#971 (8/7/25)

Above: THE BILLBOARD, November 9, 1946. So much for Manor Records' February 23, 1946 stated policy of "establishing the first all-sepia catalog". There is no picture shown for "The Sentimentalists" (just above "RECORD CORP.") because three of the group members were in "The Brown Dots" at the time. Their caption reads "A Manor Discovery. This talented group shows promise of being tops in 1947." I'm betting that the available "Choice Territories" for distributors are on the West Coast.

THE FOUR TUNES (AKA THE SENTIMENTALISTS)

Three of The Brown Dots (covered extensively in the Manor Records-Part Three article), along with a replacement for Deek Watson, became The Sentimentalists in late 1946. Their name was derived from the Pat Best song, "Sentimental Reasons". They consisted of Pat Best, Jimmie Nabbie, Jimmy Gordon, and Danny Owens. However, there already was a "Sentimentalists" vocal group who sang with the Tommy Dorsey Orchestra. The Manor Records' group changed their name to The Four Tunes and, as they say, the rest is history. The Sentimentalists/Four Tunes backing up Savannah Churchill (including some flip-sides by them) is covered in the Manor Records - Part Two article.

OXNARD PRESS-COURIER (Oxnard, CA), May 23, 1953: FOUR TUNES ARE NOTED FOR UNIQUE RENDITIONS ....The Four Tunes are comprised of Jimmie Nabbie from Tampa, Fla.; Danny Owens from Newark, N.J.; Jimmy Gordon from Dover, Okla.; and William "Pat" Best, who hails from Wilmington, N.C.... Best first sang publicly at the Plantation Club in St. Louis, when he was 21 years old, and it wasn't until some years later when he joined the Brown Dots, after being discovered entertaining servicemen in New York at a USO recreational center. Since that time, he has written many hit songs and has been instrumental in the formation of the Four Tunes. Jimmie Nabbie taught school in Florida, but on the side sang with the Orange Blossoms Quartet and with the Payne Jubilee Singers, before joining up with the Brown Dots when they were passing through Tampa, Fla. in 1945. Jimmy Gordon studied under a musical scholarship at the Lamont Conservatory, Denver, Colo. Danny Owens made his singing debut in Boston at the age of 19 and has been singing professionally ever since.

Above: The Four Tunes, (Back L-R) Jimmie Nabbie (tenor), Danny Owens (tenor), (Front L-R) Jimmy Gordon (bass), and Pat Best (baritone and guitarist). This publicity photo was issued when The Four Tunes were with Jubilee Records (1954-1957), but, per Marv Goldberg's article, it is from 1948. Using their early name, The Sentimentalists, they had six records on the Manor label (1946). This includes two records of Christmas songs and the record on which they first backed Savannah Churchill, "I Want To Be Loved", bringing her stardom. Labels on reissues of that record show them as "The Four Tunes". The three other records by The Sentimentalists were reissued on Manor in December 1946 as by "The Four Tunes". Under "The Four Tunes" name, not including reissues, they had twelve records on the Manor label (1947-1949). This includes twelve sides with Savannah Churchill and one side each with Betty Norton and Betty Harris. They also had one "not previously released" record on Arco (1950).

Click HERE for an article about THE BROWN DOTS/FOUR TUNES by Marv Goldberg. (Will open in a separate window)

Above: Label image of Manor 8002-A, released in November 1946. The second record in the album is Manor 8003-A/B. Wonder if the "30-voice choir" was obtained from a local church? Manor's 8000 series, which seems to have been devoted to two-record "albums", continued through at least #8026 (possibly 13+ sets). Manor 8002 was reissued on Arco 1266 in November 1950, just in time for the Christmas holiday. At Right: THE BILLBOARD, November 16, 1946. LISTEN (Windows Media Player): 1. "Silent Night" - The Sentimentalists - Manor 8002-A - 1946. 2. "O Come, All Ye Faithful" - The Sentimentalists - Manor 8002-B - 1946. BOTH SONGS played in sequence.

CASH BOX, June 2, 1947: MANOR RECORDS REAPS HARVEST WITH LOW PRICED ALBUM LINE NEW YORK—Manor Records, this city, announced to the trade this past week, the results of a study pertaining to lower priced merchandise in the record industry. J. M. Schiff, Sales Manager of the firm, calls attention to the fact that Manor started its program of decreased prices in their album line last November, and since then, the study has indicated, the policy has met with huge success. A complete album line embracing almost every known type of record will continue to be made at the firm's low price. "An ambitious plan for future development is in the making and will be announced soon," said Schiff.

Above Left: Label image of Manor 1047-B, released in December 1946. Three of The Sentimentalists (Pat Best, Jimmie Nabbie, and Jimmy Gordon) were still with Deek Watson's Brown Dots at the time that the above two records were recorded. Above Middle: Photo of Jimmie Nabbie, who sings lead on both sides of Manor 1047. Above Right: Label image of Manor 1049-A, released in December 1946. Pat Best is the lead singer on both sides. If composer [Henry H.] "Tobias" looks familiar, it's probably because he also wrote songs that The Brown Dots recorded (see Part Three of this article), at least one of those with [Don] "Reid". LISTEN (Windows Media Player): 1. "Save Me A Dream" - The Sentimentalists - Manor 1047-B - 1946. 2. "I'll Close My Eyes" - The Sentimentalists - Manor 1047-A - 1946. 3. "I'll Be Waiting For You" - The Sentimentalists - Manor 1049-A - 1946. 4. "I'd Rather Be Safe Than Sorry" - The Sentimentalists - Manor 1049-B - 1946. ALL FOUR SONGS played in sequence.

Above Left: THE BILLBOARD, December 21, 1946. Above Right: THE BILLBOARD, January 18, 1947. NOTE: A section dedicated to Manor Records' spiritual releases will be in a future part of this article. Rev. Utah Smith's record shown in the clipping will be included there.

