASH BOX AWARD O' THE WEEK, November 15, 1952.
Cash Box Review (8/1/53): ROOSEVELT SYKES — UNITED 152
Come Back Baby (B+) Roosevelt Sykes and his Honeydrippers collaborate on a slow tempo chant in which Sykes moans his room is empty since his baby has gone. Sykes comes through with a powerful performance and etching looks like a puller‐inner for the boxes.
Tell Me True (B) Sykes works with a slow romantic blues on the lower lid and delivers the lyrics with warmth and tenderness against a soft musical support.(NOTE: A rating of B was considered as "very good" and B+ as "excellent.)
The Billboard Review (8/1/53): ROOSEVELT SYKES — UNITED 152
Come Back Baby (73) This is either Sykes over-dubbed or Sykes teamed with a couple of other guys. In any event, it's a good slow blues opus which the chanter does quite well.
Tell Me True (69) This is ballad material. Working alone, Sykes hands in another good effort.
[If "good effort", why not a "good" rating?](NOTE: A ratings range of 40-69 was considered as "satisfactory" and 70-79 as "good".)
LISTEN (Windows Media Player):
1. "Walkin' This Boogie (Instrumental)" - Roosevelt Sykes (The Honey Drippers) - United U-129 - 1952.
2. "Security Blues" - Roosevelt Sykes (The Honey Drippers) - United U-129 - 1952.
3. "Come Back Baby" - Roosevelt Sykes And His Honeydrippers - United U-152 - 1953.
4. "Tell Me True" - Roosevelt Sykes And His Honeydrippers - United U-152 - 1953.ALL FOUR SONGS played in sequence.
ROBERT NIGHTHAWK
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"NATURE BOY" BROWN
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Above Left: "Nature Boy" Brown, from Chicago, was a saxophonist, band leader, composer, and arranger. He was also known as "J.T. Brown", "J.T. (Big Boy) Brown", "J.T. (Blow It) Brown", "Sax Man Brown", and "Bep Brown". "Nature Boy" had three records released on the United label (1951-1952), with his Blues Ramblers, all of them included here. He then moved to the newly formed Meteor Records in Memphis. This resulted in three more of his records (1952-1955), one of those with Elmore James, which is included here.
On Meteor, he went by "Bep's Brown", "J.T. Brown", and "Sax Man Brown". Perhaps Meteor was trying to inflate the number of performers in its stable.
Above Right: ST. PAUL RECORDER, June 3, 1955.
NOTE: It had been three years since his last United record was released, but who's quibbling?
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Above Left: Label image of United U-103, recorded in July 1951 and released in 1951. Roosevelt Sykes can be heard in the background, especially during "Windy City Boogie", shouting encouragement. However, the piano player is Little Brother Montgomery. Roosevelt was there because he was having a recording session on the same day. The labels on both sides show "Brown" as the composer. The label for the flip-side, "Windy City Boogie", states "Vocal...", in the manner as the shown label, but it is all instrumental.
LISTEN (Windows Media Player):
1. "Blackjack Blues" - "Nature Boy" Brown - United U-103 - 1951.
2. "Windy City Boogie (Instrumental)" - "Nature Boy" Brown - United U-103 - 1951.
3. "Rock-Em (Instrumental)" - "Nature Boy" Brown - United U-106 - 1951.
4. "When I Was A Lad" - "Nature Boy" Brown - United U-106 - 1951.ALL FOUR SONGS played in sequence.
Above Right: Label image of United U-106, also recorded in July 1951 and released in 1951. There is a typographical error on the label, "Blue" should be "Blues" (both sides). There is also no composer shown and no "Vocal/Instrumental..." information. The top side is an instrumental and the flip is a vocal.
Note that United Records had not yet formed a music publishing company and therefore didn't show affiliation with BMI on the label. As a result, songwriting credit for the above four songs was not submitted to BMI.
At Left: ADVANCE YEOMAN (Wickliffe, Kentucky), November 13, 1953.
NOTE: Wonder if his "Four Shades" are "The Four Shades Of Rhythm", a Chicago group that was still active at this time. They were all instrumentalists as well as vocalists.No evidence was found that Nature Boy Brown had been with Lionel Hampton's orchestra. And not sure what "Direct From California" means as Nature Boy was located in Chicago. Perhaps they were traveling from a California engagement.
The Turf Club was located in Cairo, Illinois, about seven miles from Wickliffe, Kentucky, on the other side of the Ohio River.
Above: Label image of United U-121, recorded in January 1952 and released in 1952. Here the label shows "Pamlee Music", United Records' publishing company, and B.M.I. (Broadcast Music, Inc.). "Pamlee" was named after Lew Simpkins' daughter, Pamela.
Labels and BMI.com agree that "John T. Brown" composed "Strictly Gone" and "Robert Call" composed the flip-side, "House Party Groove". Call was a boogie-woogie piano player in Chicago. He is playing piano (the featured instrument) on the "Groove" side.
Above: CHICAGO DEFENDER, July 9, 1953.
Apparently there was no closing time curfew.Cash Box Review (7/19/52): NATURE BOY BROWN — United U-121
Strictly Gone (B) Nature Boy Brown takes a big bounce, rhythmic item, and treats it to a wildish presentation. Orking features the brass section and gets off a solid trumpet solo. [It's most likely King Kolax on trumpet.]
House Party Groove (C+) The under portion is a slow piece tastefully arranged. A rippling piano solo helps put over a good side. [As previously mentioned, it's Robert Call playing the piano.](NOTE: A rating of B was considered as "very good" and C+ as "good".)
LISTEN (Windows Media Player):
1. "Strictly Gone (Instrumental)" - Nature Boy Brown - United U-121 - 1952.
2. "House Party Groove (Instrumental)" - Nature Boy Brown - United U-121 - 1952.BOTH SONGS played in sequence.
