#955 (12/18/23)

JERRY BLAINE (President and owner of Jubilee Records)

COLUMBUS LEDGER (Columbus, Georgia), September 12, 1957: Now after 10 years, Jerry Blaine feels that he made the right decision. And, if you've ever had a yen to start a record company, his story may be of some interest to you. In 1947, Blaine, an ex-orchestra leader, withdrew $600 from the bank, quit his $25,000-a-year job, rented a store on decidedly unfashionable Tenth Avenue, and started Jubilee Records. Bucking the major companies is a tough proposition, but Blaine smartly decided to specialize in things they weren't recording. There were, first, some foreign language records and then he got into rhythm and blues, which in those years had yet to become popular. He formed distributing companies, secondary labels, recorded party records like the successful "Pardon My Blooper" series, and gradually got to the point where he was able to record names like Polly Bergen and Monica Lewis. Last year he signed Don Rondo, who became the company's first real smash star. And now, what with his albums and his singles and his other interests, here's Blaine today: He owns a $125,000 home, complete with swimming pool. His company, in the first half of 1957, sold 5,000,000 singles and 150,000 albums, against the total sales in 1947 of under 1,000,000 records of all kinds. The Tenth Avenue store has given way to two floors in a building that Jubilee owns. He has 27 people working for him. He thinks, now, he made the right decision. At Left: Jerry Blaine (1950). At Right: "Pardon My Blooper" LP Cover.

LISTEN (Windows Media Player): "Pardon My Blooper" - Kermit Schafer - Short Sample From Volume 2.

THE BILLBOARD, May 11, 1959: NEW YORK—Jerry Blaine, head of five city Cosnat Distributors and chief of the Jubilee and Josie labels, stated in a letter to manufacturers this week that, as of May 15, he would no longer be associated with Jubilee. According to Blaine's epistle he intends to spend all of his time with Cosnat Distributors to make Cosnat "the biggest, swinginest indie distributing organization in the country." When asked whether Jubilee Records was being sold, Blaine said that a number of people were interested in buying the firm. However, he said it has not been sold yet. A.&R. chief Morty Palitz will become acting head of the label after May 15, and, if the label is not sold, he will become the actual president. Blaine said he was making the switch to full time activity with Cosnat because he had somewhat neglected the distribution end over the past year while working with Jubilee. "After all," said the outspoken Blaine, "the biggest part of my business is in distribution and I intend to keep it that way. We now have five Cosnat distributors, we hope to eventually have ten." A few years ago Blaine sold Jubilee to a group but the sale didn't pan out and Blaine took back the label. It was after that that Palitz took over as A.&R. head. Blaine said he was interested in selling the label "if the price is right." At Right: CASH BOX, November 21, 1959: NEW YORK—Countess Records threw a party at the Kashmir Restaurant recently to introduce Maria Elena's initial Countess recording, "Temptation", to the trade and press. American-born Maria Elena dressed in the traditional garb of her Hindu parentage, and the Pakistani food served at the restaurant maintained the mood of the party. Chatting are Jerry Blaine, head of Cosnat who distributes the Countess label; Maria; and Bob Austin of The Cash Box.

THE BILLBOARD, November 9, 1959: BLAINE BIGGEST U.S. INDIE DISTRIBUTOR NEW YORK—Jerry Blaine became the largest independent record distributor in the United States last week with the opening of his sixth distributorship in Cincinnati. Other distributors have tried to catch up to Jerry, either by having interests in other cities, like Herb Cohen of Pittsburgh, with Chicago and New York interests and more to come, or Harry Finfer of Philadelphia, now associated with a New York outlet. But Blaine is still far ahead. Cosnat now has representation in New York, Newark, Philadelphia, Detroit, Cleveland, and now Cincinnati. (Eddie Rosenblatt is in charge of the Cincy Cosnat.) And Blaine is only started. He intends to open four more branches; in fact, had intended to open the new Cosnat branches last year, but the troubles with Jubilee Records caused a slight hitch in his plans. Blaine now has Jubilee under control and is carrying on a quiet operation until he can corral a buyer for the label. But mainly Blaine is concentrating on his distributorships, for as he has said many times: "The distributing business is my business." Blaine's six distributorships is the most any indie firm has had since the days when Lou Boorstein of the ill-fated Label "X" years ago. This operation fizzled out after a short stint. Blaine's operation, and his method of spreading out to new cities, however, is symptomatic of much that is now taking place in the distributing end of the record business. More and more distributors are opening up additional branches, either as silent partners, or as active owners.

