#930 (11/9/19)
(Extensive Upgrade Of Previous Records Of The Week)

NOTICE: Future Records of the Week will appear on a random schedule, rather than every two weeks.
New Record of the Week for LOUIS JORDAN - PART THREE (THE 1950's) became available on 10/12/19.
New Record of the Week for LOUIS JORDAN - PART TWO (VIDEOS) became available on 9/14/19.
New Record of the Week for LOUIS JORDAN - PART ONE (THE 1940'S) became available on 8/17/19.
New Record of the Week for J.C. GINYARD - PART THREE (THE DU DROPPERS) became available on 7/20/19.

THIS WEEK'S SELECTIONS PROVIDED BY
DAVE SAVIET AND ANDREW BOHAN

SPOTLIGHT ON THE THREE RIFFS

"Ace In The Hole"/"It's A Killer, Mr. Miller"
The Three Riffs
on Decca 7634 A/B
released in 1939

"I'm Glad For Your Sake"/"Bewildered"
Joe Medlin With The Three Riffs
on Atlantic 867
released in 1948

"My Last Goodbye"
Joe Medlin With The Three Riffs
on Atlantic 867
released in 1948


"It's My Nerves, Baby"
Manhattan Paul With Paul Bascomb's Combo
on Manor 1106-A
released in 1948


"I Wish I Didn't Love You So"/
"Hard Ridin' Mama"
Manhattan Paul With The Three Riffs
on Atlantic 868
released in 1949

"I'm Gone"
King Pleasure With The Three Riffs
on Prestige 908
released in 1954


(Includes Audio For Nineteen Songs)


The Three Riffs
(Article from New York Age dated 12/25/48)

New York Age (December 25, 1948): BEBOP TIES and all, The Three Riffs, in the usual order, are [L-R] Eddie Parton, Joel McGhee and Bunny Walker, who were Willie Bryant's guests last week on his famed disc show via WHOM. You've heard them as the background of Joe Medlin's latest record and they also backed up Manhattan Paul on his recently released "I Wish I Didn't Love You So," and "Hard Ridin' Mama." (NOTE: Walker replaced original member Howard Green sometime in late 1947.)

(NOTE: Disco-File's release date of January 1949 for the Manhattan Paul record disagrees with the December 1948 date of this article. Joel McGhee was also known as Joe Seneca.)

Click HERE for an article about The Three Riffs by Marv Goldberg. (Will open in a separate window)

New York Amsterdam News, January 17, 1942: Three Riffs Undergo Stiff Series Of Ups And Downs In Drive To Top In Show Life

Trio Shared Many A Bowl Of Chili To Get Right Breaks. It's been a constant struggle with the Three Riffs as with all other young outfits seeking a break in show life. Sometimes it seems they're headed places and, blooey, away goes that dream and they start building all over again. Sometimes they've had to sleep on the floor, make one bowl of chili do as a dinner for all three, but still they doggedly plug.

Twas only yesterday when Howard Green, Edward Parton and Joe McGhee were singing in the Central High school glee club in Cleveland with Georgie Pace, the former N.B.A. bantamweight champion, singing with them. In those days all the other personalities at Central High were shaded by the greatness emanating from a slim brown human antelope, Jesse Owens, just then beginning to startle the world of track with his feats. Years before Central High School had graduated such notables as Langston Hughes, the celebrated playwright and novelist, and the internationally famous orchestra leader, song writer and musical comedy star, Noble Sissle. Thus, you see, the trio of Green, Parton and McGhee had plenty to live up to in advancing the tradition of Central High.

The boys came out of school in 1938, and when they reached New York, they were traveling under the somewhat ambiguous title of "Jungle Bugs". They made the trip East in a ragged old fliver and with $4.50 between them and starvation. They stopped at a rooming house at 130th St. and Seventh Ave. paying $4 for the room that housed all three. An Audition followed at the Apollo where they were lucky enough to make an appearance on August 4, 1939 with Jimmie Lunceford's band. In between time they were shuttling back and forth between Harlem and Cleveland.