Above Left: Label image of Manor 1076-B, released in July 1947. The flip-side is Betty Norton, but without a vocal group. Above Middle: Photo of Betty Norton from 1947. Betty was one of the Norton Sisters that sang with Vaughn Monroe's orchestra from late 1944 to 1946. In March 1946, her sisters retired and Betty became the featured solo singer in Monroe's band. At the time of her recording for Manor, she was a vocalist with George Paxton's orchestra. Above Right: Label image of Manor 1077-A, released in July 1947. This is the first record by The Four Tunes, using that name, without backing someone. Pat Best sings lead on the top side and Jimmie Nabbie on the flip-side. Over its lifetime, the Manor label design never changed much. As you can see above, this is where the information along the outside edge was revised to add the "Unauthorized..." notice. Also, the font style and size are different. There are several other small changes between the two labels. If you like "what's different?" puzzles, try to find them? The swirls on the "M" and "r" are thicker at their tips, the "REG. U.S. PAT. OFF." is more spread out in length, the music clef is different and closer to the line (which is further from the other line), the notes have smaller heads, and the two outside rings are further apart. The musical staff (which is shorter) and "Manor" have moved down and further apart from each other. There is no comma after "OFFICE". And there are slight differences in the "Manor" lettering. The Cash Box Review (8/4/47): THE FOUR TUNES — MANOR 1077 Sometime, Someplace, Somewhere/Where Is My Love Vocal combo that rates show up effectively on this pairing as they gather to offer ops "Sometime, Someplace, Somewhere" and "Where Is My Love". It's the Four Tunes spooning to perfect harmony that makes you want to sit back and take it all in. "Sometime" side grabs the lime as a moderately high pitched soprano [Jimmie Nabbie] grabs the lid and spills the wordage. Waxing spins in slow fashion and has that extra bit within, which makes for more buffalo hide. On the backing with an ever familiar query, the group render "Where Is My Love". Coupling a tempo that makes for a shuffle beat, the group shows well with this cupidity hanging to score. Lend an ear in this direction; you'll go for it.

WILLIAM "PAT" BEST, COMPOSER: "Where Is My Love" was composed by Pat Best. The "Lynn" on the label is Karen Lynn, Irving Berman's daughter, which he used as a pseudonym. Berman was the president and owner of Manor Records. The flip-side, "Sometime, Someplace, Somewhere", was written by Pat Best and Jimmie Nabbie (another member of The Four Tunes). Pat's most noted compositions are the hit songs "For Sentimental Reasons", "I Want To Be Loved", "Wrapped Up In A Dream", "Don't Cry Darling", and the Jubilee Records' million seller "I Understand Just How You Feel". He received a Special Citation of Achievement presented by BMI "in recognition of the great national popularity as measured by over one million broadcast performances attained by I Love You for Sentimental Reasons." Nat King Cole had a #1 hit with the song. The Dinah Shore and Eddie Howard versions went to the #2 ranking. Ella Fitzgerald And The Delta Rhythm Boys (#8), Art Kassel And His Orchestra (Jimmie Featherstone vocal) (#15), and Sam Cooke (#17) all reached the top twenty. In addition, Pat wrote many songs that were recorded by The Brown Dots and The Four Tunes. Here are some of them: "Let's Give Love Another Chance", "You're Heaven Sent", "Is It Right", "You're A Heartache To Me", "Is It Too Late", "Where Is My Love", "All My Dreams", "Take My Lonely Heart", "Where Is My Heart", "You're My Love", "I Gotta Go" (with Jimmy Gordon), "If All My Dreams Would Only Come True", "My Muchacha", and "How Can You Say That I Don't Care". LISTEN (Windows Media Player): 1. "Darling You Make It So" - Betty Norton And The Four Tunes - Manor 1076-B - 1947. 2. "Where Is My Love" - The Four Tunes - Manor 1077-A - 1947. 3. "Sometime, Someplace, Somewhere" - The Four Tunes - Manor 1077-B - 1947. ALL THREE SONGS played in sequence.

Above: THE BILLBOARD, August 2, 1947. At Right: Photo of Betty Norton.

Above: AFRO-AMERICAN, September 11, 1948: The Four Tunes, top singing stars currently appearing at the Apollo Cafe Tiger Room in NYC, do their bit for the emergency in Israel by contributing much-needed blood to the American Red Mogen Dovid at the Blood Donor Center, 326th St. Left to right: Jimmie Nabbie, Pat Best, and Jimmie Gordon watch as Nurse Frances Beneke extracts blood from the arm of Danny Owens. (NOTE: The Arab-Israel War started when Israel declared independence in May 1948 and continued into 1949.)

Above Left: Label image of Manor 1083-A, released in July 1947. The top side song was written by Pat Best, the baritone in The Four Tunes vocal group. Irving Berman's only input was adding his name on the label. On the back-side, "I Found Love When I Found You", the label shows "Nabbie-King" as the composers. It becomes interesting if "King" is Joe King, which seems likely. Jimmie Nabbie replaced Joe King in The Brown Dots after the group's first two records (both released in 1945). Unlike most independent record companies, Berman, who was the president and owner of Manor Records, did not put "BMI" or "ASCAP" on labels. I believe it was because he did not own a publishing company, so, for him, there was no apparent benefit. However, it seems that he could have profited by registering more songs with his name included as co-composer. As it was, Berman did register three song titles at BMI that have his name included with William Pat Best, but not the above side. Above Middle: THE BILLBOARD, May 31, 1947. NOTE: The five-day NAMM Trade Show And Convention was in Chicago starting on May 31, 1947. Above Right: Label image of Manor 1131-A, released in April 1948. Another Manor release of a song composed by Bennie Benjamin and George Weiss. Other artists to release "Confess" in 1948 include King Cole Trio (Capitol), Doris Day (Columbia), Jimmy Dorsey (M-G-M), Tony Martin And The Lyttle Sisters (RCA Victor), The Mills Brothers (Decca, Varsity), and Patti Page (Mercury). CHICAGO DEFENDER, September 25, 1948: FOUR TUNES TRIUMPH AT HARLEM CAFE The Four Tunes, currently featured at the Baby Grand night club in Harlem, have come up with a new vocal styling tabbed "Oom-pah", a vocal interpretation of Be-bop, whih is drawing the attention of New York music critics. Currently the hottest quartet in the nation as a result of their recording of "Confess", the Four Tunes are battling their way up. Largely responsible for the surge to stardom is the Tunes manager Margaret Gordon [wife of the group's bass singer, Jimmy Gordon]. Despite the hot spell and the so-called slump in nightclub business, the sensational Four Tunes have done well at the Baby Grand during the past two weeks. LISTEN (Windows Media Player): 1. "Wrapped Up In A Dream" - The Four Tunes - Manor 1083-A - 1947. 2. "I Found Love When I Found You" - The Four Tunes - Manor 1083-B - 1947. 3. "Confess" - The Four Tunes - Manor 1131-A - 1948. 4. "Don't Know" - The Four Tunes - Manor 1131-B - 1948. ALL FOUR SONGS played in sequence.