THE DREAMERS

Above Left: Photo of Harriett Callender. [This photo courtesy of Harriett Callender and Marv Goldberg.] Above Right: Photo of Warren Suttles. The Dreamers had one record on Jubilee (1951) and two on Mercury (1952). The line-up for all three is Harriett Callender, Warren Suttles (baritone), Percy Green (tenor), and Freddy Francis (baritone). Suttles was an original member of The Ravens when they formed in 1946. When The Dreamers broke up in late 1952, he rejoined The Ravens. With Joe Van Loan replacing Callender, The Dreamers backed up Wini Brown as "Her Boyfriends" on Mercury 8270 in February 1952 and Arnett Cobb on two OKeh sides in September and December 1952. Click HERE for an article about Warren Suttles And The Dreamers by Marv Goldberg. (Will open in a separate window)

Above Left: Label image for Jubilee 5053, released in March 1951. Above Right: Label image for Mercury 5843, released in April 1952. Another version of "I'm Gonna Hate Myself In The Morning" by Bette McLaurin is further down this webpage. THE BILLBOARD, August 18, 1951: ....Warren Suttles, who formerly was a member of the Ravens, is forming his own vocal group, The Dreamers, and already has inked a waxing pact with Savoy Records [sic Jubilee?].... The flip of Mercury 5843, "Ain't Gonna Worry No More", was composed by "Bill Sanford" and both sides of their other Mercury record was composed by "Suttles-Sanford"/"Sanford-Suttles". Bill Sanford was the long-time arranger/pianist for The Ravens, starting with them in 1949. "Ain't Gonna Worry No More" was recorded by The Ravens for Mercury, but not released. Cash Box Review (5/10/52): THE DREAMERS "I'm Gonna Hate Myself In The Morning"/"Ain't Gonna Worry No More" Mercury 5843 A Benjamin and Weiss ditty is given a fair going over by the harmonizing Dreamers. The vocal group delivers the tune with a definite beat and offers pleasant coverage. On the reverse half the crew works with a low down number that comes out as a listenable lid. Ops have filler material here. The Billboard Review (5/24/52): THE DREAMERS — Mercury 5843 I'm Gonna Hate Myself In The Morning (72) The foursome harmonizes effectively in this bluesy etching, a cover job on the tune that has been creating some action. A likely juke platter. New group has a good sound. Ain't Gonna Worry No More (66) Highly-stylized treatment of another bluesy bit is sold convincingly by the combo. (NOTE: Ratings had a range of 0-100 with 60-69 considered as "satisfactory" and 70-79 as "good".) LISTEN (Windows Media Player): 1. "These Things I Miss" - The Dreamers - Jubilee 5053 - 1951. 2. "Can't Get You Off My Mind" - The Dreamers - Jubilee 5053 - 1951. 3. "I'm Gonna Hate Myself In The Morning" - The Dreamers - Mercury 5843 - 1952. 4. "Ain't Gonna Worry No More" - The Dreamers - Mercury 5843 - 1952. ALL FOUR SONGS played in sequence.

TONY F. & WARREN SUTTLES - 2001

BETTE McLAURIN

Above: Photo of Bette McLaurin. [Photo courtesy of Paul Ressler.] Bette, originally from the Winston-Salem area of North Carolina, was a petite singer with a big voice. She came on the entertainment scene with The Claude Hopkins Orchestra in 1950, when she was 22 years old, and continued her recording career into the late 1960's. Bette had three records on the Jubilee label (1954-1955). Click HERE for an article about Bette McLaurin by Marv Goldberg. (Will open in a separate window)

Above Left: Label image for Jubilee 5139, released in March 1954. BMI credits "Phil Rose - Lou Sprung" as composers of "Please Don't Leave Me Here All Alone To Cry". Jubilee's labeler must have thought that title a bit lengthy. Above Right: CASH BOX, April 17, 1954. At Direct Right: ATLANTIC CITY PRESS, June 23, 1953. CASH BOX, February 21, 1953: ....Bette McLaurin into the Howard in Washington on February 27, then the Royal, Baltimore on March 6.... The Billboard Review (4/3/54): BETTE McLAURIN — JUBILEE 5139.... I'm Alone Because I Love You (75) The petite thrush does a very good job on the oldie, with strong support from the Ray Charles singers and good ork backing arranged by Sy Oliver. This Is the Old Bette McLaurin, and her fans should want the platter. Please Don't Leave Me (75) A listenable ballad is sung with a lot of power by the canary. The backing is smart and the chorus helps much. Should get spins. Two potent sides by the diminutive chirp. (NOTE: A ratings range of 70-79 was considered "good.") Cash Box Review (4/10/54): BETTE McLAURIN — JUBILEE 5139 Please Don't Leave Me (C+) Bette McLaurin's vibrant voice is excellently showcased by the Sy Oliver ork and the Ray Charles Chorus as she fashions a sentimental item. I'm Alone Because I Love You (B) The thrush gets another fine piece of material on this end. It's a pleasing bluesy item with a rhythmic tempo. Exciting arrangement and delivery. (NOTE: A rating of C+ was considered as "good" and B as "very good".) LISTEN (Windows Media Player): 1. "Please Don't Leave Me" - Bette McLaurin (With Ray Charles Singers) - Jubilee 5139 - 1954. 2. "I'm Alone Because I Love You" - Bette McLaurin (With Ray Charles Singers) - Jubilee 5139 - 1954. BOTH SONGS played in sequence.