EXTRA RECORD — J.T. BROWN AND ELMORE JAMES
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Above: (Left) J.T. Brown (aka "Nature Boy" Brown) and (Right) Elmore James. The sign on clock is "Miller High Life".
NOTE: More information about the Meteor label and Elmore James and his Meteor releases is included in the Modern Records - Part Eight article.NOVEMBER, 1952 — Les Bihari hits the markets shortly with a new recording company called Meteor. Headquarters will be in Memphis, close to the pressing plant of Buster Williams.
Label cut its first session a few days ago. Four sides were made in the record time of 22 minutes. Only using four people, Bihari comes up with two sides in real down home blues fashion, while the other two sides are hot and fast horn items.
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Above: Label images for both sides of Meteor 5016, released in 1954. "Broom Dusters" is a reference to Elmore James' hit record, "Dust My Broom", on the Trumpet label. J. T. Brown is the vocalist on "Dumb Woman Blues". "Sax-Ony" is an instrumental. Strange that an artist would have different versions of their name on two labels of the same record!
Both labels give sole composing credit to "J.T. Brown". However, BMI.com has "Joe Josea" and Brown as the songwriters. Josea is a pseudonym for Joe Bihari, vice-president and co-owner of Modern Records in Los Angeles. He is also the brother of Lester Bihari, the owner and operator of Meteor Records.
Cash Box Review (9-18-54): ELMO JAMES & SAX MAN BROWN — Meteor 5016
Dumb Woman Blues (B) J. T (Big Boy) Brown handles the vocal end of this slow Southern blues. Brown sings his preferences in women. He'd rather have a dumb woman than an educated girl from school. Lyrics, tune, vocal, and colorful saxing by Brown make this an effective deck.
Sax-Only Boogie (C+) A driving number featuring the lively and expressive saxing of Sax Man Brown. Elmo James and his Broom Dusters provide the spirited accompaniment. Teeners can knock themselves out with this etching.(NOTE: A rating of B was considered as "very good" and C+ as "good".)
The Billboard Review (9-18-54): J. T. (BIG BOY) BROWN — Meteor 5016
Dumb Woman Blues (67) Brown is not quite so efficient with a vocal as he is with his sax. This is a competent but rather run-of-the-mill blues that gets a nice rhythmic lift from the ork, but that's about all.
Sax-Ony Boogie (71) This instrumental makes a very exciting dance record. Led by Brown's high-flying tenor sax, the group jumps a mile a minute and will make the customers come back screaming for more.(NOTE: Ratings had a range of 0-100 with 40-69 considered as "satisfactory" and 70-79 as "good".)
LISTEN (Windows Media Player):
1. "Dumb Woman Blues" - J. T. (Big Boy) Brown With Elmo James Broom Dusters - Meteor 5016 - 1954.
2. "Sax-Ony Boogie (Instrumental)" - Sax Man Brown With Elmo James Broom Dusters - Meteor 5016 - 1954.BOTH SONGS played in sequence.
CASH BOX — DECEMBER 6, 1952
TAB SMITH — HIS FABULOUS ALTO AND ORCHESTRA
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Above: Talmadge "Tab" Smith, originally from St. Louis, was an alto sax player supreme, bandleader, composer, and arranger. He also played tenor sax and clarinet. Prior to forming his own combo in the mid-1940s, Tab was with the Lucky Millinder and Count Basie orchestras. Tab and his orchestra had records on several labels, including Harlem, Southern, Hub, King/Queen, Regis/Manor, Atlantic, and Premium, before finding a home at United Records.
After United Records closed its doors, Tab recorded for two Chess subsidiaries, Checker and Argo (1958-1959). He then returned to the King label (1960-1962) and completed his recording career on the E.L.J. label (1962-1964).
THE BILLBOARD, November 17, 1951:
....The rhythm and blues trends, still leaning strongly in favor of vocal groups, have expanded again to include saxophone solos of top pops. At the moment, the movement to make up instrumental versions of top pops has assumed quite a frantic nature with a sizable number of diskings of this type moving into the market in the past couple of weeks.The most successful venture of its type so far was the Tab Smith alto sax reading of "Because of You" on the United label. This disking has expanded beyond the rhythm and blues field into a pop item of stature; the disking has appeared on the best‐selling pop charts. (Tab Smith's "Because Of You" made it onto The Billboard's "Best Selling Pop Singles" Top Thirty on November 3, 1951.)
Tab Smith was United Record's mainstay artist, such as Fats Domino was for Imperial, Savannah Churchill for Manor, and Ruth Brown for early Atlantic Records.
Tab was a consistent money-maker for United. He had twenty-four records on that label, including their fourth release in 1951 and their last in 1957.
Therefore, extensive coverage is provided for him here.
LOUISVILLE DEFENDER, March 1, 1952: HIT MAKER
Many Derbytown radio listeners know Johnny Martin as a capable disc jockey at radio station WLOU, but few know of him as a "Hit Maker!" Johnny is largely responsible for the success of Tab's smashing success platter "Because Of You" on United Records.It all happened (in '51) when Johnny was spinning discs at radio station WERD in Atlanta. Lew Simpkins was inaugurating his new recording firm (United Records) in Chicago and was in search of a good tune to push his company. He asked Martin's advice via mail on what tune he should record first to gross heavily on juke boxes throughout the country.
Martin suggested the yesteryear tune "Because Of You". Accepting his advice, Simpkins contacted the Tab Smith band to cut the tune. It was an overnight success.
(NOTE: This blurb became very suspicious when it used the word "success" three times.)
Directly Above: Label image of United U-104, recorded in July 1951 and released in 1951. It's strange that they put "Broadcast Music, Inc" (BMI) on the "Because Of You" label as it's an ASCAP controlled song. The flip, "Dee Jay Special", label has "United Music", but no BMI shown. The song was composed by Tab Smith. "United Music" was probably the name of United Records' planned new publishing company, later to be replaced by "Pamlee".