"We landed a good break to go to the Apollo with Teddy Wilson," Edward Parton told the writer, "but Green messed up everything by losing our music on the subway. So we had to go back to Cleveland, so we could at least eat and sleep some place outside a subway or in the breadline." "Being without music," he continued, "we learned to sing without it, and used the bass, drum and piano of the rhythm sections of whatever band we appeared with for balance. We started clicking and went to Chicago where we played the DeLisa for nine weeks and then to the Plantation Club in St. Louis and then back to New York." In Harlem, the Three Riffs scored tremendously at the Club Mimo and then, after a misunderstanding over doubling at the Apollo, they left to go to Boston, where they found the best thing to do was to come back to Harlem as quickly as possible.

Ten weeks ago the three walked into the Famous Door in 52d St., talked to Alexander, Artie and Lew, operators of the place, and have been there ever since.

"We started working there on a proposition of increasing the business, you know, the old gag a down and outer attempts when trying for a straw. It clicked; we clicked and are doing fine." The Three Riffs, whose harmonies are weird, yet melodic, and who can dance as well, feature "I May Be Wrong", "Boogly Woogly Piggly", Topsy Turvy" and "Let Me Off Uptown." They're in line for a series of recordings, mainly because they offer something different.



Above Left: The Three Riffs (L-R) Eddie Parton, Joel McGhee and Bunny Walker.

Above Middle: MIAMI NEWS, April 23, 1954: THE THREE RIFFS, singing satirists, opened yesterday in the Blue Sails Room of the Sans Souci for a week's appearance.

Above Right: RENO GAZETTE, April 30, 1955: THE THREE RIFFS, currently featured in the Gold Room of the Hotel Golden-Bank Casino in downtown Reno, are rapidly [1939-1955?] becoming one of the nation's top threesomes in night spots from coast-to-coast.



Above: Newspaper clippings from (left) Ottawa Citizen dated 6/17/50, (Middle) Ottawa Citizen dated 10/23/54, and (Right) Reno Gazette dated 4/19/55.




Above: THE CASH BOX REVIEW, December 25, 1948.




Above: (Left) THE CASH BOX dated 1/15/49 and (Right) THE BILLBOARD dated 12/4/48. Atlantic Records was not sure which side to push the most.




Above: THE CASH BOX, June 24, 1950. Manhattan Paul also went over to Asa Records in 1950.

THE BILLBOARD, July 22, 1950: ....ASA is the new New York diskery, headed by Art Seger. Essentially a blues and rhythm diskery, label has inked Joe Medlin, Cousin Ida, Freddy Washington's combo, Manhattan Paul, Kathy Graves, and Stephen Iles....Disks, on 78 shellac, retail for 79 cents....


EXTRA AUDIO #1 COUSIN IDA (Windows Media Player):
[Audio restoration by Dave Saviet.]

Above Left: Asa 1002-A label image. The record was released in 1950.

Above Middle Left: NEW YORK AGE, September 11, 1954: MIRTH AND RHYTHM—Comely comedienne Ida Mae Lester, who is currently appearing in Newark, N.J., will appear in the "House of Flowers" on Broadway this winter. Cousin Ida, who sings and dances, has appeared in several night spots and theaters throughout Canada, South America, and the United States.

Above Middle Right: THE MERCURY, December 19, 1953

Above Right: PITTSBURGH COURIER, July 25, 1942: SENSATION—Ida Mae Lester (Cousin Ida to audiences of the midwest night spots) is now appearing nightly at Club Ubango downtown where she is "packing 'em in and leaving 'em spellbound" with her original comedy and blues singing. Before coming to New York, she was a regular feature at the Moonglow night club in Milwaukee for over five years. In Chicago she appeared at the Grand Terrace and the Club DeLisa.