Above Left: CHICAGO TRIBUNE, February 5, 1953: Kid Gavilan, welterweight boxing champion, who will meet Chuck Davey in the Chicago Stadium title bout next Wednesday, tests saxophone at Regal Theater last night as Singer Bette McLaurin and Band Leader Illinois Jacquet register displeasure at the champ's solo. Above Right: Bette McLaurin with The Orioles' tenor, Alexander Sharp, on Philadelphia's Market Street between shows at the Earle Theater (1952). Bette was reportedly four feet nine inches tall. [This photo provided by Hans-Joachim Krohberger.] JACKSON ADVOCATE (Jackson, Mississippi), December 6, 1952: Bette McLaurin, who is heading toward the top as a "pop" singer, has resigned from a lesser label [Derby Records] and is now signed with Coral Records [A subsidiary of Decca Records]. Bette was more than a sensation last week at Harlem's Apollo Theatre. She headlined the show and broke all records, taking the spotlight away from Illinois Jacquet's band. The cute little singer performed with the utmost ease and simplicity. In my book, Bette McLaurin is one of the world's greatest female singers. EXTRA RECORD — I MAY HATE MYSELF IN THE MORNING ASCAP.com shows the composers of "I May Hate Myself In The Morning" as Bennie Benjamin, George David Weiss, and Dorothy Dick. At Direct Right: (L-R) George Weiss and Bennie Benjamin from Jet Magazine dated March 1952. Some other songs written by Benjamin-Weiss include "Wheel Of Fortune" (The Cardinals), "Rumors Are Flying" (The Brown Dots), "I Want To Thank Your Folks" (The Ink Spots), "Cross Over The Bridge" (The Flamingos, The Chords), "Dancin' With Someone" (Delta Rhythm Boys), and "Can Anyone Explain (No No No)" (Savannah Churchill And The Striders). Artists to record "I May Hate Myself In The Morning" in 1952 include Bette McLaurin And Her Friends (Derby), The Dreamers (Mercury), Damita Jo with Steve Gibson And The Original Red Caps (RCA Victor), The Lancers (Coral), Trudy Richards (Decca), and The Four Lads (OKeh). The hit version was by Bette McLaurin And Her Friends.

Above Left: Label image for Derby 790, released in March 1952. The vocal group "Her Friends" on this side are the composers of the song, Bennie Benjamin and George Weiss, along with Derby Sales Manager Phil Rose [see The Billboard article below]. The third credited composer, not included in the vocal group, is Dorothy Dick. The flip, "I Hear A Rhapsody," does not have vocal group backing. Above Right: JET MAGAZINE, June 9, 1952: BEST-SELLING RECORD SPOTLIGHTS NEW BALLAD SINGER All her life Bette McLaurin wanted to be a concert singer. But she wound up singing ballads and basking in the spotlight as a Hit Parade possibility. Since her mother convinced her that there was more money to be earned in the popular field, Bette has been able to bring her early classical training into good use in interpreting the lyrics of modern ballads. Her extreme vocal range has given her advantage over most singers, especially in the high registers. That is, perhaps, one of the chief reasons for her smash-success recording on the Derby label of "I May Hate Myself In The Morning," the "sleeper" Benny Benjamin-George Weiss tune that hit like a bombshell on the popular music front. Her showcasing of the song resulted in a scramble by other singers to get on the bandwagon and a big increase in personal appearance bookings for Bette. THE BILLBOARD, March 8, 1952: TRIO ON WEISS, BENJAMIN DISK NEW YORK—The Benny Benjamin-George Weiss song-writing team, already booked as a night club act on the strength of their "Wheel Of Fortune" hit, has now become part of a recording trio. Derby Records, disker of the original "Wheel" platter, this week cut another Benjamin and Weiss tune, and used the writers and Derby sales manager Phil Rose as a vocal trio. The singers backed up chirp Bette McLaurin on the ditty "I May Hate Myself In The Morning." The tune was around some months ago and recorded at that time, but failed to create any big stir. (NOTE: Benjamin-Weiss also did some records on their own. An example is "The Two Tones" [Benjamin was black, Weiss was white] on Cosmo Records in 1946. See at right.) The Billboard Review (3/22/52): BETTE McLAURIN - DERBY 790.... I May Hate Myself In The Morning (79) Ditty here was penned by Benjamin-Weiss team and was tried on disks some time ago. This version, tho, might renew public interest in the item. The deliberate beat is an asset. (NOTE: A ratings range of 70-79 was considered "good.") (NOTE: The song had originally been done by Betty Brewer on Decca in 1950. It was also done by The Three Suns on RCA Victor that same year.) The Cash Box Sleeper Of The Week (3/15/52): BETTE McLAURIN - DERBY 790.... I May Hate Myself In The Morning Bette McLaurin comes out of the rhythm and blues field with a tune of sleeper potentialities. The sweet voice of the chirp is put to work on a lovely Benjamin & Weiss melody that was written a short time back. The number is a slow ballad that gets thorough going over by Bette and the Rex Kearney orchestra. The arrangement is first class and makes the most of the talented singer's vocalizing. The quality of Bette's voice is sure to make her a winner any place and ops who don't get with this top side are missing a great bet. The disk is loaded and it's bound to break fast. LISTEN (Windows Media Player): "I May Hate Myself In The Morning" - Bette McLaurin And Her Friends - Derby 790 - 1952.

