Simpkins made Universal Recording the studio of choice for his operation until 1956, nearly everything that United and States recorded in town would be done there. The Four Blazes and the Dozier Boys represented the vocal/instrumental group tradition of the 1940s. The label also put out some of the first records by the Staple Singers, but fame for that group would not come until they signed with Vee-Jay. Gospel acts included Robert Anderson, the Genesa Smith Singers, the Lucy Smith Singers, Singing Sammy Lewis, and the Caravans. Vocal groups such as the Danderliers, Five C's, Moroccos, and Hornets filled a small part of the catalogue. McKinley, Big Walter Horton, and Alfred "Blues King" Harris. Operation especially thrived on, was represented by such artists as Junior Wells, L. The famed Chicago bar band style of blues, which the rival Chess Especially outstanding were the sides recorded by Robert Nighthawk, whose Delta blues slide-guitar stylings represent one of the finest legacies in citified country blues. The focus was primarily on urban blues artists from the 1940s, such as Roosevelt Stykes, Memphis Slim, Grant Jones, and J.T. The company recorded an invaluable number of great blues. It was jazz as entertainment rather than art. United, with a few exceptions, looked for complete melodies and catchy hooks from its jazz artists rather than adventurous bebopping. The operation recorded its jazz artists for the rhythm and blues singles marketplace, which meant beat-driven hook-laden jumps and smooth renditions of ballad standards. It included Tab Smith, Jimmy Forrest, Tommy Dean, Paul Bascomb, Jimmy Coe, Cozy Eggleston, Leo Parker, Chris Woods, Gene Ammons, the Mil-Con-Bo Trio, Debbie Andrews, Della Reese, Jimmy Hamilton, Eddie Chamblee, Tiny Grimes, and Lefty Bates. United/States recorded the whole gamut of African-American popular music styles of the day: blues, jazz, vocal groups, rhythm and blues jumps, and gospel. Simpkins took over a good portion of the Miracle/Premium artist stable, some of them after detours to other companies, and signed them to the United and States imprints: Tab Smith, Robert Anderson, Tommy Dean, Jack Cooley, Memphis Slim, Eddie Chamblee, Terry Timmons, and Browley Guy. Miracle and Premium were both hit-making labels, and their demise will forever remain a mystery. As was typical in the business in those days, each label had its own line-up of distributors. In May 1952 the company added a second imprint, States. The company was formed in July of 1951 with the establishment of the United imprint. When Premium was going broke in June 1951, Simpkins was itching to stay in the record business he talked his friend Allen into getting involved and into providing the initial seed money for the operation. United/States Records was founded by Leonard Allen, a tailor and neophyte in the record business, and Lew Simpkins, who had previous experience working A&R at MiracleĪnd then Premium, two labels he ran with Lee Egalnick. We have corrected our information on the first Tommy Dean session of June 4, 1952, to reflect the existence of two takes of "Lonely Monday" as well as two of "Foolish" our thanks to Dani Gugolz for identifying the different versions of "Lonely Monday." We have added information on the Reverend Robert Anderson's recordings after he left United. We have added information on Billy Ford's second release, United 167. We have a release date for United 119 Dan Kochakian has located a Cash Box advertisement for the single from May 10, 1952. We have noted that the tenor pop singer, Johnny Holiday, was originally known as Danny Parker. We have a release date, at last for the second Tiny Grimes single, United 170-it was reviewed in Cash Box on July 21, 1956. Revision note:We have provided some background on "Tasso" Zachary, who was an established bandleader in Louisville, Kentucky, when he made his one single for United. Campbell, and Tom Kelly Latest revision: October 28, 2022 Part I (1951-1953) © Robert Pruter, Robert L.
0 kommentar(er)