AT LEFT: Photo of Ida Mae Lester (Cousin Ida).

ABOVE TOP: DETROIT FREE PRESS, October 19, 1951

ABOVE BOTTOM: BROOKLYN DAILY EAGLE, March 29, 1946



AT LEFT: THE CASH BOX REVIEW, April 29, 1950.       ABOVE: POST STANDARD, May 27, 1946

PITTSBURGH COURIER, September 19, 1942: COMEDIAN AT UBANGI
NEW YORK—"Cousin Ida" Mae Lester, from the middle-west, is still going strong at the Ubangi club in Manhattan, where she has kept the patrons laughing heartily during her 12-week stand. Cousin Ida is being kept very busy entertaining the boys in service at the Stage Door canteen on Broadway, and the 372nd infantry, in Brooklyn.

MORNING CALL, January 20, 1948: If you are really looking for red hot entertainment, Cousin Ida, who calls herself "The Southern Belle [From the middle-west?]," is just what the doctor ordered. This Negro entertainer, who has appeared with Count Basie and Cab Calloway, opens with "Caldonia" and then sends the place into an uproar with a torrid song interpretation of her ideal 1948 man [Is that "Rough And Ready?].

LISTEN: "A Rough And Ready Man" - Cousin Ida - Asa 1002 - 1950.




Above: Clippings from (left) The Bee dated 3/5/46, (Middle Left) The Cash Box dated 7/22/50, (Middle Right) News Journal dated 8/3/44, and (Right) Tyler Morning Telegraph dated 10/5/43.

The X-Rays on Savoy 681 were Milton "Tippy" Larkin, vocals; Willie Moore, trumpet; Alfred "Chippy" Outcalt, trombone; Hal Singer, tenor sax; George Rhodes, piano; Walter Page, bass violin; Bobby Donaldson, drums.

AT LEFT: From The Billboard dated 12/11/48.

The Cash Box Race Disk O' The Week (12/25/48):
THE X-RAYS — SAVOY 681.... I'll Always Be In Love With You
Ditty kicking up a storm in a slew of locations is this thing offered by The X-Rays. It's the standard "I'll Always Be In Love With You," done up in a new stop vocal style. This version should boost coin play immensely. Tenor sax ad libbing behind the combo's vocal adds to the pleasure of the platter.... It's the top deck that should win approval—listen in.

LISTEN (Windows Media Player): "I'll Always Be In Love With You" - The X-Rays (Vocal By Milton Larkin) - Savoy 681 A - 1948.


EXTRA AUDIO #2 BUDDY JOHNSON (Windows Media Player):
[Audio restoration by Dave Saviet.]

ABOVE LEFT: Decca 24641 B label image. This side was recorded on December 9, 1947 and released in 1949.

ABOVE MIDDLE: WEEKLY REVIEW, August 21, 1943: BUDDY JOHNSON ORIGINATES RECORDINGS
Buddy Johnson, exclusive Decca recording artist, ....is gaining widespread fame for his inimitable style of songs and piano playing. He is one of the very few conductors who leads his band while playing the piano. But more interesting than that is the unusual fact that he originated all the recordings he has thus far made. That makes Buddy Johnson a "triple threat" entertainer bound to score in the hearts of music and dance lovers everywhere....

ABOVE RIGHT: THE CASH BOX, March 5, 1949: BUDDY JOHNSON SIGNS NEW DECCA PACT
NEW YORK—Buddy Johnson, the youthful - composer - pianist - maestro, and creator of "Walk 'Em Rhythm," is shown signing his new two-year recording contract with Decca Records. Buddy is slated for a powerful promotional campaign by the Decca firm, as a result of the tremendous success his band has had this past year. Current winner for Johnson is "I Don't Care Who Knows." Pictured signing the Johnson contract for Decca are Milt Gabler, left, recording director; and Jack Kapp, president of the plattery.

AT LEFT: THE CASH BOX RACE RECORD REVIEW, May 21, 1949.