"Rumors Are Flying", composed by Bennie Benjamin and George Weiss, was a #1 song in 1946. Among those who recorded it were The Brown Dots on Manor. Cash Box gave The Two Tones' version a favorable review: "A top treat..." and "Give this platter an attentive listening..." LISTEN (Windows Media Player): "Rumors Are Flying" - The Two Tones (Bennie and George) - Cosmo 504 - 1946.

DERBY CLIPPING - APRIL 1952

Above Left: CASH BOX, May 10, 1952. NOTE: This song was first released by Betty Brewer on Decca in February 1950. Derby had the "original hit". Above Right: NEW YORK AGE, November 22, 1952.

LITTLE SYLVIA (RE-VISITED) NOTE: Little Sylvia was included in the Jubilee Records - Part Two article.

Above: Photo of Little Sylvia. [Courtesy of Paul Ressler.]

Above Left: Label image for Jubilee 5093, released in September 1952. [This label scan provided by Gilles Pétard.] Above Right: Label image for Jubilee 5100, released in November 1952. BMI.com credits "Sylvia Vanderpool" (aka Jay Robinson, Sylvia Robinson) with 810 work titles, but this one is not included.

Above Left: CASH BOX, September 20, 1952. Note that the flip-side of Jubilee 5093 "Drive Daddy Drive" is "I Went To Your Wedding". Above Right: CASH BOX, November 16, 1952. In less than two months, Jubilee 5093 "Drive Daddy, Drive" has a new backing, "I Found Somebody To Love". No explanation for dropping "I Went To Your Wedding" was found. Also, per the label image further above right, "I Found Somebody To Love" was apparently re-issued as Jubilee 5100, backing "A Million Tears". However, Jubilee 5100 is "Don't Blame My Heart" and "A Million Tears" (Ref: Jubilee Records - Part Two article). Was this another "new backing" repeating the old "new backing"? CASH BOX, September 13, 1952: ....Jerry Blaine, there is no finer, so very excited, and rightfully so, about Little Sylvia and "I Went To Your Wedding" b/w "Drive Daddy, Drive." Buddy Lucas backs the gal all the way on both sides, and then steps out for a beautiful solo ride on "You Belong To Me" b/w "Big Bertha." This is Jubilee's finest effort to date and should certainly lift the mortgage. On Sept. 13 Jerry's son will be 13 years old and the signal for an all out celebration. I'm sure it will be worth a King's Ransom.... CASH BOX, September 20, 1952: ....Jubilee Records excited over the Little Sylvia double barrel release "I Went To Your Wedding" and "Drive Daddy, Drive". The first, a lovely ballad beautifully done and the flip, a spirited, humorous rocker that should catch on.... Cash Box Review (9/20/52): LITTLE SYLVIA — Jubilee 5093 I Went To Your Wedding (B) Little Sylvia sings that lovely slow tempo ballad presently making so much noise in the pop field and does a fine job. Buddy Lucas provides his usual top flight support. Drive Daddy, Drive (B+) A moderate rocker is piped in good voice and with fetching appeal by the fem thrush. The sprightly lyrics are lightly double-entendre and lend humor and a dash of spice to the etching. (NOTE: A rating of B was considered as "very good" and B+ as "excellent".) LISTEN (Windows Media Player): 1. "I Went To Your Wedding" - Little Sylvia - Jubilee 5093 - 1952. 2. "Drive Daddy, Drive" - Little Sylvia - Jubilee 5093 - 1952. 3. "I Found Somebody To Love" - Little Sylvia - Jubilee 5093 - 1952. ALL THREE SONGS played in sequence.

EXTRA RECORD — I WENT TO YOUR WEDDING (DAMITA JO) "I Went To Your Wedding" was composed by Jessie Mae Robinson. She was a prolific songwriter, who also composed "Once There Lived A Fool" (Savannah Churchill And The Striders), "Roomin' House Boogie" (Amos Milburn), "Black Night" (Charles Brown), "Keep It A Secret" (Five Crowns), and "Blue Light Boogie" (Louis Jordan), among others.

Above: CALIFORNIA EAGLE, October 23, 1952: LOCAL WOMAN IS AUTHOR OF "I WENT TO YOUR WEDDING" Jessie Mae Robinson, 5112 McKinley Street, is the author of the current nation's number one hit tune "I Went To Your Wedding". Her song today has sold well over 7,000,000 copies since its release.... Modest Jessie Mae has been writing music for seven years. "Blue Light Boogie" was a special tune she wrote for Louis Jordan and "Once There Was A Fool" was done by her for songster Jimmy Grissom. About the hit tune "I Went To Your Wedding", Jessie Mae attended the wedding of her niece and was inspired to write the song after witnessing so many tears at the wedding. Song stylists Patti Page and Damita Jo made recordings and it soon skyrocketed to the nation's current hit. Jessie Mae is a native of Los Angeles and makes her home with her 16-year-old daughter, June, who attends L.A. High School. She is a staff writer for Superior Bernstine Music Publisher with offices in Hollywood and New York. She will soon release another tune titled "Keep It A Secret", on the RCA Victor label with Jo Stafford and Columbia's Dinah Shore.... ARTISTS WITH A RECORD OF "I WENT TO YOUR WEDDING" in 1952: Little Sylvia (Jubilee), Steve Gibson/Damita Jo (RCA Victor), Patti Page (Mercury), K. Bass (Coral), Johnny Bond/Helen Carter (Columbia), Hadda Brooks (OKeh), Sammy Kaye (Columbia), Guy Lombardo (Decca), Grady Martin (Decca), Jimmy Selph (Rosemay), Hank Snow (RCA Victor), P. Starr (Top), Jimmy Wakely (Capitol), Florence Wright (Savoy), Dolly Dawn (Thesaurus Transcription), and Earl Sheldon (Associated Transcription).