THE BILLBOARD — AUGUST 16, 1947.

THE BILLBOARD — JULY 24, 1948. (This clipping appeared in The Billboard exactly one year after the two mentioned records were released.)

EXTRA RECORDS — "WRAPPED UP IN A DREAM"

The song, "Wrapped Up In A Dream", was composed by William "Pat" Best, who was a member of The Brown Dots and The Four Tunes. It was released by the latter group on the Manor label in July 1947, included further up on this page. Other groups who released the song include Do Ray And Me (1947), The Four Knights (1949), and The Deep River Boys (1949).

Above: Label image of Commodore 7505 A, released in December 1947. Do Ray And Me consisted of Al "Stomp" Russell (piano and lead singer on this song), Joel Cowen (guitar), and Joe Davis (bass fiddle). It was their second of six records on Commodore (1947-1949). Do Ray And Me, using various similar names, also had releases on Ivory (1949), Reet (1950), Columbia (1951), Okeh (1951), Keyboard (1953), Variety (1953), Brunswick (1953), and Coral (1954). At Direct Right: CASH BOX, January 22, 1949. THE BILLBOARD, December 11, 1948. DO RE MI TRIO INKS 3-YEAR GLASER PACT NEW YORK—The Do Re Mi Trio, whose Commodore platter of Wrapped Up In A Dream is making a stir in race circles, has been signed by Joe Glaser's Associated Booking Corporation to a three-year pact. The group is the latest of a number of smaller units that have come into prominence via indie waxings and moved on to consistent, good-money, in-person booking.

Click HERE for an article about DO RAY AND ME by Marv Goldberg. (Will open in a separate window)

Above: Label image of Coral 60046 A, recorded in March 1949 and released in July 1949. The record was re-issued in October 1950. The Four Knights also recorded "Wrapped Up In A Dream" for a Lang-Worth radio transcription disc in 1949. The Four Knights recorded six records for Decca and its subsidiary label, Coral (1946-1949). At Direct Right: CASH BOX, April 2, 1949. The Four Knights consisted of (Top L-R) Clarence Dixon (baritone), Gene Alford (tenor, whistler, and lead on this song), (Bottom L-R) John Wallace (second tenor and guitarist), and Oscar Broadway (bass).

LISTEN (Windows Media Player): 1. "Wrapped Up In A Dream" - Do Ray And Me - Commodore 7505 A - 1947. 2. "Wrapped Up In A Dream" - The Four Knights - Coral 60046 A - 1949. 3. "Wrapped Up In A Dream" - The Deep River Boys - RCA Victor 22-0003 - 1949. ALL THREE SONGS played in sequence.

BACK TO THE FOUR TUNES

Above: CALL AND POST (Cleveland, Ohio), August 21, 1948: GALA JAM SESSION ....All got together in the Cafe Tia Juana last Sunday evening for a gala impromptu Jam Session and brought the house down in applause. Bill Kenny promised to bring the Four Tunes along with him Thursday evening, when they leave their downtown hotel engagement, and hold another big jamboree on the closing night of Savannah Churchill and the Four Tunes.... NOTE: (Back Row) Jimmie Nabbie, Danny Owens, Bill Kenny, Unknown (possibly Charles Brown?), Herb Kenny, (Front Row) Pat Best, Johnny Moore, Savannah Churchill, and Oscar Moore. Bill and Herb Kenny (brothers) were tenor and bass singers, respectively, in the Ink Spots. Johnny and Oscar Moore (brothers) were guitar players in Johnny Moore's Blazers.

CHICAGO DEFENDER, September 4, 1948. FOUR TUNES GET OFFER TO APPEAR IN EUROPE The Four Tunes, sensational new harmony quartet, are considering an offer just cabled by Hughes Panassie, French jazz authority and author of "Le Jazz Hot". The jazz critic wishes to sign the quartet for a month's personal appearance at the famed ABC Club in Paris followed by a tour of the continent theatres across the country. The Four Tunes, led by Jimmy Gordon, with their hit Manor waxing of "Confess", are the hottest new quartet to come along in the past ten years. Washington D.C. columnists, who reviewed the song team during their recent engagement at Perusso's Lounge there, tabbed them "the greatest quartet to come along since the Four Freedoms [FDR's 1941 freedoms worth dying for....speech, religion, want, and fear]." (NOTE: No evidence was found confirming that the trip to Paris ever materialized.)

Above Left: Label image of Manor 1154 A, released in December 1948. Pat Best composed the flip-side, "My Muchacha". Above Right: Label image of Manor 1173 A, released in April 1949. The songs on both sides are standards. LISTEN (Windows Media Player): 1. "I'm Gonna Ride Tillie Tonight" - The Four Tunes - Manor 1154 A - 1948. 2. "My Muchacha" - The Four Tunes - Manor 1154 B - 1948. 3. "Mister Sun" - The Four Tunes - Manor 1173 A - 1949. 4. "The Sheik Of Araby" - The Four Tunes - Manor 1173 B - 1949. ALL FOUR SONGS played in sequence.

