Bruce
2024-09-21 04:08:38 UTC
AUGUST 7, 1954
https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/50s/1954/CB-1954-08-07.pdf
THE HARPTONES (Bruce 109; 45-109)
“WHY SHOULD I LOVE YOU” (2:32) [Barlow ASCAP—Rogers Music]
“FOREVER MINE” (2:43) [Cita BMI—Nu-Way Publ]
The Harptones come smashing through with a record that is already
breaking wide open. Titled “Why Should I Love You,” this side sends this
new group to the head of the class. It’s a rhythmic ballad which the
boys handle with an infectious vitality which should soon have the
entire country singing it. Reverse side is less suited to everyday play
but that shouldn’t mean anything as far as the record is concerned since
it is the top side all the way. “Why Should I Love You” has to make its
mark in the music field. Be sure to get with it fast.
-------------------------------------------------------------------------------------------------------------
THE CASH BOX AWARD O' THE WEEK
FAYE ADAMS (Herald 434)
“HURTS ME TO MY HEART” (2:50) [Monument BMI—Singleton, McCoy]
“AIN’T GONNA TELL” (2:23) [St. Louis BMI—Watts, Kelly]
Faye Adams comes up with a strong deck in “Hurts Me To My Heart” and the
issue should re-establish the full throated thrush to prominence in the
charts. The gal woefully proclaims her distress at having to tell him
she’s in love with someone else. Crazy horn in the break further heats
up an al- ready torrid emotional vocal job by La Adams. The other side,
“Ain’t Gonna Tell”, is a quick beat hop with chorus support. A happy
ditty with Faye, the chorus and ork all working together to get the
light hearted feeling into the wax. It’s “Hurts Me To My Heart” away and
running.
-------------------------------------------------------------------------------------------------------------
EARL BOSTIC (King 4730)
“MAMBOSTIC” (2:35) [Armo BMI—Bostic]
“THESE FOOLISH THINGS” (2:33) [Bourne ASCAP—Link, Strachey, Maschwitz]
In a quick follow up to his “Mambolino” Earl Bostic comes up with
“Mambostic” and its ingratiating Latin flavor should further solidify
him with mambonics. Obviously going along with the trend. Bostic is
orking towards a catalogue of mambo tunes. The Bostic horn has long made
him a favorite with an ever growing clique and he amply demonstrates why
as he takes over from the first groove to the last with his flavorsome
sax. The reverse platter is a wonderful Bostic sax reading of the
standard, “These Foolish Things”, that makes great dance music for any
market. Two strong sides.
-------------------------------------------------------------------------------------------------------------
THE SKY LIGHT SINGERS (Lamp 9002)
“CERTAINLY LORD” (2:45) [Lamp Music]
The new label comes up with a good quality product in its first
religious release. Group has a good sound and comes through with
excitement. Should meet with a good reception.
“LORD HAVE MERCY” (2:38) [Lamp Music]
Similar comments on a slow gospel side. Group is good.
-------------------------------------------------------------------------------------------------------------
BUDDY LUCAS (Groove 4G-0030)
“NO DICE” (2:40) [Rush BMI —Buddy Lucas]
Buddy Lucas and his ork perform a slow bounce instrumental with lots of
listening appeal.
“HIGH LOW JACK” (2:44) [Sylvia Music BMI — Buddy Lucas]
Buddy Lucas chants a rhythmic middle tempo jump with cute lyrics. A
happy bouncer.
-------------------------------------------------------------------------------------------------------------
ORIGINAL FIVE BLIND BOYS (Peacock 1731)
“I WONDER, DO YOU?” (2:55) [Lion BMI—Archie Brownlee]
Archie Brownlee, singing the lead for the best selling group, sings a
slow melodic inspirational piece. Very touching job that should show
strong in the sales figures.
“ALL ABOARD” (2:40) [Lion BMI—Percell Perkins]
Brownlee shares the lead with Percell Perkins on this side. A slow
number appealing and exciting.
-------------------------------------------------------------------------------------------------------------
ROY BROWN (King 4731)
“GAL FROM KOKOMO” (2:37) [Lois BMI—Brown]
Roy sings a zestful chestful about his big fat gal from Kokomo, wine and
whiskey. Brown belts and bounces on this wild item that has an
infectious appeal. Could be the strongest Brown issue in a long time.
“AIN’T IT A SHAME” (2:18) [Jay & Cee BMI—Glover]
Brown sings a slow plaintive blues on the reverse deck and Brown again
does a strong vocal projection.
-------------------------------------------------------------------------------------------------------------
LA CILLE WATKINS & THE VOLUMES (Jaguar 3006)
“YOU LEFT ME LONELY” (2:46) [Charill BMI—Bell, Watkins La Cille]
Watkins has an unusual style. She emotes with much feeling and good
voice as she sings the sad romantic ditty. Backing the thrush are the
Volumes. Side becomes more appealing with each play.