Above: Photo of Damita Jo and Steve Gibson. [Above photo is courtesy of Paul Ressler.]

Above Left: Label image for RCA Victor 20-4835, released in July 1952. Above Middle: 1952 CLIPPING. Above Right: COURIER-POST (Camden, New Jersey), December 3, 1952. Cash Box Review (7/26/52): STEVE GIBSON AND THE ORIGINAL RED CAPS — RCA Victor 20-4835 I Went To Your Wedding (B+) The orking on this slow item is dramatically done as Damita Jo warbles the sentimental tune softly and sweetly. Damita receives a choral assist to help bring in a fine disking. (NOTE: A rating of B+ was considered as "excellent".) LISTEN (Windows Media Player): "I Went To Your Wedding" - Steve Gibson And The Original Red Caps (Featuring Damita Jo) - RCA Victor 20-4835 - 1952.

DOLLY DAWN WITH THE C-NOTES

Above: Two pictures of Dolly Dawn, (Left) Press And Sun Bulletin, 11/7/50 and (Right) Pittsburgh Press, 4/25/48. Dolly was an extremely popular vocalist with George Hall's orchestra in the 1930s and early 1940s. She went solo in 1942 when the orchestra, now named "Dolly Dawn And Her Dawn Patrol", broke up. She had four records on the Jubilee label (1952-1953). One of these was the Deborrah Chessler song, "It's Too Soon To Know", but without vocal group backing.

Above: Two photos of Dolly Dawn, circa mid-1940s. "Lou" is Louis Basil, an orchestra leader.

Above: Photo of The C-Notes, (L-R) Ronnie Irwin, Charles Hiller, Jane Griffis, Wes Lay, and Mort Hillman. Wes Lay changed his name to "Wes Layne" later in the 1950s. They were from Cincinnati, starting out as The Varsitones, then The Singing Winds (with Ralph Flanagan's orchestra), and finally The C-Notes.

Above Left: Label image for Jubilee 6002, released in March 1952. The label seems to be the only place with an incorrect song title. Still young, Dolly was 36 years old when she made this record. [Label scan and corresponding audio provided by Andrew Bohan.] Above Right: CASH BOX, May 10, 1952.

******************************************************************************* INTERVIEW WITH WES LAYNE, TENOR OF THE C-NOTES, ON JANUARY 13, 2017: This is an edited conversation between Wes Layne (The C-Notes tenor) and Tony Fournier (The Vocal Group Harmony Web Site). Listen to THE WES LAYNE INTERVIEW using Windows Media Player. Listen to Great Day - The C-Notes - Test Pressing - 1952 using Windows Media Player. (The photo of Wes Layne was provided by Amber Layne. She also contributed with the research.) (The Great Day label image and audio track are courtesy of the "people vs. dr. chilledair" blog.) *******************************************************************************

(Wes Layne - 2017)