The Billboard rated both of these records as "Satisfactory" (range of 40-69) with both "Mister Sun" and the flip-side, "The Sheik Of Araby" as "poor choice of material". The "My Muchacha" review points out correctly that the "badly organized backing (marimba and cloves) gets in the way." "I'm Gonna Ride Tillie Tonight" is a "Tasteless, lightweight piece of double entendre that isn't worth the trouble." It earned their "not suitable for appraisal within a market." "I'm Gonna Ride Tillie Tonight" was done by other groups under different titles. "My Bicycle Tillie" by Bill Samuels And The Cats 'N Jammer Three on Mercury was released in 1946, but recorded in 1945. "Bicycle Tillie" by The Swallows on King was released in 1953. The Swallows label credits Henry Glover, but the correct composer is Tommy Edwards, who wrote the song for Bill Samuels.

At Left: Label image of Columbia 30145, released in November 1948. Jimmie Nabbie sings lead tenor. The tracks for both sides of this record were purchased from Irving Berman. The "Take My Lonely Heart" side was never released on Berman's Manor or Arco labels. The flip-side, "Where Is My Love", had been released on Manor 1077 in 1947 (see further above on this page). Cash Box gave the song a sparkling review when it came out on Manor. However, The Billboard, who commonly downgraded black vocal groups, bestowed a bad review for the Columbia reissue, claiming an "unexciting interpretation by the group..." BMI.com credits "William Pat Best" as composer for both sides. An educated guess would be that Columbia, not Manor Records, registered the songs. Also in November 1948, Columbia released one record by Savannah Churchill And The Four Tunes, "The Best Of Friends" and "The Things You Do To Me". These were tracks procured from Berman, with neither side ever released on Manor or Arco. That record is included in the Manor Records - Part Two article. LISTEN (Windows Media Player): "Take My Lonely Heart" - The Four Tunes - Columbia 30145 - 1948.

[Above photo courtesy of Paul Ressler.]

Above: Photo of The Four Tunes from about 1950. (L-R) Jimmie Nabbie, Pat Best, Margie Sykes, Danny Owens, and Jimmy Gordon. Sykes was an avid fan of The Four Tunes, not a performer.

Above: EVENING COURIER (Camden, New Jersey) January 31, 1949

Above Left: Label image of Manor 1195-B, released in August 1949. Pat Best sings lead on both sides. "Karen Lynn" is the name of Irving Berman's three-year-old daughter. Her name is also mentioned in Savannah Churchill's "My Baby-Kin", released on Manor 1068 in 1947 and reissued on Arco 1220 in 1949 (audio included below). A man sings along with Savannah on one line near the end of the song, probably Lenny Herman, the orchestra leader. Lenny is playing the accordian on this song. Above Right: Label image of Arco 1246-B, released in April 1950. There is no composer credit for the top side on the label, at BMI, or at ASCAP. The flip-side, "You're My Love", was written by Pat Best. Both sides are led by Jimmie Nabbie. THE BILLBOARD, July 30, 1949: ....Manor Records will reissue a two-year-old Four Tunes' disking of "Someday", now that the song has been moved into pop hit contention via the Vaughn Monroe and Mills Brothers recordings.... (NOTE: "Someday" was first issued on Manor 1129-B in 1948, as by "The Four Tunes".) The Billboard Review (9/10/49): PAT BEST AND THE FOUR TUNES — MANOR 1195.... Someday (80) Best and the Tunes make a strong blues and rhythm item out of the re-emerging folker. They double it up last chorus in a Mills Brothers' treatment. Sliced some years ago and reissued with tune's new life. Karen Lynn (65) Best sings strong and warm, but there's little to this sweetheart ditty. (NOTE: A ratings range of 40-69 was considered as "satisfactory" and 80-89 as "excellent".) LISTEN (Windows Media Player): 1. "Karen Lynn" - Pat Best And The Four Tunes - Manor 1195-B - 1949. 2. "Someday" - Pat Best And The Four Tunes - Arco 1195-A - 1949. 3. "Don't Blame My Dream" - The Four Tunes - Arco 1246-B - 1950. 4. "You're My Love" - The Four Tunes - Arco 1246-A - 1950. 5. "My Baby-Kin" - Savannah Churchill - Manor 1068-B - 1947. ALL FIVE SONGS played in sequence. Cash Box Review (8/27/49): PAT BEST — MANOR 1195.... Someday/Karen Lynn Backed by The Four Tunes on the topside of this grand disk, Pat Best comes thru in grand voice with a soft, slow, sentimental ballad that will win plenty of nickel-following in any dimly lit spot. It's called "Someday", and it means that everyday plenty of fans are going to grow right up wanting more of Best's best. On the flip, "Karen Lynn", Pat cuts another soft and low and sentimental ballad with The Four Tunes' backing superb in every degree. (NOTE: Glowing reviews for "Someday" by both The Billboard and Cash Box magazines.) The Billboard Review (5/13/50): THE FOUR TUNES — ARCO 1246.... You're My Love (45) Capable group is stymied on this slow, lagging side by muffled, low level recording. Don't Blame My Dream (75) Here the quartet shows their capabilities on an okay torch ballad with good falsetto lead [Jimmie Nabbie] and a smooth blend underneath. (NOTE 1: A ratings range of 40-69 was considered as "satisfactory" and 70-79 as "good".) (NOTE 2: Agreed that "You're My Love" is too slow and needs more energy from the group. This side of my own 78-rpm record, however, is not muffled to any unusual degree. Sometimes the grooves in Manor and Arco records are "weak" and, therefore, the sound level can be very low.) "You Are My Love", composed by Jimmie Nabbie and released on Jubilee by The Four Tunes is a different song.