CASH BOX REVIEW (9/29/51):
TAB SMITH — UNITED 104
Because Of You/Dee Jay Special
An outstanding version of a current ballad is dished out here by Tab Smith. An altoist of terrific virtuosity, Smith sends this one flying high as he introduces the United label with a bang. The second half is a lively jump tune which he also handles well. But the first side is the one to hear. It could do great things.The Billboard Review (10/6/51): TAB SMITH — UNITED U‐104
Because Of You (82) The veteran altoist spreads his fat tones most enticingly across the juicy melody line of this current smash ballad. Stacks up as a money‐making proposition.
Dee Jay Special (74) Tab turns to the tenor sax for a well‐done medium time instrumental bugle blues with more than customary appeal. The jazz is more apparent here than is the honk.(NOTE: A ratings range of 70-79 was considered as "good" and 80-89 as "very good".)
CASH BOX, December 29, 1951:
....Lew Simpkins, bosswheel at United Records, hit a lucky streak opening for business with Tab Smith's "Because Of You", does a return with Tab's "(It's No) Sin"....
Directly Above: Label image of United U-107, recorded in October 1951 and released in 1951. The shown side was composed by Tab Smith and is credited at BMI.com accordingly. Wonder why no "BMI" on this label? The flip side, "(It's No) Sin", is another instrumental version of a currently popular song.
Vocal groups with records of "(It's No) Sin" that were released in 1951 include The Four Buddies, Arthur Prysock With Vocal Quartet, Savannah Churchill And The Four Tunes, The Four Knights, and the Billy Williams Quartet. All five of these versions are included in my Savoy Records - Part Three article.
CASH BOX REVIEW (11/24/51):
TAB SMITH — UNITED 107
(It's No) Sin/Let's Take A Chance [sic]
Picking up where he left off on his current hit, Tab Smith again demonstrates what can be done to a tune with a sax. The upper end is a lovely ballad that's going strong as of the moment and Tab makes it sound even better.The bottom level is another sweet number that this saxophonist handles easily. Ops oughta get with this disk now.
LISTEN (Windows Media Player):
1. "Because Of You (Instrumental)" - Tab Smith And Orchestra - United U-104 - 1951.
2. "Dee Jay Special (Instrumental)" - Tab Smith And Orchestra - United U-104 - 1951.
3. "Can't We Take A Chance (Instrumental)" - Tab Smith And Orchestra - United U-107 - 1951.
4. "(It's No) Sin (Instrumental)" - Tab Smith And Orchestra - United U-107 - 1951.BOTH SONGS played in sequence.
Above: CASH BOX, November 17, 1951. Tab Smith had the first big hit for United Records, an instrumental version of "Because Of You", issued in 1951. It first hit The Billboard's top ten "Best Selling Rhythm And Blues Records" on November 10, 1951, moving up to the #1 position on December 8, 1951. It stayed in the top ten through January 26, 1952.
Tony Bennett's version of "Because Of You" made it to #1 on The Billboard chart for "Best Selling Pop Records" on November 3, 1951. Other artists to have the song released in 1951 include Guy Lombardo, Les Baxter, Bob Crosby, Louis Armstrong, and Johnny Desmond.
CASH BOX, February 9, 1952:
....Lew Simpkins, boss of United Records, Chicago makers of "Sin" and "Because Of You" by Tab Smith, healing nicely at Provident Hospital. Lew will be on the street in a few weeks, in time to kick off his publishing venture. Firm, to be known as Pam-Lee, will be a licensed BMI outlet....CASH BOX, February 23, 1952:
....Tab Smith, exclusive recording artist for United Records, has set new high sales marks for this recorder, according to Lew Simpkins of United Records....
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Above Left: NEW YORK AGE, January 26, 1952. CASH BOX, January 26, 1952:
....Tab Smith goes into the Apollo Theater, New York, on January 25...CASH BOX, February 9, 1952:
....Tab Smith scored at the Apollo last week playing his United hits. Tab moves into Philadelphia's Club Harlem on February 4 for a four day stand....
Above Right: ST. LOUIS ARGUS, October 26, 1951.
NOTES:
1. Tab's co-star is St. Louis' pianist Eddie Johnson, who was in Tab's band during the recording of "Because Of You". In the early 1960s, Tab Smith had at least two records on Johnson's E.L.J. Records, located in St. Louis.2. A free record of an up‐and‐coming hit was a big value at the time.
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Above Left: Photo of Tab Smith. Above Right: OMAHA STAR, December 21, 1951.
NOTE: Tab Smith's "Because Of You" first reached #1 on Billboard's "Best Selling R&B Records" chart on December 8, 1951. While the side made it onto The Billboard's "Most Played Juke Box Records" chart, it didn't do as well there.
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Above Left: Label image of United U-140, recorded in June 1952, but not released until 1953. The Dominoes had a rhythm and blues hit with "These Foolish Things Remind Me Of You" on the Federal label in 1953, which might explain the decision to release Tab's version. The song was first popular in 1936. Other standards that Tab released as instrumentals on the United label, include "Hands Across The Table", "On The Sunny Side Of The Street", "In A Little Spanish Town", "My Mother's Eyes", and "Under A Blanket Of Blue".
Above Right: Label image of United U-147, both sides were recorded in 1952 (June & February), but not released until 1953.
The back side songs on both the above records were composed by Tab Smith with BMI.com agreeing.
At Direct Left: CASH BOX, January 31, 1953.
Cash Box Review (2/14/53): TAB SMITH — UNITED 140
These Foolish Things (B) Tab Smith uses the lovely oldie as a showcase for his saxing ability, and, as ever, it is a pleasure to listen to.
Red Hot And Blue (B+) Smith waxes a quick beat with a torrid display of sax blowing. A colorful side and one that should catch lots of play.(NOTE: A rating of B was considered as "very good" and B+ as "excellent".)