PITTSBURGH COURIER, November 6, 1943: Buddy Johnson's Newest Number Looms As A Hit
BALTIMORE—Large audiences at the Royal Theater in Baltimore have acclaimed Buddy Johnson's newest composition, "They All Say I'm The Biggest Fool," and it is predicted that it will rank with "Baby, Don't You Cry" and "Let's Beat Out Some Love" in popular appeal. The number was introduced at the Apollo Theatre in New York last week with Joe Medlin doing the vocal....
(NOTE: "They All Say I'm The Biggest Fool" was issued on Decca by Buddy Johnson And His Orchestra, but it was Arthur Prysock doing the vocal. It seems that Medlin was sick and Prysock stepped into his spot in the band.)

PITTSBURGH COURIER, July 1, 1944:
CHICAGO—Buddy Johnson and his great band fits the bill at the Regal theatre in Chicago, June 30. Combo that has been whamming them on a tour of one-nighters will be supported by Rochester of Jack Benny fame. It was Johnson's musical aggregation that set Marva Louis off on her singing career a while back in Philadelphia. Joe Medlin and Etta Jones are the vocalists.

LISTEN: "If I Ever Find You, Baby" - Buddy Johnson And Ensemble - Decca 24641 B - 1949.


EXTRA AUDIO #3 JOE MEDLIN (Windows Media Player):
[Audio restoration by Dave Saviet.]

AT FAR LEFT: Label image for Decca 29034, this side recorded on October 30, 1953. The record was released in 1954.

AT DIRECT LEFT:
INDIANAPOLIS RECORDER, JANUARY 22, 1944: THEY ALL SAY—
Joe Medlin, featured vocalist with Buddy Johnson's Famous Orchestra, who is spotlighted with the great band that last week played to a record crowd at Harlem's Savoy Ballroom. Medlin thrilled with "They All Say I'm The Biggest Fool," his latest Decca recording [sic: The Decca record was Arthur Prysock, not Joe Medlin].

The Billboard Review Of New R&B Records (3/6/54):
JOE MEDLIN — DECCA 29034.... Easy Come, Easy Go Lover (73)
Joe Medlin's bluesy style is effective on this side. A vocal chorus chants the refrain. Should get some deejay attention.
(NOTE: A ratings range of 70-79 was considered "good".)

LISTEN: "Easy Come, Easy Go Lover" - Joe Medlin With The Ray Charles Singers - Decca 29034 - 1954.





Above: INDIANAPOLIS RECORDER, October 21, 1950:
MANHATTAN PAUL, dapper Emcee, Balladeer of Club Savannah, swanky bistro in the heart of the "ancient and antique" Greenwich Village, New York City, is celebrating his 2nd year there. Photo left to right: Marian Egbert, Princess R. Wanda, Paul, Pat Clayton, and Ann Porter, some of the exotic Savannah Peaches, from Harlem.

Incidently, Manhattan Paul, chirper of the blues, is shown presenting the luscious gals his newest platter, the "Award of the Week" given him by Cash Box Magazine. The recordings are the hottest offerings from the ASA label, entitled "When Tomorrow Comes" on the spin and "For You My Baby" on the reverse, which keeps the platter market sizzling hot.




Above: Newspaper clippings: (Left) DAILY NEWS dated 10/28/49 and (Right) DAILY NEWS dated 9/2/50.
(NOTE: Clipping at left shows "PRINCESS RWANDA" not "Princess R. Wanda" as stated in the just above article. Clipping at right shows her as "Rawanda".)




Above: Newspaper clippings: (Left) DAILY NEWS dated 1/14/49, (Middle) DAILY NEWS dated 5/26/50, and (Right) NEW YORK AGE dated 5/5/51.


EXTRA AUDIO #4 CHRIS POWELL AND THE FIVE BLUE FLAMES (Windows Media Player):
[Audio restoration by Dave Saviet.]