STAR LEDGER (Newark, New Jersey), October 19, 1949: "FOUR TUNES" SUED FOR $100,000 A sour note in the hitherto harmonious lives of four singers known as the "Four Tunes", male quartet, was sounded yesterday by Joseph J. Corn, attorney for a Newark record-manufacturing firm, when he asked a Superior Court summary judgment of $100,000 against them. The firm, the Manor Record Co., of 337 Schley St. [Berman's home address? It appears to be an apartment building now.], charges breach of contract by failure of the singers to make a minimum of six records (12 sides) during the past year. While failing to live up to their contract, Corn declared, the "Four Tunes" nevertheless made recordings for Radio Corp. of America, Camden. [RCA Victor] The singers, headed by Daniel Owens, 599 Boston St., failed to make answer to the Manor Company's charges yesterday and on that basis Corn asked Superior Court Judge Walter J. Freund in Newark to issue a default judgment and award damages. Judge Freund reserved decision. Though the "Four Tunes" didn't answer the suit, RCA did. Its attorneys claimed the quartet's contract with Manor, signed Nov. 6, 1946, and providing for annual renewals, had been violated and that the quartet was priveleged to repudiate it, RCA admitted that the "Four Tunes"—who specialize in sentimental songs—made six recordings for RCA last April 11. These included "Careless Love" and "Sleeper Comes Up With A Rush" [sic*]. The Manor Company claimed that since 1946 the "Four Tunes" made 40 recordings which sold over 700,000 copies. Besides Owens, members of the quartet are James Nabbie, William Best, and James Gordon, all of New York City. (* "Sleeper Comes Up With A Rush" was not a song. It was used to describe "Careless Love"'s late move up the charts. See the RCA Victor advertisement below.) The Four Tunes were the first vocal group released on RCA Victor's new 45-rpm format. Their first five RCA Victor 45-rpm records were issued on bright orange "wax". Their first, "Careless Love"/"You're Heartless", was released circa April 1949.

THE BILLBOARD — SEPTEMBER 10, 1949.

Above: One of The Four Tunes' RCA Victor orange "wax" 45-rpm records, "Old Fashioned Love"/"Kentucky Babe". RCA Victor kept giving the group old "standards" to record instead of fresh material. During their stay at RCA Victor, only one released song was a Pat Best composition, "How Can You Say That I Don't Care", issued in November 1950. At Direct Right: INDIANAPOLIS RECORDER, December 31, 1949. The Four Tunes, RCA Victor's sensational singing find, enjoy perfectly recorded playbacks of latest Victor hits on the new 45 RPM phonograph. All the "Tunes" agree that "Swing to 45" is the thing. The quartette's latest RCA Victor waxing, "Lonesome Road" backed by "A Fool In Love" is slated to be a hit, reviewers say. [Their third orange "wax" 45-rpm record] (L-R) Jimmie Nabbie, Pat Best, Danny Owens, and Jim Gordon.... and in the upper right corner, the plant from "The Little Shop Of Horrors".

THE BILLBOARD, September 24, 1949: H. FOX FILES THREE NONPAYMENT SUITS NEW YORK—Harry Fox, publishers' agent and trustee, has filed suit against three record companies for nonpayment of royalties. The companies include Tower Records and Sunrise Records of Chicago, and Manor Records, New York. THE BILLBOARD, November 19, 1949: FOUR TUNES SUE MANOR RECORDS PHILADELPHIA—A counter suit against Manor Records, headed by Irving Berman, was filed in the Newark, N. J., courts by the Four Tunes this week in response to the diskery's suit for $100,000 against the Four Tunes, instrumental vocal quartet, and RCA Victor. Berman, whose suit charged that the unit breached its recording contract by moving over to the Victor label, lost his American Federation of Musicians (AFM) recording license as a result of the action. He also sought an injunction against the Tunes recording for Victor. The counter suit.... charges contract violations on the part of the Manor label and demands royalty payments, particularly those involving songs written by Pat Best, guitarist with the unit. The Four Tunes are booked by the Jolly Joyce Agency, which set the unit with RCA Victor after the AFM advised they could sign with another waxing firm. Despite the original Berman suit seeking to restrain further recording activities, the Four Tunes are set to cut some sides for RCA Victor Tuesday [November 15]. The unit was signed to the Victor label six months ago on a three-year contract. The boys previously cut for the Manor label, including sides in support of Savannah Churchill.

THE BILLBOARD, July 15, 1950: PUBBERS COLLECT AS MANOR SETTLES NEW YORK—Approximately $7,000, which RCA Victor had originally agreed to pay Manor Records for the latter's release of The Four Tunes, was collected this week by Harry Fox, publishers' agent and trustee. Fox will use the money to pay publishers to whom Manor owes royalties. Case goes back a long way. In December 12, 1949, Fox obtained a judgement against Manor for nonpayment of royalties. He couldn't collect. Subsequently he discovered that Manor had started suit against RCA Victor, charging the diskery with inducing The Four Tunes to break their Manor Records contract and record for Victor. Victor and Manor negotiated a settlement, with the latter diskery slated to get the $7,000. Harry Stein, representing Fox, acted on a point of law which entitles Fox to obtain an injunction restraining Victor from paying the money to Manor. The attached sum finally was paid by Victor to Fox.

MARGARET WATKINS

[Above photo provided by Dan Kochakian.]

Above: Photo of Margaret Watkins, who was from Chicago. She was known as the "Queen of Swing", "Queen of Jive", and "C.B.S. Star of Swing".