At Direct Right (Top): CASH BOX, March 15, 1952. At Direct Right (Bottom): CASH BOX, April 5, 1952. At Far Right: CASH BOX, March 22, 1952. NOTE: All three clippings exclaim the "Dawn Will Come Up Like Thunder" theme. But why no mention of The C-Notes? BROOKLYN DAILY EAGLE, May 11, 1951: CASA SEVILLE&151;Dolly Dawn, with a new hair color, new figure, new gowns, and some pleasant small talk (also new for her) to go along with her old singing voice, is the "name" act and a pleasant one, in the Spring revue which opened last week at Casa Seville in Franklin Square. She puts a lot of zing into the show. CASH BOX, March 15, 1952: DOLLY DAWN SIGNED BY JUBILEE NEW YORK—After being away from record circles for many years, Dolly Dawn this week signed a contract to wax for Jubilee Records, it was announced by Jerry Blaine, president of the firm. Her first four sides have already been cut and Blaine stated that she sounds even better than she did on her old Okeh record hits of former years. Cash Box Review (3/29/52): DOLLY DAWN "Be Anything"/"You're Not Worth My Tears" Jubilee 6002 Thrush Dolly Dawn turns in a wonderful vocal treatment of a beautiful new ballad. Dolly makes use of various vocal improvisations to make this a solid contender. The reverse half is another current tune that Dolly handles excitingly. The Buddy Lucas Band supplies the musical settings for both lids. The top one is loaded. (NOTE: Why no mention of The C-Notes' vocal backing?) CASH BOX, April 26, 1952: At the moment our hats are off to Dolly Dawn, currently appearing at Cafe Society.... Dolly, who recently signed with Jubilee Records, gives one of the most polished performances we've seen. Although she hasn't been on records for the past few years, she's been appearing in clubs around the country and her manner of handling the audience and keeping them with her from start to finish shows how much that experience is worth. The audience's enthusiasm makes it hard for her to leave the floor and she has to sing about ten songs, including, naturally, her Jubilee recording of "Be Anything, But Be Mine". And what's more, every song has a style of its own, and every song shows Dolly to be an authoritative, polished performer.... CASH BOX, May 31, 1952: NEW YORK—Dolly Dawn, Jubilee recording star, held a cocktail party for her friends, disk jockies, juke box operators, and the trade press at A1 and Dick's Steak House. A tribute to Dolly's popularity was the amazing turnout that jammed the room. Jerry Blaine, Jubilee prexy, greeted all the guests as they entered, and gave each a copy of Dolly's new release "I'm Getting Sentimental Over You" and "Smooth As Silk" as they left. LISTEN (Windows Media Player): 1. "Your Not Worth My Tears" - Dolly Dawn With The C-Notes - Jubilee 6002 - 1952. 2. "Be Anything (But Be Mine)" - Dolly Dawn With The C-Notes - Jubilee 6002 - 1952. BOTH SONGS played in sequence.

Above: CASH BOX, May 10, 1952: NEW YORK—At the recent showing in New York of the new Wurlitzer automatic phonograph, Dolly Dawn (left) posed with Mrs. Joe Young (right), wife of the N.Y. Wurlitzer distributor. Dolly took time out from her appearance at Cafe Society to examine the machine on which she hopes plenty of her Jubilee records will be played. Her latest is "Be Anything But Be Mine" backed with "You're Not Worth My Tears". (NOTE: This Model 1550 held fifty-two 78-rpm records and could play both sides. The iconic Wurlitzer, "The Bubbler" (1946-1947), held twenty-four 78-rpm records and could play just one side of each.)

EXTRA RECORD — BE ANYTHING – BE MINE (WINI BROWN) "Be Anything" was composed by Irving Gordon. ASCAP credits him with 132 song titles. Among these are "Unforgettable", Nat King Cole, Dinah Washington; "Mama From The Train", Patti Page; "Delaware" (puns on state names), Perry Como; and "What Will I Tell My Heart", Bing Crosby. Artists, other than Dolly Dawn and Wini Brown, that had records of "Be Anything" in 1952 include: Eddie Howard, Helen O'Connell, Peggy Lee, Champ Butler, Don Estes, Jack Haskell, Ruth Brown, Alan Dean, Vera Lynn, Bobby Smith, Buddy Stark, Eddie Tower, Lee Jenkins, Victor Silvester, and Ralph Flanagan. The last two are instrumentals. That adds up to at least seventeen versions of the song, all in 1952. It does not include the ones released on "budget" labels.

Above: Photo of Wini Brown from 1954. She had records on Decca (1947, with Lionel Hampton's orchestra), Sunrise (1948), National (1948-1950), and Columbia (1950-1951) before arriving at Mercury (1952-1953). Her biggest hit was "Gone Again" with Lionel Hampton in 1947. Click HERE for an article about Wini Brown by Marv Goldberg. (Will open in a separate window)

Above Left: Label image for Mercury 8270, released in February 1952. "Her Boyfriends", on this record, are Joe Van Loan (tenor), Warren Suttles (baritone), Percy Green (tenor), and Freddy Francis (baritone). Joe Van Loan was singing with The Ravens on Mercury at the time. Above Right: THE BILLBOARD, March 15, 1952. TRADE MAGAZINE, June 1952: We had the privilege this week of watching two artists at work in a recording session. One was the up-and-coming songstress Wini Brown, who can't help but become one of the nation's really big stars with the talent she displays. The other was Bobby Shad, whose handling of the session was artistry in itself. Look for Wini's version of "Here In My Heart" to create many new fans for the gal. (NOTE: Bobby Shad was Mercury Records' rhythm & blues head at the time) OMAHA STAR, October 31, 1952: ....Wini Brown is to receive the Rhythm and Blues 1952 top ballad singer award in Philadelphia, Pa., November 10 at Pep's Musical Bar. Presentation to be made by Nat Middleton of the Philadelphia Pittsburgh Courier.... LISTEN (Windows Media Player): 1. "Be Anything - Be Mine" - Wini Brown And Her Boyfriends - Mercury 8270 - 1952. 2. "Heaven Knows Why" - Wini Brown And Her Boyfriends - Mercury 8270 - 1952. BOTH SONGS played in sequence.