ABOVE LEFT: Columbia 39272 label image for "The Man With The Horn". They actually sing "A Man And His Horn". This record was recorded in January 1951.

ABOVE MIDDLE: From THE CHICAGO TRIBUNE dated 3/23/52: Chris Powell and his Blue Flames, one of the leading recording combinations, currently are appearing in the Loop's Capitol Lounge.

ABOVE RIGHT: From THE MORNING NEWS dated 11/9/51.

AT LEFT: Photo of Chris Powell And His Five Blue Flames (courtesy of Paul Ressler).

THE BILLBOARD, MARCH 1951:
NEW YORK—Danny Kessler this week took over as director and sales manager of the rhythm and blues department at Columbia, in addition to his regular duties as national promotion manager. First record that Kessler will work on is "Man With A Horn [sic]" by Chris Powell And The Five Blue Flames....

The Cash Box Jazz 'n Blues Review (4/7/51):
CHRIS POWELL — COLUMBIA 39272.... The Man With The Horn/Country Girl Blues
Some mighty fine trumpet playing is sent our way on this disk by Chris Powell. Taking it very slow, he winds his way through this number while the Five Blue Flames come in for a little vocalizing. The flip is another interesting item, which Vance Wilson sings well. Ops oughta listen in.

(NOTE: This sounds like mighty fine sax playing to me. Chris Powell played the drums. This group did not have a trumpet player until late 1951. Vance Wilson was their stand-out sax player. Many of the labels for their records state "Tenor Sax Solo Vance Wilson". I think the confusion might be that the top side label should state "Tenor Sax Solo by Vance Wilson" rather than "Vocal Chorus by Vance Wilson". The flip label does not state either phrase.)

LISTEN (Windows Media Player):
"The Man With The Horn" - Chris Powell And The Five Blue Flames - Columbia 39272 - 1951.



Above Left: PITTSBURGH COURIER, May 29, 1954: A PLEASURE
Tim Gale, prexy of Gale Agency, extends the hand of greeting and good wishes to King Pleasure on the occasion of the signing of an exclusive booking contract with this very unusual performer and the top theatrical agency. Tim, who has guided the destiny of many of our top stars, will personally supervise the career of this performing artist.

Above Right: NEW YORK AGE, June 12, 1954: IT'S A PLEASURE
The master of "jive" talk (remember "Moody's Mood For Love?") King Pleasure inks a new contract with the Gale Agency, while prexy Tim Gale (center) and his assistant, Joe Marsolais look on. Tim, who has guided the destinies of many stars, will personally handle King Pleasure's career.

PITTSBURGH COURIER, May 30, 1953: ....Decca has re-released Lionel Hampton's "Red Top" attempting to capitalize on King Pleasure's popularizing of the swing number....

PITTSBURGH COURIER, September 5, 1953: ....King Pleasure and Lionel Hampton got together on an out-of-court settlement over the lyrics to "Red Top"....

THE CASH BOX, 4/4/53: ....Bob Weinstock, Prestige Records prexy, leaving on a southern promotion trip to stir up things for his exciting "Red Top" by King Pleasure. The tune has broken wild in spots like New York and Philadelphia....

THE CASH BOX, 4/25/53: ....Sounds like King Pleasure has himself another hit. His "Red Top" climbing fast. May duplicate his big clikeroo, "Moody's Mood For Love," which rode The Cash Box' "Hot Charts" for weeks....

THE CASH BOX, 6/19/54: ....The Lionel Hampton aggregation moved into Basin Street last Tuesday, June 8, and once again....proved his master showmanship....The best, however, was the unbilled Betty Carter making her first appearance on Broadway. Betty's styling pleased the crowd and she was called back to do several encores.... [A photo of Betty Carter is at right.]

(NOTE: This side "Dedicated to Gene Ammons", the well-known sax player, who had an instrumental version of this song.)