Above Left: Label image of Manor 1035-A, recorded in 1944 (per newspaper accounts), but not released until 1946. Neither side credits a composer on the label. The flip-side, "I Hear You Knocking", is a different song from the Smiley Lewis/Fats Domino hit record. Per the Detroit Tribune dated September 30, 1944, "I Hear Somebody Knocking" was composed by Dan Burley and is on the order of Louis Jordan's "Outskirts Of Town". The newspaper also states that "One Hour Mama", written by Porter Grainger for her years ago, was made famous by her over the previous five years. It sounds like a rhythm and blues version of a Sophie Tucker song. Tab Smith, along with his featured singer, Trevor Bacon, are included in the Manor Records - Part One article. Above Middle: PRESS OF ATLANTIC CITY, August 26, 1944: HOT NUMBER... MARGARET WATKINS, queen of jive, is featured nightly at the Paradise Club. Above Right: NEW YORK AGE, May 20, 1944: ....Tab Smith (center) and his orchestra featuring Trevor Bacon (far right). Both had been members of Lucky Millinder's orchestra. AFRO-AMERICAN, September 30, 1944: NEW YORK—Margaret Watkins, formerly of Chicago, bids fair to crash into the immortal class of the Bessie Smiths, Mamie Smiths, Ma Raineys, Victoria Spiveys, and others of that fabulous period between 1920 and 1927 when the blues became a million dollar a year industry. Margaret did not start out to be a blues singer; instead she wanted to be a chorus girl and actually worked at it in Chicago in the early thirties. She got ambitious, however, and soon was singing popular, bouncy melodies with Earl Hines's band at the Grand Terrace Cafe. She went through the usual rip and tear throughout the country, appearing in the various night clubs in such towns as Boston, Detroit, Cleveland, Chicago, Washington, New York, etc., until she finally settled down as a 4-star attraction in New York City. Margaret recently made two of a contract for 20 records for the Regent [sic, Regis] Recording Company in New York that augurs well for her future as a top-notch blues singer. The numbers include "I Hear Somebody Knocking" and "One Hour Mama". (The lyrics are "I Hear Somebody Knocking", but the label has "I Hear You Knocking". It seems that Irving Berman may have found a way to avoid paying composer royalties.) Handled exclusively by Ralph Cooper, nationally famous showman, master of ceremonies, and movie actor, Margaret is a studious artist and recites to herself the words of a song until late at night—sometimes getting up to go into the bathroom to practice and thus, avoid awakening others in her home. THE BILLBOARD, February 26, 1949: ....IRVING BERMAN'S Manor Record Company has signed sax-tooter TAB SMITH and his orchestra to a new five-year waxing pact.... LISTEN (Windows Media Player): 1. "One Hour Mama" - Margaret Watkins (Tab Smith Orchestra) - Manor 1135-A - 1946. 2. "I Hear You Knocking" - Margaret Watkins (Tab Smith Orchestra) - Manor 1135-B - 1946. BOTH SONGS played in sequence.

Above: PRESS OF ATLANTIC CITY, July 29, 1944: A REAL JIVER MARGARET WATKINS is the clever one of jumpin' jive at the popular Paradise Club.

Above Left: EVENING STAR (Washington, D.C.), December 29, 1944. Above Right: NEW JOURNAL AND GUIDE (Norfolk, Virginia), June 8, 1946: SHE'S A SHOW-STOPPER AT SEAVIEW BEACH One of the outstanding attractions of the current floor show offered at Seaview Beach is Margaret Watkins, song stylist, who is a sure show-stopper. A veteran of stage and nite clubs, the singing star is heard nightly in the spectacular show.

Above Left: NEW JOURNAL AND GUIDE (Norfolk, Virginia), March 30, 1946. NOTE: No clue about the meaning of the percentages shown. Any ideas? Above Right: CLEVELAND CALL AND POST, July 13, 1946.

Above: MICHIGAN CHRONICLE (Detroit, Michigan)), September 30, 1944. NOTE: "Peckin' Joe" was a comedy dancer, "Luck And Lucky" were a female and male dance team, "Alberta Adams" was a blues singer known as "Queen of the Blues", and "Ash Can LaRue" was a, you guessed it, comedian. The headliner was our Margaret Watkins, "Star of Radio and Stage".

RUDY RICHARDSON

Above Left: CHICAGO DEFENDER, December 1, 1951: ARCHWAYS STAR. He's Rudy Richardson, famed pianist-song specialist, who is featured at "Celebrity Night" parties each Thursday at Killer Johnson's Archway lounge, 61st and Calumet. Above Right: CHICAGO DEFENDER, April 1, 1944: HE'S TERRIFIC That is what Misses Juanita Winston and Geneva Lewis are saying while listening to Rudy Richardson [No, not Sidney Poitier] pluck the piano and chirp at Rudy's number one Chicken Shack, 4647 Indiana. Richardson, a boogie woogie artist, recently closed a successful engagement at the Capitol lounge in the loop.

Above Left: Label image of Manor 1039-A, released in August 1946. The top-side is two songs mixed together, "They Raided The Joint" and "Route 66". "They Raided The Joint" was released by Hot Lips Page (Continental) in 1946, Dallas Bartley (Cosmo) in 1946, and Helen Humes (Mercury) in 1947. The Hot Lips Page label credits "J. Eldridge, A. Jackson, and Hot Lips Page" as the songwriters. The Helen Humes label credits Dan Burley. The Dallas Bartley label credits Bartley and Burley. "(Get Your Kicks On) Route 66" was released in 1946 by Bing Crosby And The Andrew Sisters (Decca), Buddy Rich's Orchestra (Mercury), Wingy Manone's Orchestra (Four Star), The King Cole Trio (Capitol), and Georgie Auld's Orchestra (Musicraft). The Manor label does not show a composer for "They Raided The Joint...". Wonder if "Route 66" was added to the song to fool the copywriters. The label for the flip-side, "A Stranger In Town", likewise does not show a composer. BMI.com lists 97 songs with that title. Rudy also played the celeste, a piano-like instrument that sounds similar to chimes. The Rudy Richardson Trio backed Savannah Churchill instrumentally on her first big hit, "I Want To Be Loved". Manor used the celeste on many of their songs. Rudy's trio probably backed up several artists on Manor records, whether playing celeste or piano. Above Right: Label image of Manor 1045-B, released in December 1946. This is the same song as "Oo Wee Walkie Talkie" by Dinah Washington, released on Mercury in May 1946. It's unlikely that Irving Berman, owner of Manor Records, paid much in royalties for any of the songs he used. The flip-side of this record is "I'd Rather Drink Muddy Water" by the Cats And The Fiddle. The above three sides and one other two-sided release in 1947 are Rudy Richardson's only Manor records. At Direct Right: CHICAGO DEFENDER, July 14, 1951. NOTE: The place for those who like their steak thick... very thick. LISTEN (Windows Media Player): 1. "They Raided The Joint—Route 66" - Rudy Richardson Trio - Manor 1039-A - 1946. 2. "A Stranger In Town" - Rudy Richardson Trio - Manor 1039-B - 1946. 3. "Walkie Talkie" - Rudy Richardson Trio - Manor 1045-B - 1946. ALL THREE SONGS played in sequence.