Above: INDIANAPOLIS RECORDER, July 24, 1954: The Above Photo shows Miss Wini Brown, recording star of "Gone Again" and "Be Anything" and Leo Lesser Jr., as they discuss personal management contracts during Miss Brown's recent engagement at the Farm Dell Club in Dayton, Ohio. Wini has been voted the most promising female vocalist of the year. Formerly featured with Lionel Hampton's aggregation, the delovely Miss Brown is currently on tour with the Todd Rhodes orchestra. Universal Attractions, nationally known theatrical agency, is handling Miss Brown's tour.

Above: ST. LOUIS ARGUS, August 22, 1952: WINI BROWN is another choir singer who dreamed of the bright lights and finally made the grade after a tough struggle. The cute little Chicago gal, often called "Brown In Blue", got her first break in a Chicago cafe at the age of 18 and with the assistance of bandleader Eddie Mallory, she was groomed for the bigtime. Her brilliant style of performance attracted the attention of Lionel Hampton, who immediately signed the little bomb shell of blues in 1946 as a replacement for Dinah Washington, who was going out on her own. Miss Brown is now teamed with Todd Rhodes' band on a coast to coast tour and is set to appear at the Masonic Auditorium on Saturday, August 30. Rhodes, pianist, composer, and arranger, is from the old school formerly with the great McKinney Cotton Pickers, the craze at the nation in the late '20's. Todd has continued beating out old and new tunes and is now lauded the "toast" of Detroit.

EXTRA RECORD —BONUS (WINI BROWN)

Above Left: Wini Brown performing on stage. Several newspaper articles referred to her as a "buxom" songstress. Above Right: Label image for Sunrise 2115, released in March 1948. Wini is backed vocally by Curley Hamner's band members. Curley's last name is misspelled on the label. Note who has composer credit. Wonder, tongue-in-cheek, who the third "star" might be or is that a rating? Wini is not on the flip-side of this record. LISTEN (Windows Media Player): "Bama Lama-Lam" - Wini Brown (Vocal Backing By The Band) - Sunrise 2115 - 1948.

Above Left: Curley Hamner. Above Right: CALIFORNIA EAGLE, April 1947. NOTE: Wini Brown was the featured songstress with the Lionel Hampton Orchestra. "Red & Curley" were a dance team consisting of Haywood "Red" Granger and Curley Hamner, who was also a drummer.

THE RAY-O-VACS

Above Left: Photo of The Ray-O-Vacs. (L-R) Joe Crump, piano; Harry Lester, lead vocals, drums; Jackson "Flap" McQueen, bass violin; and Leoparte "Chink" Kinney, saxophone. Herb Milliner replaced Harry Lester in June 1951. He does the vocals on the Jubilee releases. The Ray-O-Vacs, named after a popular brand of battery, recorded for Coleman (1949), Decca (1950-1951), and Regent, a subsidiary of Savoy, (1951) before arriving at Jubilee Records. They had two records on Jubilee (1952-1953) and three on Jubilee's subsidiary label, Josie (1954-1955). [The above left photo provided by Gilles Pétard.] Above Right: Another photo of The Ray-O-Vacs. This is a different line-up with Joe Crump at the piano. [This photo courtesy of Paul Ressler.]

Above Left: Label image for Jubilee 5098, released in September 1952. This song is not listed at BMI.com. [This label scan provided by Gilles Pétard.] Above Middle: CASH BOX, October 25, 1952. NOTE: The Edna McGriff/Sonny Til record is included in the Jubilee Records - Part Two article. Above Right: Label image for Jubilee 5124, released in November 1952. Composers of this song are Jack Lawrence and Peter TinTurin. The song is from the 1938 Republic movie of the same name. At Direct Right: JOURNAL NEWS (White Plains, NY), February 29, 1952. CASH BOX, December 24, 1949: RAY-O-VACS BOLSTER DECCA ON RHYTHMS NEW YORK—Decca Records this week continued to fortify the redevelopment of its blues and rhythm department with the addition of the Ray-O-Vacs, a New Jersey vocal group which had a hit waxing, "I'll Always Be in Love With You", some months ago.... (NOTE: This hit waxing was on Coleman Records C-100 in early 1949. It made the Top Ten in the Cash Box Best Selling Race Records.) THE BILLBOARD, September 6, 1952: ....Jubilee Records has signed the Ray-O-Vacs, formerly with Decca Records, and will wax the group next week.... Cash Box Review (11/1/52): THE RAY-O-VACS — Jubilee 5098 What Can I Say (C+) The Ray-O-Vacs present a beautiful oldie easily with Herb Milliner filling out with an emotional vocal. Start Lovin' Me (B) The under portion is a moderate tempo bounce projected with spirit by the Vacs and Milliner on the vocal end. (NOTE: A rating of C+ was considered as "good" and B as "very good".) LISTEN (Windows Media Player): 1. "Start Lovin' Me" - The Ray-O-Vacs - Jubilee 5098 - 1952. 2. "What Can I Say" - The Ray-O-Vacs - Jubilee 5098 - 1952. 3. "Outside Of Paradise" - The Ray-O-Vacs - Jubilee 5124 - 1953. 4. "You Know" - The Ray-O-Vacs - Jubilee 5124 - 1953. ALL FOUR SONGS played in sequence.