LISTEN (Windows Media Player):
1. "These Foolish Things (Instrumental)" - Tab Smith And Orchestra - United U-140 - 1953.
2. "Red Hot And Blue (Instrumental)" - Tab Smith And Orchestra - United U-140 - 1953.
3. "My Mother's Eyes (Instrumental)" - Tab Smith And His Orchestra - United U-147 - 1953.
4. "Cuban Boogie (Instrumental)" - Tab Smith And His Orchestra - United U-147 - 1953.ALL FOUR SONGS played in sequence.
At Left: Label image of United U-203, recorded in April 1956 and released in 1956. The labels and BMI.com give songwriting credit to Tab Smith. Over the years, Tab, when he wasn't singing himself, had several different vocalists with his band. These include (United) Ray King, Johnny Harper; (Harlem) Riff Washington; (Hub) Hester Lancaster, Betti Mays, Gloria Washington; (Manor) Trever Bacon, Margaret Watkins, Jimmy (Baby-Face) Lewis, and Deborah Murphy.
Cash Box Review (10/13/56): TAB SMITH — UNITED 203
Yo Yo Blues (B) Tab Smith and his orchestra etch a slow mood blues with the Smith sax taking the featured role. Good instrumental deck.
Feel Like I Wanna Die (B) Ray King handles the vocal on this slow blues side. King wails to the effectual musical support of the Smith aggregation. Another mood wax.(NOTE: A rating of B was considered as "very good".)
The Billboard Review (10/13/56): TAB SMITH — UNITED 203
Feel Like I Wanna Die (75) Vocalist Ray King gets the spotlight on this wailing, belted blues. Tab Smith and band back up in an okay job.
Yo Yo Blues (70) Smith, with alto sax, heads up this instrumental side with a danceable beat.(NOTE: A ratings range of 70-79 was considered as "good".)
LISTEN (Windows Media Player):
1. "Feel Like I Wanna Die" - Tab Smith And Orchestra (Vocal By Ray King) - United U-203 - 1956.
2. "Yo Yo Blues (Instrumental)" - Tab Smith And Orchestra - United U-203 - 1956.BOTH SONGS played in sequence.
EXTRA RECORDS (VOCALS) — TAB SMITH AND HIS ORCHESTRA
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Above Left: Photo of Betti Mays, who was a singer, an actress, and a dancer. According to one newspaper article, she also played the drums and piano. Betti was in seven short films as an uncredited dancer during 1941, all with either Fats Waller or Lucky Millinder. In 1947 she co-starred in an all-black feature film, "Boy! What A Girl!".
After leaving Tab Smith in 1945, Betti toured as vocalist in a theater package headed by Joe Louis, World Heavyweight Champion, and later sang in night clubs with her own instrumental combo.
Above Right: Photo of Tab Smith holding two saxophones. Which will he use? Hopefully, both!
At Direct Right: AFRO‐AMERICAN, June 2, 1945:
Betty Mays, billed as the "sexsational girl", has taken the place of the late Trevor Bacon as vocalist with Tab Smith's band. She was formerly a member of The Harlemaires. It doesn't have to be said that she has glamour appeal.At Far Right: NEW YORK AGE, May 12, 1945:
NOTE: Ralph Cooper, Tab Smith, Betti Mays. Betti was Ralph Cooper's wife.CHICAGO DEFENDER, June 30, 1945:
NEW YORK—Tab Smith is one of the greatest saxophone players in America today. Tab has been "great" for some time.He was featured with Lucky Millinder's orchestra at one time and, his popularity exceeded the Millinder circle and Tab went on his own.
Making his debut at a popularly frequented New York nitery two years ago Smith and his saxophone stayed at that "hot" spot for eighteen months after the gala opening night.
The owner refused to let the band go although several new "juicy" contracts bobbed up in the meantime. It wasn't until the place changed hands and was shut down for repairs that Tab Smith, his saxophone and his orchestra left.
The initial road tour of the band was a complete success—until Fate took a hand. A fatal auto accident took from the band, and America as well, Trevor Bacon who was killed instantly in one of the automobiles carrying the musical aggregation from one dance date to another on a southern jaunt.
Bacon's death came as a shock to the orchestral world and his passing was felt by his buddies in the band. A series of dates that would have taken the ork across country had to be cancelled.
After a brief layoff out of respect for their former vocalist the boys resumed play‐dates. Betty Mays, a lovely singing star, joined the band and was hailed as "The Pin‐Up Vocalist". With Tab Smith on the sax and Frank Humphries, the popular sensation, on the trumpet, the band was "solid" and promoters wired in for choice dates.
(NOTE: Records with Trevor Bacon as vocalist with the Tab Smith Orchestra, on Manor and Regis, are included in my Manor Records - Part One article.)
CHICAGO DEFENDER, February 21, 1948:
BEAUTEOUS BETTY MAYS, with her own combo, returned to Harlem's Baby Grand Cafe this week in a blaze of glory. You'll remember Betty as the goodlooker who traveled with Joe Louis' vaudeville "package" last season.
Above Left: Label image of Hub 3009-B, released in 1946. This is Tab's only record with Betti Mays. The flip-side, "Riffin' The Bass", is an instrumental with vocalizing by the band. Neither side is registered at BMI.com. Also, no "BMI" is shown on the labels. Tab's co-writer on both songs is Ralph Cooper.
LISTEN (Windows Media Player):
1. "Fat Mouth Blues" - Tab Smith Orchestra (Vocal By Betty Mays) - Hub 3009-B - 1946.
2. "Riffin' The Bass" - Tab Smith Orchestra (Vocal By Band) - Hub 3009-A - 1946.BOTH SONGS played in sequence.
Above Right: Photo of Tab Smith (standing in back center) and the musicians in his ensemble. This photo was used in the April 8, 1945 edition of the Macon News (Macon, Georgia) newspaper. No names were given for the members.