“SO DISAPPOINTED WITH LOVE” (2:46) [Charill BMI—Bell, Watkins]
Miss Watkins is tenderly etched on this slow weeper and the gal comes
through with flying colors. Both sides have pop as well as r & b appeal.
-------------------------------------------------------------------------------------------------------------
SAUNDERS KING (Flair 1045)
“QUIT HANGIN’ AROUND ME” (2:43) [Flair BMI—King]
Saunders Kings says “Forget It, I Used to Want you, but you didn’t want
me. No use beggin’.” A middle tempo ditty handled smoothly by the
vocalist. Brightest spot on the record is the too short sax chord.
“LONG LONG TIME” (2:43) [Flair BMI—King]
The better side. Tune has more color and emotional projection. Ork has a
good sound and should have a bigger portion of the wax. Vocalist handles
his chore in good style.
-------------------------------------------------------------------------------------------------------------
THE “5” WILLOWS (Herald 433)
“BABY, COME A LITTLE CLOSER” (2:33) [Angel Music BMI—Martin Davis,
Steele, Wright, J. Martin]
Youngsters, who hit with their first release on Allen Records, appear to
have a real strong one on their new label. The Willows rock with an
infectious romantic ditty and the effect is a cuddly one. A goodie that
should be heard from.
“LAY YOUR HEAD ON MY SHOULDER” (2:50) [Monument Music BMI—Watts, Kelley]
The group dishes up a slow blues with a strong presentation. However the
upper deck seems to have it for commercial strength.
-------------------------------------------------------------------------------------------------------------
BABY DEE (MGM K1 1790)
“HOLD THE LIGHT FOR ME” (2:35) [Robert Mellin BMI—Thomas]
Baby Dee sings a romantic plea with that “Shake A Hand” kick. The thrush
sings the tune in a restrained and soft manner.
“DON’T LIVE LIKE THAT NO MORE” (2:19) [Sylvia Music BMI—Thomas,
Kirkland]
The flip is a middle tempo rocker which the chantress socks out with
more zest. The gal sings she’s worth running after and she don’t have to
take it from her cheatin’ man.
-------------------------------------------------------------------------------------------------------------
THE SINGING WANDERERS (Decca 29230)
“SAY HEY, WILLIE MAYS” (2:57) [Paco ASCAP—Robison]
“DON’T DROP IT” (2:16) [American BMI]
NITE RIDERS (Apollo 460)
“SAY HEY” (2:13) [Bess Music BMI—‘‘Doc” Starkes]
“WOMEN AND CADILLACS” (2:47) [Bess BMI—“Doc” Starkes]
WILLIE MAYS with THE TRENIERS (Epic 9066)
“SAY HEY” (3:11) [Tula BMI—Kleiner, Douglass, Warner]
“OUT OF THE BUSHES” (1:55) [American Academy of Music ASCAP—Moore,
Mills]
Currently the hottest name in baseball publicity, Willie Mays, has also
become the hottest name in a race to come out with the “fastest with the
mostest.” At this point there are already three disks out, listed above,
all different tunes, with Willie Mays the subject. The fabulous Giant
outfielder also makes his record debut on one of them, with the
Treniers. Decca raced Epic to the wire with a Singing Wanderers version.
Then right on their heels comes the Apollo release by the Nite Riders.
Most of the sales strength we feel will be centered in New York,
possibly Alabama, from where Mays hails, and other big baseball cities.
From a “hero worship” angle, the Epic record is strong in view of the
fact that Willie is heard thereon. But in each case, it will probably be
the record that is first heard in each area. The reverse of the Decca
release is a solid treatment of the pop “Don’t Drop It.” Two good sides.
The group has a good sound that bids well for its pop future. The flip
on the Apollo, “Women and Cadillacs,” is a quick beat r & b cutie that
might turn out to be the side for the action. The Treniers’ “Out of the
Bushes” is a cover that has already been done in R & B and pop.
-------------------------------------------------------------------------------------------------------------
THE LESTER YOUNG QUINTET (Norgran 112)
“JUMPING AT THE WOODSIDE” (3:00) [Bregman, Vocco & Conn ASCAP—Basie]
Lester Young, whose sound on the sax has been imitated by every young
saxster, blows wild with the Basie hopper for material. Backing Young
are Jessie Drake, trumpet; Gildo Mahones, Piano,Gene Ramey, bass; Connie
Kay, drums. Drake gets off a small trumpet bit that lends color to the
deck.
“WILLOW WEEP FOR ME” (3:05) [Bourne ASCAP—Ronell]
It’s all Les Young on this slow pretty. The tenor saxist drifts through
the ditty in melty fashion.