The Cash Box Rhythm 'N Blues Review (3/14/53):
KING PLEASURE — PRESTIGE 821.... Red Top (B+)
This is a slow tempo bopper. King Pleasure chants, with chorus to assist, and Charlie Furgusen sprays sax notes around. Total effect is good and it should be a big one.
(NOTE: A rating of B+ was considered "excellent".)

LISTEN (Windows Media Player): "Red Top" - King Pleasure With Betty Carter - Prestige 821 - 1953.




Above: From DETROIT FREE PRESS dated 1/5/53.

At Left: From NEW YORK AGE dated 4/18/53.





Above: Label image of Decca 7634 recorded on August 30, 1939 and released in September 1939. On the label, "Joe-Eddie-Greene" are original members Joel McGhee, Eddie Parton, and Howard Greene.

The Three Riffs also had releases on Atlantic (1948-49), Jubilee (1949), Apollo (1950), Pic (1954), Prestige (1954), some of these as back-up groups; and, as The Three Barons, on Savoy (1944) and Chicago (1945), backing up Rena Collins.

THE BILLBOARD, JANUARY 1, 1949: ....The Three Riffs, who opened at the Le Ruban Bleu for a 15-week stay, signed a two-year waxing pact with Atlantic diskery....

THE BILLBOARD, FEBRUARY 18, 1950: ....The Three Riffs, a standard Le Ruban Bleu act for the past couple of years, is a diversified singing threesome that scores with a couple of straight harmony tunes and then breaks it up with a most amusing Ink Spots' take-off....

THE BILLBOARD, OCTOBER 6, 1951: NIGHT CLUB REVIEW—LE RUBAN BLEU
The Three Riffs, one of the cleverist choral units around, blend clever satire with smooth harmony for sock results. The boys are good looking, well-balanced vocally, and have material that East Side patrons gobble up. All their numbers were tops. Among the most appealing were "Don't Roll Those Bloodshot Eyes At Me," their satire on "Jezebel," "Clarabelle"; their spoofing of the Billy Daniels singing technique via "That Old Black Magic," and their last take-off on a gospel singer, "You Must Come Thru That Door," The boys are a class act for a class room.

NEW YORK AGE, SEPTEMBER 26, 1953: ....Good to see the name of the Three Riffs back in the night club marquee. They're topping the new Fall show at Le Ruban Bleu, swank Eastside supper club, and the boys are more terrific than ever. In case you don't know their names, they are Bunny Walker, Eddie Parton, and Joe McGhee....


EXTRA AUDIO #5 ACE IN THE HOLE (Windows Media Player):
[Audio restoration by Dave Saviet.]

MORE VERSIONS OF "ACE IN THE HOLE":

ABOVE LEFT: Label image for Anchor A-24. This "pop" version was released in circa 1954.

ABOVE MIDDLE: Label image for 4 Star 1188. This "country and western" style was released in 1947.

ABOVE RIGHT: Label image for Decca 5257 B. This "novelty" version was released in 1936, three years before The Three Riffs' record of it came out.

FAR LEFT & MIDDLE LEFT: Bill Harrington.
Pictures are from (left) CENTRAL NEW JERSEY HOME NEWS dated 3/31/68 and (Right) NEWS HERALD dated 6/3/49.

AT IMMEDIATE LEFT: Stuart Hamblen.
Picture is from SAN BERNARDINO COUNTY SUN dated 11/26/49.

LISTEN:
1. "Ace In The Hole" - Bill Harrington And Jones Boys - Anchor A-24 - 1954.
2. "Ace In The Hole" - Stuart Hamblen - 4 Star 1188 - 1947.
3. "Ace In The Hole" - New Dixie Demons - Decca 5257 B - 1936.

ALL THREE SIDES played in sequence.
ALL FOUR "ACE IN THE HOLE" SIDES played in sequence.