THE BILLBOARD REVIEW (5/11/46):
TAB SMITH — HUB 3009 Riffin' The Bass/Fat Mouth Blues
Tab Smith, the hot alto sax star, divides "Riffin' the Bass" with his unidentifled bass man [Joe Brown]. He's terrific for his portion, and the bass is hot and good. Side also has some unlisted ensemble chanting. Betty Mays sets the tempo for the blues vocal of "Fat Mouth Blues", the flipover. Her singing is so-so, but the band is great on the side.
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Above Left: NEW YORK AGE, June 10, 1944. Above Right: NEW YORK AGE, August 3, 1944.
NOTES:
1. Elk's Rendezvous was located in Harlem, New York City.
2. Frank Humphries was a "sensational" trumpet player.
3. Betti Mays is on both of the above bills.
4. Trevor Bacon died in an auto accident on April 14, 1945.
RELATED ARTICLES BY MARV GOLBERG:
THE HARLEMAIRES
(Betti Mays was an original member of The Harlemaires)(Will open in separate windows)
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Above Left: Label image of Hub 3026-A, released in August 1946. Vocalist Gloria Robinson was a singer and, per one newspaper account, also a piano player. No evidence was found to show it's Gloria playing piano on this record. There have been multiple versions of "Pitch A Boogie Woogie", the performing artist(s) always claiming composer credit. "Lets Pitch A Boogie‐Woogie" by Dallas Bartley's band in 1945, "Gonna Pitch A Boogie" by Bob Camp And His Buddies in 1946, and "Let's Pitch A Boogie Woogie" by Hal Mitchell's orchestra in 1944.
BMI.com does not credit any of these artists as the composer, including the Tab Smith‐Gloria Robinson version.
BALTIMORE AFRO‐AMERICAN, March 31, 1945:
....There's a new singer at the Avenue Cafe who is an in‐between Lil Green and Pearl Bailey. She's Gloria Robinson and won a recent amateur contest at the Avenue. She's the gal you've gotta watch....BALTIMORE AFRO‐AMERICAN, March 9, 1946:
....Back on the stroll after a few days of romping in Harlem, where we enjoyed the singing of Gloria Constance Robinson, formerly of La Avenue and Wagon Wheel, who is jumping at Pembroke's Hollywood....AFRO‐AMERICAN, November 1, 1947:
....Cliff Martinez, popular booking agent, is now presenting colored and white artists for the Arthur Godfrey Talent Scout CBS show, and sponsors such outstanding artists as romantic singing pianist, Gloria Robinson....THE BILLBOARD REVIEW (8/24/46):
TAB SMITH — HUB 3026 Pitch A Boogie Woogie, Part I & II
With a small jam band pitching forth a boogie beat, spinning for both sides is shared by the hot horns with Tab Smith's scorchy alto on top and Gloria Robinson's salty singing of some salty lyrics. Plano, trumpet. and tenor sax take turns and to good returns. For race locations where the salty singing rather than the solos will catch coins.
Above Right: Label image of Queen 4123-A, released in July 1946. The side was recorded for Southern Records in September 1945 and sold to King/Queen Records. The label shows Hester Lancaster as the composer, but this song is not listed at BMI.com.
Little information was found about Hester (aka Helen) Lancaster, who was from Baltimore. She had a previous record as vocalist, with the Harlem Stompers, on a 1939 Decca release.
In 1947, Hester played the part of "Sugar" in "Meet Miss Jones", a musical stage comedy. Monette Moore and Johnny Lee, known by vocal group collectors for their 1949 Columbia recordings with The Ebonaires, were in the same show.
CASH BOX REVIEW (8/26/46):
TAB SMITH AND ORCHESTRA — HUB 3026 Pitch A Boogie Woogie
For something that'll make your "race" locations jump, we refer your attention to this platter, "Pitch A Boogie Woogie", as done by Tab Smith's crew with Gloria Robinson handling the vocal. It's a hot platter that's served up solid by the small ork and they're solid.The lyrics, it might be added, would never be permitted on the air: (Jack and Jill went up the hill, and Jill came down with a $20 bill) ; but they'll draw trade if placed right.
The platter is done in two parts, with our choice on the second side. But make no mistake, this platter is more than a novelty; the quality of Gloria's singing and the quality of musicianship exhibited by the crew are worthy of one's listening. Give it one.
LISTEN (Windows Media Player):
1. "Pitch A Boogie Woogie (Part 1)" - Tab Smith Orchestra (Vocal By Gloria Robinson And Band) - Hub 3026-A - 1946.
2. "Pitch A Boogie Woogie (Part 2)" - Tab Smith Orchestra (Vocal By Gloria Robinson And Band) - Hub 3026-B - 1946.
3. "Trunk Packed Up" - Tab Smith (Vocal By Hester Lancaster) - Queen 4123-A - 1946.ALL THREE SONGS played in sequence.
Margaret Watkins was another Tab Smith vocalist. Extensive information about Margaret, including Tab's Manor label record with her, is included in my Manor Records - Part Four article.
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Above: CASH BOX, March 15, 1952.
NOTE: Make that "five hits in fourteen releases in eight months". An amazing accomplishment!United's fourteenth, "Mary Jo" by The Four Blazes, was a huge hit, reaching #1 on The Billboard R&B Best Selling chart.
CASH BOX, October 10, 1952:
....Dave Clark, showbiz columnist for the Associated Negro Press, now handling public relations for United Records. Clark formerly worked out of Detroit. But is now covering the Chicago area. He is about to head out East. Promoting United and States labels in Cleveland, New York and surrounding cities....
THE FOUR BLAZES
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Above: THE BILLBOARD MUSIC YEAR BOOK 1945-1946. (The Four Blazes). NOTE: (L-R Top) Tommy "Mary Jo" Braden (bass fiddle), Floyd McDaniel (guitar), William "Shorty" Hill (guitar), and (Bottom) Lindsley "Jelly" Holt (drums). All four members are also vocalists.