Above Left: CHICAGO DEFENDER, December 23, 1950. Above Right: CHICAGO DEFENDER, January 19, 1952: RUDY RICHARDSON, sensational song stylist and pianist, is wowing patrons of the Flamingo Lounge, 611 E. 63rd St., with his nightly entertainment. Rudy's performance is a natural for that late hour drinking party.

EXTRA RECORD — RUDY RICHARDSON

Above: THE BILLBOARD, November 30, 1946. At Right: THE BILLBOARD, December 7, 1946. NOTE: Lew Simpkins' S & S Bookstore was located at 107 East 47th Street in Chicago. Simpkins was owner and president of Miracle Records. This was actually a re-opening of the label after it's original releases by Rudy Richardson in August 1946. The next mention of Miracle Records in The Billboard came in the April 5, 1947 edition: "Miracle Records, Chicago label, has issued its first sides by Memphis Slim, ex-Victor blues singer; Brother John Sellers, a spiritual singer, and the Sonny Thompson combo and has added Trylon Distributors, Oakland, Cal.; Ebony Music, New York; Klayman's, Cincinnati; Commercial Music, St. Louis, and United Distributors, Detroit."

CHICAGO DEFENDER — AUGUST 17, 1946

Regarding the above Miracle Records clipping, there are only three song titles shown. What is the fourth "Smash Hit"? And why is there a picture of "Little Slam" when the ad is about Rudy Richardson? A possible conclusion is that Eddie Calhoun is the bassist in the picture. He is the bass player on Rudy Richardson's record and pictures found online compare well. "Little Slam" is probably a reference to Slam Stewart, the famous r&b bass player who would use a bow. "Hick-Botham" is the title on the fourth side of Rudy Richardson's first two records on the Miracle label. It may have been intentional to leave out that not-so-enticing title in the Miracle ad. At Direct Right: CHICAGO DEFENDER, October 20, 1945. NOTE 1 - Wini Brown is listed in the entertainment. In 1952, she would sing in front of vocal groups (known as "Her Boyfriends") on the Mercury label. NOTE 2 - "Bronzeville" is a mostly black neighborhood in the South Side of Chicago. NOTE 3 - A mixologist is a specialized expert bartender who focuses on crafting innovative cocktails. At Far Right: CHICAGO DEFENDER, May 8, 1948. CHICAGO DEFENDER, August 10, 1946: MIRACLE RECORDS FIRST ON SOUTHSIDE From a dream to reality is the story behind Miracle Record Company that had its inception in the record shop of Lewis Simpkins, who visioned great promise in the local talent lying latent on the South Side. Erection of a modern recording studio on 47th and Michigan quickly brought a flow of talent from which was weeded a small group to be principals in the first record release of the company. The first releases feature original tunes sung by Rudy Richardson, popular night club vocalist. The voice of Rudy singing "I'm Turning In My Chips" and "Chauffeur" with scintillating support from the nimble fingers of Ted Craig, Lefty Bates' guitar, and terrific bass bowing by Eddie Calhoun, should command a widespread audience for these tunes. (NOTE: Using local talent is the same concept employed by Irving Berman when he started his Regis Record Company in Newark, New Jersey.) CHICAGO DEFENDER, August 24, 1946: RECORD DISCS AT BOSWELLS Record fans and shop owners turned out in generous attendance to witness the South Side's first record prevue Friday night at Sonny Boswell's 55th Street nitery. The occasion marked the official release of the new Miracle Record featuring the voice of Rudy Richardson. Among the many merrymakers present were Dallas Martin; Frank Chaplin, shop owners; Prossie Blue of the Colored Radio Artists Association; William H. McBride Jr., Rubin Hill, and George Johnson, composers. Plans are being formulated by the company to open the first all colored record pressing plant in Chicago.

At Left: Label image of Miracle 1060-S, released in August 1946. The top-side composer is Eddie Calhoun, the bass player on this record. The "I'm Turning In My Chips" label has "McBride-Rubin-Johnson", but this song title is not listed at either BMI or ASCAP. The label helpfully tells us Rudy's instrumental backing.... Ted Craig (piano), Eddie Calhoun (bass), and Lefty Bates (guitar). Rudy was an excellent piano player, so it's interesting that someone else handled that job on this record. Rudy Richardson had three records issued on Miracle, actually the first three released on the label. Other artists on Miracle include Sonny Thompson, Memphis Slim, Gladys Palmer, Eddie Chamblee, Browley Guy (And The Skyscrapers), The Four Vagabonds, The Bill Samuels Trio, and Tommy Dean. They also featured spiritual records just as Irving Berman's Regis/Manor labels had done. Miracle Records closed its doors in 1950, the same year that Berman ended his record making career. The "S & S Recording Studio" was located in the back of Lew Simpkins' S & S Bookstore at 107 East 47th, the same location as the further above "Miracle Records" clipping. However, it's unlikely that any of the Miracle releases were recorded at that facility. At Right: CHICAGO DEFENDER, February 8, 1947: GAINS PRAISE — Eddie Calhoun, featured bassist with Dick Davis' Combination that also stars Sonny Thompson on piano, is gaining praise for his fine work at the Tradesmen's Club, 6240 Cottage Grove. Calhoun is featured on several tunes recorded by the combo. LISTEN (Windows Media Player): NOTE: The "I Need You" side of this record is in very poor condition. The audio of it is included for oompleteness. 1. "I Need You" - Rudy Richardson - Miracle 1060-S - 1946. 2. "I'm Turning In My Chips" - Rudy Richardson - Miracle 1058-S - 1946. BOTH SONGS played in sequence.

NOTE: Restoration of photos, clippings, record label images, and some audio files is by Tony Fournier. Many of the audio files used in this Manor Records' series of articles were restored by Dave Saviet.