"Ace In The Hole" was composed by James Dempsey (words) and George Mitchell (music) in 1909. Many artists have recorded the song including Chuck Bullock (Melotone, 1936), Anita O'Day (Signature, 1947), Jesse Stone (RCA Victor, 1949), Lu Watters (Mercury, 1950), and Somethin' Smith (Epic, 1955). Les Backer had released a song called "Ace In The Hole" on Vocalion in 1928, which is probably where Decca came up with "Backer" as composer on The Three Riff's record.

The lyrics contain the words "metropole" and "tenderloin". The Merriam-Webster dictionary defines "metropole" as "a chief town" and "tenderloin" as "a district of a city largely devoted to vice".

Stuart Hamblen was a prolific composer of some note, writing such songs as "I Believe", "It Is No Secret", "This Ole House", "Open Up Your Heart (And Let The Sunshine In)", and "Remember Me (I'm The One Who Loves You)".


Above: Label image of Atlantic 867 recorded on November 23, 1948 and released in December 1948 with "Bewildered" on the flip side. Also, Label image of Atlantic 867 reissued in February 1949 with "My Last Goodbye" (recorded on October 21, 1948) on the other side. The Three Riffs had one release on Atlantic (1949) on their own.

NEW YORK AGE, April 9, 1949: Spotlight on Joe Medlin
The Talent Scout Spotlight this week comes to a momentary halt to bestow honors upon Joe Medlin, Atlantic recording artist, who possesses a wonderfully original and lyrical baritone tenor voice. Medlin, sensational featured vocalist with the famed Buddy Johnson aggregation for some time, is also doing honors to himself by promoting his versatility as a colorful master of ceremonies. During one of his recent performances as a singing M.C., I was pleased to discover that Joe's work as an impresario is quite exceptional. Joe seems to have quite an advantage over some fellows in this line of work—including myself—for when he comes before the "mike" his appearance alone is a bit astonishing.

He's a handsome young man to begin with and stands something like six feet, 5 1/2 inches tall, weighing approximately 210 Pounds, which seems to "move" the women and a few men too, especially when he comes forth with explicit diction and a enunciation, which adds more distinction to his dynamic personality both as an entertainer and a great guy. Joe perhaps will consider this a heckle, but I consider myself a friend of his, so I can get away with it.

Turning to the more serious side of things, Joe medlin's prospects and potentialities of becoming a great star are just around the corner. It is definitely rumored that a campaign by Atlantic Recording Studios is in the process of making Joe Medlin into a true sensation, just as National Recording Studios started for the great Billy Eckstine. Now if this is authentic, which I'm sure it is, such a move could be done for no one more deserving than my friend, Joe Medlin. You record fans of Joe's may be sure that whatever comes out on that wax will be worth listening to.

Joe might currently be seen on Monday nights at Small's rendering his talented services at the Clark Monroe session there, or on Tuesday nights as my guest, as he was last Tuesday, in the beautiful Zebra Room of the Lenox Lounge. So to Joe Medlin are extended my sincerest wishes for loads and loads of success.

DAILY NEWS, May 6, 1952: ....Joe Medlin, new entry in the jukebox crooner sweepstakes as a result of his recording of "I Never Loved Anyone But You," being billed as The Voice With Shoulder Spread....

ALABAMA TRIBUNE, February 13, 1953:
NEW YORK—There are many good singers these days—but few with a soul. That is a gift that seems to belong to Negroes. There are only two white boys whom I think sing with a soul. They are Frank Sinatra and Perry Como. Joe Medlin is, in my opinion, the greatest male stylist. He sings from the soul and Joe has a voice. He has been much underrated, but he will come into his own soon....

The Billboard Review (1/1/49):

JOE MEDLIN WITH THE THREE RIFFS
I'm Glad For Your Sake
(84) Sock sentimental warbling of oldie marks singer Medlin as comer in race field. Side figures to score in jukes.
Bewildered (80) Good enough performance of tune that's clicking via a Bullet waxing. Could pick up overflow coin.

(NOTE: A ratings range of 80-89 was considered "excellent.")