Profile from The Billboard 1945-1946 Year Book:
"The Four Blazes pack so much showmanship into their act that they've been equally successful selling their wares in a nitery floorshow or in a cocktail lounge. Their popularity in Chicago caused them to appear over WJJD, Chicago, while playing the Windy City.The sepia foursome uses two guitars, bass, and drum to whip up the rhythm that's made them a favorite with the hepsters.... Quartet handles solo vocals and have worked up four-part harmony on many numbers.
They've been actively engaged as cocktail entertainers since 1940, when they broke into show business in a tavern on the South Side of Chicago....
THE BILLBOARD MUSIC YEAR BOOK 1943: (With same photo as above.)
Profile from The Billboard 1943 Year Book:
THE FOUR BLAZES — Four boys who play hot music in a subtle style. Their instrumentation includes two guitars, a bass, and a snare drum and cymbals with brushes, beating out music to please both the swing and sweet fans. All four sing specially-arranged numbers.[Also with their photo] One of the finest entertaining groups in the Harlemesque Manner. Floyd does the scats. "Jelly" does the ballads. Hot music in a mellow vein.
NOTE: The Four Blazes on United and the Five Blazes on Aristocrat are the same group, except for the number of members. They are NOT the same group as the Four Blazes on Melo-Disc or Hollywood's Four Blazes on Excelsior.
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Above Left: Label image of United U-114, both sides recorded on January 2, 1952 and the record released in April 1952. This is the second pressing label where the group members' names were added. The United labels consistently misspelled Floyd McDaniel's name. Thomas Braden sings lead on "Mary Jo" and Lindsley Holt has that honor on the flip, "Mood Indigo", the Duke Ellington song. Eddie Chamblee plays the tenor saxophone on "Mary Jo". Eddie and his orchestra would later have two records released on United Records (1953-1954).
There are 45 "Mary Jo" titles listed at BMI.com, but none credited to Braden. This is probably because United Records had not yet affiliated with BMI.
"Mary Jo" entered The Billboard's "Most Played Juke Box R&B Records" on July 12, 1952 and became #1 on August 23, 1952. It stayed on that chart for three months. The song also was on The Billboard's "Best Selling Retail R&B Records", reaching #3 on August 9, 1952.
Amazingly, United Records had scored three #1 hit records within their first fourteen releases! The other two are "Because Of You" by the Tab Smith Orchestra and another instrumental, "Night Train" by Jimmy Forrest. His "Night Train" reached #1 on The Billboard's "Best Selling Retail R&B Records" and "Most Played Juke Box R&B Records" charts in March 1952.
Above Right: Label image of United U-125, recorded on July 4, 1952 and released in September 1952. Eddie Chamblee's tenor saxophone is on the flip-side, "Rug Cutter". Both sides feature group vocals.
Lew Simpkins, president of United Records, added his name to composer credits for "Night Train", possibly because of the addition of lyrics to the song. The "Rug Cutter" label does not give any composer credit.
These are the Four Blazes' first two records of their eight on the United label (1952-1955). One of these was issued as "Tommy 'Mary-Jo' Braden And His Flames" (1954) and another as "The Blasers" (1955), both with Norman Simmons replacing Shorty Hill.
As The Five Blazes, they had released two records on Chicago's Aristocrat label in 1947. That group consisted of Floyd McDaniel, Shorty Hill, Jelly Holt, Prentice Butler, and Ernie Harper. These two records are included in my Aristocrat Records - Part One article.
Cash Box Review (6/7/52):
THE FOUR BLAZES — UNITED 114
Mood Indigo (B+) The Four Blazes collaborate on a slow mellow melody with beautiful effect. The mood music is delivered smoothly by the combination. A good side for the boxes.
*Mary Jo (B+) The boys come through with a change of pace as they sock out a fast moving beat. The Four Blazes are really hot on this end and they threaten to melt the wax.(NOTE 1: A rating of B+ was considered as "excellent".)
(*NOTE 2: The reviewer incorrectly entered the title of this side as "Raining In My Heart". That song was by Roosevelt Sykes And His Honey Drippers on United 120.)
Cash Box Review (8/9/52):
THE FOUR BLAZES — UNITED 125
Rug Cutter (B) The Four Blazes blend their voices on a fast moving happy item. The group chants the rhythmic tune against a light instrumental backing.
Night Train (C+) The singing aggregation gives out with its individual interpretation of the slow rhythmic piece and comes up with an effective side.(NOTE: A rating of C+ was considered as "good" and B as "very good.)
The Billboard Review (8/30/52): FOUR BLAZES - UNITED U-125....
Night Train (78) Rhythm ditty which was a winner as an instrumental is given a strong performance by the vocal group. Bass singer is especially effective. Could get action.
Rug Cutter (75) The Four Blazes turn in a rhythmic reading of a slow jump opus that should have ready acceptance.(NOTE: A ratings range of 70-79 was considered as "good".)
LISTEN (Windows Media Player):
1. "Mary Jo" - Four Blazes (Vocal By Thomas Braden) - United U-114 - 1952.
2. "Mood Indigo" - Four Blazes (Vocal By Lindsley Holt And Group) - United U-114 - 1952.
3. "Night Train" - Four Blazes - United U-125 - 1952.
4. "Rug Cutter" - Four Blazes - United U-125 - 1952.ALL FOUR SONGS played in sequence.
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Above Left: GREEN BAY PRESS GAZETTE, December 15, 1950. Above Right: CASH BOX, June 14, 1952.
NOTE: Lew Simpkins and Leonard Allen, United Records owners, must have been enjoying life at this time.
Above: SALT LAKE TRIBUNE (Salt Lake City, Utah), October 8, 1949.
NOTE: This is between The Five Blazes on Aristocrat (1947) and The Four Blazes on United Records (1952-1955).