EXTRA RECORD — THE RAY-O-VACS

Above Left: Label image for Coleman 112 A, released in 1949. The flip-side is "I'm The Baby Now". Above Right: Label image for Regent 1039-B, released in 1951. Note the reference to "112-A" on the label. The flip-side is "Happy Am I", which was originally released on Coleman 105 A in 1949. Regent was a subsidiary label of Savoy Records, located in Newark, New Jersey. The Ray-O-Vacs were from Newark. Harry Lester, sometimes shown as Lester Harris, sings lead on all three sides. For "Hot Dog", he is backed vocally by the other members of the group. No composer is shown on the label for either Coleman or Regent. "Hot Dog", as "Hot Dogs", had previously been done by The Three Peppers in 1940.

Above: Photo of The Ray-O-Vacs. [This photo courtesy of Lucille Morton.] Cash Box Review (7/21/51): THE RAY-O-VACS — Regent 1039; "Happy Am I"/"Hot Dog" The Ray-O-Vacs make with some more good music on this platter. The top half is a very slow thing with a vocal and some fine instrumentals. The bottom end is a jivy item with good sax coming through. Ops will want to get with this one. LISTEN (Windows Media Player): [Audio restoration by Dave Saviet.] 1. "Hot Dog" - The Ray-O-Vacs - Coleman 112 A - 1949. 2. "I'm The Baby Now " - The Ray-O-Vacs - Coleman 112 B - 1949. 3. "Happy Am I" - The Ray-O-Vacs - Coleman 105 A - 1949. ALL THREE SONGS played in sequence.

EXTRA RECORD —HOT DOGS (THE THREE PEPPERS)

Above Left: The Three Peppers (L-R) Walter Williams, Roy Branker, and Bob Bell. These are the members who had seven releases on Decca (1939-1941, 1947) and three on Gotham (1949-1951). Oliver "Toy" Wilson is the piano player for the four releases on Variety (1937), the two reissues on Vocalion (1937), and the three sides backing Sally Gooding on Variety (1937) and Vocalion (1938). Above Right: Label image for Decca 3342 A, released in August 1940. ASCAP credits "Joseph Taps Miller" as the composer of this song. Click HERE for an article about The Three Peppers by Marv Goldberg. (Will open in a separate window) PITTSBURGH POST-GAZETTE, September 18, 1950: THREE PEPPERS STAR IN JOHNNY BROWN SHOW The Three Peppers, recording artists, will open a one-week engagement tonight at Johnny Brown's, the Frankstown Avenue night spot. The Peppers, Bob Bell, Walter Williams, and Roy Branker, and their red-hot rhythm come here direct from a 20-week stay at New York's famous Stork Club.... LISTEN (Windows Media Player): "Hot Dogs" - The Three Peppers - Decca 3342 A - 1940.

Above Left: INTELLIGENCER JOURNAL (Lancaster, Pennsylvania), November 20,1940: The Three Peppers, who appear as headliners at the Green Shay. Above Right: SUNDAY NEWS (Lancaster, Pennsylvania), June 9,1940.

JUBILEE RECORDS - PART ONE FEATURES THE ORIOLES, THE BALLADEERS, CLIFF AYERS, THE MELLO-MOODS, THE MASTER KEYS, VIOLA WATKINS, AND RALPH WILLIS. ALSO INCLUDED IS A SECTION ON JERRY BLAINE, OWNER AND PRESIDENT OF JUBILEE RECORDS. JUBILEE RECORDS - PART TWO FEATURES THE SULTANS, THE ENCHANTERS, THE SUGAR TONES, THE DELLTONES, EDNA McGRIFF, THE MARYLANDERS, SONNY TIL, LITTLE SYLVIA, ANDREW WIDEMAN, THE BEY SISTERS, THE FIVE SHARPS, AND ANOTHER SECTION ON JERRY BLAINE. ALSO INCLUDED ARE SPOTLIGHTS ON THE SONGS "DON'T BE ANGRY" AND "THE RING". JUBILEE RECORDS - PART FOUR FEATURES THE TOP NOTES, BUDDY HAWKINS AND THE KEY NOTES, BUDDY HAWKINS AND THE SONGMASTERS, THE FOUR TUNES, GLORIA MANN, THE CARTER RAYS, THE HEARTBEATS, AND THE THREE FRIENDS. ALSO INCLUDED ARE SPOTLIGHTS ON THE SONGS "I'M JUST A DREAMER", "DON'T CRY DARLING", "GOODNITE SWEETHEART, GOODNITE", AND "DON'T TURN YOUR BACK ON ME". JUBILEE RECORDS - PART FIVE FEATURES THE TOPPERS, THE HURRICANES, THE RAVENS, DELLA REESE, AND ETHEL WATERS. FOR JUBILEE'S SUBSIDIARY LABEL, JOSIE, THE STARLINGS, THE CADILLACS, THE FOUR BARS, PATTI JEROME, THE 5 NOTES, THE KANSAS CITY TOMCATS, AND THE CHARIOTEERS. ALSO INCLUDED IS A SPOTLIGHT ON THE SONG "BYE BYE BABY BLUES" BY THE RAVENS.

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