The Billboard Review (2/26/49):

JOE MEDLIN (The Three Riffs)
My Last Goodbye
(71) A recoupling, with side replacing "Bewildered." Medlin sings strong on a winning ballad, but ork and vocal group backing don't hit the mark.
I'm Glad For Your Sake (84) Sock sentimental warbling of the standard.

(NOTE: A ratings range of 70-79 was considered "good" and 80-89 was "excellent.")



Above Left: Label image of Manor 1106-A released in January 1948.

Above Right: Label image of Atlantic 868 recorded on October 21, 1948 and released in January 1949.

The Billboard Review (1/22/49):

MANHATTAN PAUL WITH THE THREE RIFFS
Hard Ridin' Mama
(87) Fast-moving driving blues with Paul shouting, the band zestfully hollering and stirring up a big beat and a dirty tenor ride shoving it into pay dirt.
I Wish I Didn't Love You So (82) Last year's pop hit sounds like a good selection for race boxes now as Paul sings it.

(NOTE: A ratings range of 80-89 was considered "excellent.")


EXTRA AUDIO #6 PAUL BASCOMB (Windows Media Player):
[Audio restoration by Dave Saviet.]

MANHATTAN PAUL AND PAUL BASCOMB ARE THE SAME PERSON

AT FAR LEFT: Label image for States S-110 recorded on September 30, 1952 and released later that year.

At DIRECT LEFT: Paul Bascomb, also known as "Manhattan Paul".

PITTSBURGH COURIER, May 30, 1953: PAUL BASCOMB IN NEW CHI SPOT
CHICAGO—Paul Bascomb, nationally known tenor sax player and winner of the Courier's sixth annual Theatrical Poll award, has been signed as the featured house attraction at Bob Lee's new night spot, "The Toast Of The Town," which opens Friday, May 29. Bascomb, who has made Chicago his home, will build his new aggregation around Gus Chappell, former Hines bandsman and trombonist, and three other men, including a rhythm section.

DETROIT FREE PRESS, May 20, 1955: ....Nellie Hill is singing rhythm and blues at Club El Sino. Paul Bascomb and his orchestra play for dancing.

LISTEN: "Got Cool Too Soon" - Paul Bascomb (And Ensemble) - States S-110 - 1952.



Above Left: Label image of Prestige 908 recorded on December 7, 1954 and released later that month.

Above Right: Photo of King Pleasure, born as Clarence Beeks.

(NOTE: This side is "Dedicated to James Moody". Moody played tenor saxophone in various bands for the Prestige label and had contributed to composing a best-selling song for King Pleasure, "Moody Mood For Love". That side is also dedicated to James Moody. Interestingly, in addition to King Pleasure, there is a female singer (Blossom Dearie), uncredited on the label, that sings mid-way through the song.)

NOTE: Most discographical information provided at this website is from Ferdie Gonzalez' Disco-File.
The SIXTH (AND FINAL) EDITION is now available for the give-away price of $15 total (USA), $22 (Canada), $27 (Europe) or $28 (any other country), including postage.
Mail your payment to Fernando L. Gonzalez, P.O. Box 858, Goldenrod, FL 32733-0858.


Listen to this week's selections featuring The Three Riffs on Decca/Atlantic/Prestige from 1939-1954 using Windows Media Player:
[Audio restoration by Dave Saviet.]

          1. Ace In The Hole
          2. It's A Killer, Mr. Miller
          3. I'm Glad For Your Sake
          4. Bewildered
          5. My Last Goodbye
          6. It's My Nerves, Baby
          7. I Wish I Didn't Love You So
          8. Hard Ridin' Mama
          9. I'm Gone
 
          ALL NINE FEATURED SONGS
          played in sequence.
 
          ALL NINETEEN SONGS ON THIS PAGE
          played in sequence


          [To download audio files, right-click on song title
          link and then click "Save link (target) as..."]


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Last Update: November 9, 2019

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