AFRO-AMERICAN, October 10, 1953:
FOUR BLAZES MAD ABOUT 'MARY JO'
CHICAGO — The Four Blazes, popular singing and recording group, consulted attorneys here last week about entering a suit against singer Jo‐Jo Adams, who recently made a flying trip to Atlanta to do a one‐nite stand. Adams was billed as the writer and singer of the tune "Mary Jo" on United Records.The Blazes claim that the blues singing Jo‐Jo has been capitalizing on their name for a long time, telling fans that he was the singer featured with the Four Blazes on the tune "Mary Jo". In reality, they claim Thomas Braden wrote the tune and sang it on the United recording.
Braden, whose voice has a slight resemblance to that of Adams, is the writer of most of the hit tunes featured by the Blazes on their recordings, including "Not Any More Tears", "Mary Jo", and their current hit "The Perfect Woman".
The Blazes advised newsmen that Braden, not Adams, is the featured singer on their recordings.
AFRO-AMERICAN, August 1, 1953:
FIVE BLAZES MELTING WAX
CHICAGO — The Five Blazes, recently featured at Club Bagdad, have hit the road on a nation‐wide tour. While here, they recorded a session for United Records, including "The Perfect Woman", a potential hit.Members of the group are Tom Braden, bass; William Hall [sic, Hill] and Floyd McDaniels [sic, McDaniel], guitars; Lindsley Holt, drums and manager; and Ron Hall, saxophonist.
(NOTE: Eddie Chamblee is the tenor sax player on "The Perfect Woman".)THE CALL (Kansas City, Missouri), October 10, 1953:
FOUR BLAZES ON NATIONAL TOUR THIS FALL
CHICAGO — The Four Blazes, now the featured attraction at Chicago's Club Bagdad, will leave Chicago around the middle of October on a national tour under the direction of Joe Glaser and the Associated Booking Corp.The Blazes skyrocketed to fame a few months ago with a tune called "Mary Jo". They now have a hit on the current Rhythm and Blues Hit Parade, "The Perfect Woman" on United Records. The Blazes have as featured vocalist "Jumping" Tom Braden, blues singing bass player. As an added attraction they have Ron Hall, versatile saxophonist.
This unusual musical group has been the featured attraction at the Bagdad for the past three months and will return to this popular spot early next year after the completion of its tour.
The personnel of the group includes Lindsley Holt, drums, vocalist, and manager; Tom Braden, vocalist and bass; Floyd McDaniel, vocalist and guitar; Steaborn (Shorty) Hill, vocalist and guitar; and Ron Hall, sax and clarinet ace. ["Steaborn" should be "William"?]
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Above Left: THE BILLBOARD, October 4, 1952.
NOTE: It's no matter that the photo is from nine years previous.Above Right Top: Label image of United U-127, recorded in August/July 1952 and released in September 1952. Eddie Chamblee's tenor sax was overdubbed on the top-side.
Even though the label shows "B.M.I.", this song is not registered at BMI.com. The label for the flip-side, "Stop Boogie Woogie", does not show "B.M.I." or a composer, but the song is registered twice at BMI.com. Go figure. The two separate entries credit "Thomas Braden" and "Thomas Braden-Floyd McDaniel". The side features Floyd McDaniel's electric guitar.
Above Right Bottom: Label image of United U-146, both sides recorded in February 1953 and released in March 1953.
BMI.com credits "Thomas Braden" as composer of "Not Any More Tears". The label for the flip-side, "My Hat's On The Side Of My Head", gives "Williams" as the songwriter. While the label also has "B.M.I.", the song title is not listed at BMI.com.
The Billboard Review (9/27/52): FOUR BLAZES - UNITED U-127....
Stop Boogie Woogie (80) The group has come up with a strong item which should get a lot of action. Guitar is strong thruout and McDaniels [sic, McDaniel] registers well with his talk vocal.
Please Send Her Back To Me (78) Blues formula is partially used on an item that is powerful. Group comes thru with a lot of sound for their small number. Braden [sic, McDaniel] adds a solid vocal.(NOTE: A ratings range of 70-79 was considered as "good" and 80-89 as "excellent".)
CASH BOX, March 21, 1953:
....United Records has come up with what looks like a big one. Their new Four Blazes release, "My Hat's On The Side Of My Head", is just loaded with what it takes. The group belts the quick beat rocker with a zest that is infectious....
The above two records are The Four Blazes' third and fourth releases on the United label.
The Billboard "New Records To Watch" (3/21/53): FOUR BLAZES - UNITED U-146....
My Hat's On The Side Of My Head
Action has already started on this one in the Midwest area. It's a happy novelty with a fine performance by the group. Flip is "Not Any More Tears."The Billboard Review (3/21/53): FOUR BLAZES - UNITED U-146....
Not Any More Tears (77) The Blazes come thru with a good reading of a new blues‐ballad, featuring Thomas Braden on the vocal, while the group backs him closely. The ork supplies a real beat.
My Hat's On The Side Of My Head (80) A happy novelty is sold neatly by the Blazes, over okay ork help. Ditty sounds fine for night club material.CASH BOX AWARD O' THE WEEK (3/21/53):
FOUR BLAZES - UNITED U-146
My Hat's On The Side Of My Head/Not Any More Tears
The Four Blazes, with Thomas Braden providing a moving and heated vocal, dish up a quick beat rocker, titled, "My Hat's On The Side Of My Head". The delivery has lots of zest and is belted from the opening note in happy style.With the personality job injected by the chanter, and the drive of the arrangement and the supporting cast, this etching zings along at a hustling pace. A definite entry for the juke box sweepstakes.
The lower lid is a moderate tempo item, performed by the Four Blazes in a smooth and feelingful manner. Very pleasant listening. Ops, get with the top deck.
LISTEN (Windows Media Player):
1. "Please Send Her Back To Me" - The Four Blazes (Vocal By Floyd McDaniel) - United U-127 - 1952.