================================================================
https://www.worldradiohistory.com/Archive-All-Music/Cash-Box/50s/1954/CB-1954-08-07.pdf
THE HARPTONES (Bruce 109; 45-109)
“WHY SHOULD I LOVE YOU” (2:32) [Barlow ASCAP—Rogers Music]
“FOREVER MINE” (2:43) [Cita BMI—Nu-Way Publ]
The Harptones come smashing through with a record that is already
breaking wide open. Titled “Why Should I Love You,” this side sends this
new group to the head of the class. It’s a rhythmic ballad which the
boys handle with an infectious vitality which should soon have the
entire country singing it. Reverse side is less suited to everyday play
but that shouldn’t mean anything as far as the record is concerned since
it is the top side all the way. “Why Should I Love You” has to make its
mark in the music field. Be sure to get with it fast.
-------------------------------------------------------------------------------------------------------------
THE CASH BOX AWARD O' THE WEEK
FAYE ADAMS (Herald 434)
“HURTS ME TO MY HEART” (2:50) [Monument BMI—Singleton, McCoy]
“AIN’T GONNA TELL” (2:23) [St. Louis BMI—Watts, Kelly]
Faye Adams comes up with a strong deck in “Hurts Me To My Heart” and the
issue should re-establish the full throated thrush to prominence in the
charts. The gal woefully proclaims her distress at having to tell him
she’s in love with someone else. Crazy horn in the break further heats
up an al- ready torrid emotional vocal job by La Adams. The other side,
“Ain’t Gonna Tell”, is a quick beat hop with chorus support. A happy
ditty with Faye, the chorus and ork all working together to get the
light hearted feeling into the wax. It’s “Hurts Me To My Heart” away and
running.
-------------------------------------------------------------------------------------------------------------
EARL BOSTIC (King 4730)
“MAMBOSTIC” (2:35) [Armo BMI—Bostic]
“THESE FOOLISH THINGS” (2:33) [Bourne ASCAP—Link, Strachey, Maschwitz]
In a quick follow up to his “Mambolino” Earl Bostic comes up with
“Mambostic” and its ingratiating Latin flavor should further solidify
him with mambonics. Obviously going along with the trend. Bostic is
orking towards a catalogue of mambo tunes. The Bostic horn has long made
him a favorite with an ever growing clique and he amply demonstrates why
as he takes over from the first groove to the last with his flavorsome
sax. The reverse platter is a wonderful Bostic sax reading of the
standard, “These Foolish Things”, that makes great dance music for any
market. Two strong sides.
-------------------------------------------------------------------------------------------------------------
THE SKY LIGHT SINGERS (Lamp 9002)
“CERTAINLY LORD” (2:45) [Lamp Music]
The new label comes up with a good quality product in its first
religious release. Group has a good sound and comes through with
excitement. Should meet with a good reception.
“LORD HAVE MERCY” (2:38) [Lamp Music]
Similar comments on a slow gospel side. Group is good.
-------------------------------------------------------------------------------------------------------------
BUDDY LUCAS (Groove 4G-0030)
“NO DICE” (2:40) [Rush BMI —Buddy Lucas]
Buddy Lucas and his ork perform a slow bounce instrumental with lots of
listening appeal.
“HIGH LOW JACK” (2:44) [Sylvia Music BMI — Buddy Lucas]
Buddy Lucas chants a rhythmic middle tempo jump with cute lyrics. A
happy bouncer.
-------------------------------------------------------------------------------------------------------------
ORIGINAL FIVE BLIND BOYS (Peacock 1731)
“I WONDER, DO YOU?” (2:55) [Lion BMI—Archie Brownlee]
Archie Brownlee, singing the lead for the best selling group, sings a
slow melodic inspirational piece. Very touching job that should show
strong in the sales figures.
“ALL ABOARD” (2:40) [Lion BMI—Percell Perkins]
Brownlee shares the lead with Percell Perkins on this side. A slow
number appealing and exciting.
-------------------------------------------------------------------------------------------------------------
ROY BROWN (King 4731)
“GAL FROM KOKOMO” (2:37) [Lois BMI—Brown]
Roy sings a zestful chestful about his big fat gal from Kokomo, wine and
whiskey. Brown belts and bounces on this wild item that has an
infectious appeal. Could be the strongest Brown issue in a long time.
“AIN’T IT A SHAME” (2:18) [Jay & Cee BMI—Glover]
Brown sings a slow plaintive blues on the reverse deck and Brown again
does a strong vocal projection.
-------------------------------------------------------------------------------------------------------------
LA CILLE WATKINS & THE VOLUMES (Jaguar 3006)
“YOU LEFT ME LONELY” (2:46) [Charill BMI—Bell, Watkins La Cille]
Watkins has an unusual style. She emotes with much feeling and good
voice as she sings the sad romantic ditty. Backing the thrush are the
Volumes. Side becomes more appealing with each play.