MANOR RECORDS - PART ONE FEATURES IRVING BERMAN, PRESIDENT AND OWNER OF REGIS, MANOR, AND ARCO RECORDS. ALSO REGIS ARTISTS... GEORGIA PEACH AND SKYLIGHT SINGERS, SILVER ECHO QUARTETTE, COLEMAN BROTHERS, TINY BRADSHAW, GENE PHIPPS, TIMMIE ROGERS, TAB SMITH, TREVOR BACON, CATS AND THE FIDDLE, HAL MITCHELL, AND MAMIE MILLER. MANOR RECORDS - PART TWO FEATURES ERNESTINE WASHINGTON SINGING SOLO AND WITH THE DIXIE HUMINGBIRDS AND THE SOUTHERN SONS. ALSO EXTENSIVE COVERAGE OF SAVANNAH CHURCHILL, HER FIRST RECORDS, SAVANNAH SOLO ON MANOR & ARCO RECORDS, AND SAVANNAH WITH THE FOUR TUNES ON MANOR. INCLUDED ARE THREE SAVANNAH CHURCHILL VIDEOS. MANOR RECORDS - PART THREE FEATURES EXTENSIVE COVERAGE OF SAVANNAH CHURCHILL AND THE FIVE KINGS, SAVANNAH CHURCHILL AND THE STRIDERS, THE FIVE KINGS, AND DEEK WATSON AND HIS BROWN DOTS. INCLUDED ARE FOUR "BROWN DOTS" VIDEOS. MANOR RECORDS - PART FIVE FEATURES EXTENSIVE COVERAGE OF IDA JAMES, LUIS RUSSELL, INTERNATIONAL SWEETHEARTS OF RHYTHM, PAUL BASCOMB, MANHATTAN PAUL, AND JOE MORRIS. THERE ARE ALSO SECTIONS FOR TINY DAVIS, ACE HARRIS, AND LAURIE TATE. MANOR RECORDS - PART SIX FEATURES EXTENSIVE COVERAGE OF MANOR'S SPIRITUAL ARTISTS, INCLUDING HEAVENLY GOSPEL SINGERS, KINGS OF HARMONY OF ALABAMA, WILLING FOUR, TRUMPETEERS, COLEMAN BROTHERS, SELAH JUBILEE SINGERS/QUARTET, THE LARKS, GEORGIA PEACH WITH SKY LIGHT SINGERS/MATCHLESS LOVE GOSPEL SINGERS/HARMONAIRES, GOSPEL STARS, REV. UTAH SMITH, DIXIE HUMMINGBIRDS, SUMMIT GOSPEL SINGERS, AND ERNESTINE B. WASHINGTON. ALSO A SPOTLIGHT ON "JUST A CLOSER WALK WITH THEE".

Listen to this article's audio selections using Windows Media Player:           1. "Silent Night" - The Sentimentalists - Manor 8002-A - 1946.           2. "O Come, All Ye Faithful" - The Sentimentalists - Manor 8002-B - 1946.           3. "Save Me A Dream" - The Sentimentalists - Manor 1047-B - 1946.           4. "I'll Close My Eyes" - The Sentimentalists - Manor 1047-A - 1946.           5. "I'll Be Waiting For You" - The Sentimentalists - Manor 1049-A - 1946.           6. "I'd Rather Be Safe Than Sorry" - The Sentimentalists - Manor 1049-B - 1946.           7. "Darling You Make It So" - Betty Norton And The Four Tunes - Manor 1076-B - 1947.           8. "Where Is My Love" - The Four Tunes - Manor 1077-A - 1947.           9. "Sometime, Someplace, Somewhere" - The Four Tunes - Manor 1077-B - 1947.         10. "Wrapped Up In A Dream" - The Four Tunes - Manor 1083-A - 1947.         11. "I Found Love When I Found You" - The Four Tunes - Manor 1083-B - 1947.         12. "Confess" - The Four Tunes - Manor 1131-A - 1948.         13. "Don't Know" - The Four Tunes - Manor 1131-B - 1948.         14. "Wrapped Up In A Dream" - Do Ray And Me - Commodore 7505 A - 1947.         15. "Wrapped Up In A Dream" - The Four Knights - Coral 60046 A - 1949.         16. "Wrapped Up In A Dream" - The Deep River Boys - RCA Victor 22-0003 - 1949.         17. "Take My Lonely Heart" - The Four Tunes - Columbia 30145 - 1948.         18. "Chillicothe, Ohio" - The Four Tunes With Betty Harris - Manor 1087-A - 1947.         19. "Dreams" - The Four Tunes - Manor 1087-B - 1947.         20. "I'm Gonna Ride Tillie Tonight" - The Four Tunes - Manor 1154 A - 1948.         21. "My Muchacha" - The Four Tunes - Manor 1154 B - 1948.         22. "Mister Sun" - The Four Tunes - Manor 1173 A - 1949.         23. "The Sheik Of Araby" - The Four Tunes - Manor 1173 B - 1949.         24. "Karen Lynn" - Pat Best And The Four Tunes - Manor 1195-B - 1949.         25. "Someday" - Pat Best And The Four Tunes - Arco 1195-A - 1949.         26. "Don't Blame My Dream" - The Four Tunes - Arco 1246-B - 1950.         27. "You're My Love" - The Four Tunes - Arco 1246-A - 1950.         28. "My Baby-Kin" - Savannah Churchill - Manor 1068-B - 1947.         29. "One Hour Mama" - Margaret Watkins (Tab Smith Orchestra) - Manor 1135-A - 1946.         30. "I Hear You Knocking" - Margaret Watkins (Tab Smith Orchestra) - Manor 1135-B - 1946.         31. "They Raided The Joint—Route 66" - Rudy Richardson Trio - Manor 1039-A - 1946.         32. "A Stranger In Town" - Rudy Richardson Trio - Manor 1039-B - 1946.         33. "Walkie Talkie" - Rudy Richardson Trio - Manor 1045-B - 1946.         34. "I Need You" - Rudy Richardson - Miracle 1060-S - 1946.         35. "I'm Turning In My Chips" - Rudy Richardson - Miracle 1058-S - 1946.             ALL THIRTY-FIVE ABOVE SONGS played in sequence.           ALL THIRTY ABOVE MANOR/COLUMBIA/ARCO LABEL SONGS played in sequence.           At Right: THE BILLBOARD, April 3, 1948.           MANOR RECORDS - PIN UP POLKA

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