2. "Stop Boogie Woogie" - The Four Blazes (Vocal By Floyd McDaniel) - United U-127 - 1952.
3. "Not Any More Tears" - The Four Blazes (Vocal By Thomas Braden And Group)- United U-146 - 1953.
4. "My Hat's On The Side Of My Head" - The Four Blazes (Vocal By Thomas Braden) - United U-146 - 1953.ALL FOUR SONGS played in sequence.
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LOUISVILLE DEFENDER, May 6, 1954:
TOMMY BRADEN VACATES 4 BLAZERS [sic, BLAZES] TO FORM OWN INSTRUMENTAL GROUP
CHICAGO — Tommy (Mary Jo) Braden, former lead vocalist with the Four Blazes, gave notice to the group this week that he was leaving to form his own group which will be known as the Tommy Braden Quintette.Braden, the featured vocalist and writer of such top tunes "Mary Jo", "Perfect Woman", "Great Love Affair", and other tunes featured on the Blazes recordings, is a native of Chattanooga, Tenn. He began his career as bassist with the Famous Tennessee State College Collegians. He became popular with record fans across the nation when he presented his unusual style of vocalizing on "Mary Jo".
Did you ever see a monkey play a fiddle? Well, a monkey actually plays a fiddle in one of the new tunes composed and recorded this week by the newly-formed quintette.
The Braden group cut 32 sides for one of the top recording companies in a two‐day session here this week. The tune, "Did You Ever See A Monkey Play A Fiddle", looms to become one of the top selling novelty tunes of the decade.
NOTES:
1. The "new" group was named "Tommy (Mary Jo) Braden And His Flames".
2. "His Flames" consisted of Lindsley Holt, Floyd McDaniel, and Norman Simmons. Holt and McDaniel, along with Tommy Braden, had been members of The Four Blazes on United Records.
3. Cutting "32 sides" is way beyond reality! It seems, in reality, there were only 5 sides. And if it were "32 takes", it would be ineptness, not something to highlight. This group had only three sides released from this session (all on United), both sides of one record as "His Flames" (June 1954) and one side as "The Blasers" (July 1955).At Direct Right: CALL AND POST (Cleveland, Ohio), August 14, 1954.
NOTE: It should read "The 4 Blazes", not "The 3 Blazers". They may have confused him with "Johnny Moore's Three Blazers". As Tommy Braden had a record out on the market as by "His Flames", it seems strange that "All-Star Combo" is used here instead.At Far Right: PRESS OF ATLANTIC CITY, July 9, 1956.
NOTE: Tommy's group had been named "The Four Blazes" and "The Blasers", but never "The Blazers".
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Above Left: Label image of United U-177, recorded in April 1954 and released in June 1954. BMI.com agrees that Leonard Allen, owner and president of United Records, composed "Do The Do". The expression sometimes has sexual connotations. BMI has forty other entries for this song title, including one by famous Chicagoan bass fiddle player and ubiquitous songwriter Willie Dixon. Howlin' Wolf had a hit with Willie's song.
BMI.com credits the flip, "Did You Ever See A Monkey...", to Thomas Braden, using a shortened title "Did You Ever See".
Performers on this record are Tommy Braden (bass fiddle, vocal), Lindsley "Jelly" Holt (drums), Floyd McDaniel (electric guitar), Norman Simmons (piano), and, most likely, James "Red" Holloway (tenor sax).
Above Middle: CASH BOX, October 8, 1955.
NOTE: Of course, it's The Blasers, not "The Blazers". I mean, how could anyone be confused at this point in time? Or not!Above Right: Label image of United U-191, recorded in July 1955/April 1954 and released in July 1955.
The label shows Tommy Braden as the composer of "Done Got Over", but, even also showing "B.M.I.", it didnt get over to BMI's listings. The label for "She Needs To Be Loved" gives Leonard Allen as the composer, but that also didn't make it over to BMI.
Interestingly, Willie Dixon (see also further above) is given BMI writing credits for songs titled "Done Got Over" and "She Needs To Be Loved".
The performers on this record are the same as listed just above for United U-177. The above two records are Tommy Braden's last releases on the United label. The group broke up for good later in 1955. Tommy passed away in 1957.
At Direct Right: CLEVELAND CALL AND POST, May 14, 1955.
NOTE: Nice lineup of Chicago vocal groups. The Moroccos recorded for United Records. The Danderliers recorded for United's subsidiary label, "States". Per their picture, the Five Blazes have now included saxophonist Eddie Chamblee in their group.CASH BOX, September 18, 1954:
....For a funny, funny bit you just gotta dig Tommy Braden and "Monkey Play A Fiddle". This one is killing the Harlem hipsters....Cash Box Review (8/20/55):
THE BLASES — UNITED 191
Done Got Over (B) The Blasers work up a rhythmic blues with a strong middle beat. Well done story of the lad who is finished with love.
She Needs To Be Loved (B) Braden offers another rhythmic bounce ditty with a cute set of lyrics. Ok offering.(NOTE: A rating of B was considered as "very good".)
LISTEN (Windows Media Player):
1. "Do The Do" - Tommy (Mary Jo) Braden And His Flames - United U-177 - 1954.
2. "Did You Ever See A Monkey Play A Fiddle" - Tommy (Mary Jo) Braden And His Flames - United U-177 - 1954.
3. "Done Got Over" - The Blasers - United U-191 - 1955.
4. "She Needs To Be Loved" - The Blasers - United U-191 - 1955.ALL FOUR SONGS played in sequence.
NOTE: Restoration of photos, clippings, record label images, and audio is by Tony Fournier.
1. "Fine And Brown" - Roosevelt Sykes And His Honey Drippers - United U-101 - 1951.
ALL FORTY-THREE ABOVE UNITED AND STATES LABEL SONGS played in sequence. At Right: THE BILLBOARD, January 24, 1953.
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Last Update: August 26, 2026
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