“SO DISAPPOINTED WITH LOVE” (2:46) [Charill BMI—Bell, Watkins]
Miss Watkins is tenderly etched on this slow weeper and the gal comes
through with flying colors. Both sides have pop as well as r & b appeal.
-------------------------------------------------------------------------------------------------------------
SAUNDERS KING (Flair 1045)
“QUIT HANGIN’ AROUND ME” (2:43) [Flair BMI—King]
Saunders Kings says “Forget It, I Used to Want you, but you didn’t want
me. No use beggin’.” A middle tempo ditty handled smoothly by the
vocalist. Brightest spot on the record is the too short sax chord.
“LONG LONG TIME” (2:43) [Flair BMI—King]
The better side. Tune has more color and emotional projection. Ork has a
good sound and should have a bigger portion of the wax. Vocalist handles
his chore in good style.
-------------------------------------------------------------------------------------------------------------
THE “5” WILLOWS (Herald 433)
“BABY, COME A LITTLE CLOSER” (2:33) [Angel Music BMI—Martin Davis,
Steele, Wright, J. Martin]
Youngsters, who hit with their first release on Allen Records, appear to
have a real strong one on their new label. The Willows rock with an
infectious romantic ditty and the effect is a cuddly one. A goodie that
should be heard from.
“LAY YOUR HEAD ON MY SHOULDER” (2:50) [Monument Music BMI—Watts, Kelley]
The group dishes up a slow blues with a strong presentation. However the
upper deck seems to have it for commercial strength.
-------------------------------------------------------------------------------------------------------------
BABY DEE (MGM K1 1790)
“HOLD THE LIGHT FOR ME” (2:35) [Robert Mellin BMI—Thomas]
Baby Dee sings a romantic plea with that “Shake A Hand” kick. The thrush
sings the tune in a restrained and soft manner.
“DON’T LIVE LIKE THAT NO MORE” (2:19) [Sylvia Music BMI—Thomas,
Kirkland]
The flip is a middle tempo rocker which the chantress socks out with
more zest. The gal sings she’s worth running after and she don’t have to
take it from her cheatin’ man.
-------------------------------------------------------------------------------------------------------------
THE SINGING WANDERERS (Decca 29230)
“SAY HEY, WILLIE MAYS” (2:57) [Paco ASCAP—Robison]
“DON’T DROP IT” (2:16) [American BMI]
NITE RIDERS (Apollo 460)
“SAY HEY” (2:13) [Bess Music BMI—‘‘Doc” Starkes]
“WOMEN AND CADILLACS” (2:47) [Bess BMI—“Doc” Starkes]
WILLIE MAYS with THE TRENIERS (Epic 9066)
“SAY HEY” (3:11) [Tula BMI—Kleiner, Douglass, Warner]
“OUT OF THE BUSHES” (1:55) [American Academy of Music ASCAP—Moore,
Mills]
Currently the hottest name in baseball publicity, Willie Mays, has also
become the hottest name in a race to come out with the “fastest with the
mostest.” At this point there are already three disks out, listed above,
all different tunes, with Willie Mays the subject. The fabulous Giant
outfielder also makes his record debut on one of them, with the
Treniers. Decca raced Epic to the wire with a Singing Wanderers version.
Then right on their heels comes the Apollo release by the Nite Riders.
Most of the sales strength we feel will be centered in New York,
possibly Alabama, from where Mays hails, and other big baseball cities.
From a “hero worship” angle, the Epic record is strong in view of the
fact that Willie is heard thereon. But in each case, it will probably be
the record that is first heard in each area. The reverse of the Decca
release is a solid treatment of the pop “Don’t Drop It.” Two good sides.
The group has a good sound that bids well for its pop future. The flip
on the Apollo, “Women and Cadillacs,” is a quick beat r & b cutie that
might turn out to be the side for the action. The Treniers’ “Out of the
Bushes” is a cover that has already been done in R & B and pop.
-------------------------------------------------------------------------------------------------------------
THE LESTER YOUNG QUINTET (Norgran 112)
“JUMPING AT THE WOODSIDE” (3:00) [Bregman, Vocco & Conn ASCAP—Basie]
Lester Young, whose sound on the sax has been imitated by every young
saxster, blows wild with the Basie hopper for material. Backing Young
are Jessie Drake, trumpet; Gildo Mahones, Piano,Gene Ramey, bass; Connie
Kay, drums. Drake gets off a small trumpet bit that lends color to the
deck.
“WILLOW WEEP FOR ME” (3:05) [Bourne ASCAP—Ronell]
It’s all Les Young on this slow pretty. The tenor saxist drifts through
the ditty in melty fashion.
================================================================