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The Ink Spots | |
|---|---|
 The Ink Spots in 1944 | |
| Background information | |
| Origin | Indianapolis, Indiana, United States |
| Genres | |
| Years active | 1934–1954 |
| Labels | |
| Website | Inkspots.com |
The Ink Spots were an American vocal pop group who gained international fame in the 1930s and 1940s. Their unique musical style predated the rhythm and blues and rock and roll musical genres, and the subgenre doo-wop. The Ink Spots were widely accepted in both the white and black communities, largely due to the ballad style introduced to the group by lead singer Bill Kenny.
In 1989, the Ink Spots (Bill Kenny, Charlie Fuqua, Deek Watson, Jerry Daniels, and Orville Jones) were inducted into the Rock and Roll Hall of Fame,[1] and in 1999 they were inducted into the Vocal Group Hall of Fame. Since the Ink Spots disbanded in 1954, there have been well over a hundred vocal groups calling themselves "The Ink Spots", with and without any original members of the group. It has often been the case that these groups claimed to be "second generation" or "third generation" Ink Spots.[2][3]
1930s
Early background of founding members
Daniels and Fuqua formed a vocal duo called "Jerry and Charlie", and performed in the Indianapolis area around 1931. About the same time, Jones and Watson were part of a quartet, "The Four Riff Brothers", who appeared regularly on radio station WLW in Cincinnati, Ohio. In 1933, that group disbanded, and Watson, Daniels and Fuqua got together to form a new vocal, instrumental and comedy group, initially called "King, Jack, and Jester". They continued to appear regularly on radio in Ohio, and became a quartet when Jones joined the following year.
In July 1934, they accepted a booking at the Apollo Theater, New York, supporting jazz bandleader Tiny Bradshaw. At this point they had changed their name to "The 4 Ink Spots". Later that year, the Ink Spots achieved international success touring the UK with Jack Hylton's Orchestra, one review in the Melody Maker stating:
The sensation of the programme is the coloured quartette, the Four Ink Spots. They sing in a style something between the Mills Brothers and the Three Keys, and accompany themselves on three tenor guitars and a cello — which is not bowed, but picked and slapped like a double bass. Their natural instinct for hot rhythm is exemplified in their terrific single-string solo work and their beautifully balanced and exquisitely phrased vocalisms. They exploit all kinds of rhythmic vocalisms — straight solos, concerted, scat, and instrumental imitations. They even throw in a bit of dancing to conclude their act, and the leading guitarist simultaneously plays and juggles with his instrument.[4]
They first recorded for Victor Records in 1935. Their early recordings included such songs as "Swingin' On The Strings", "Your Feet's Too Big", "Don't 'Low No Swingin' In Here" and "Swing, Gate, Swing". Despite their rising popularity as performers, their early records were not commercially successful.
Bill Kenny joins
In 1936, Daniels was replaced by a 21-year-old singer from Baltimore, Bill Kenny, who signed on with the Ink Spots after winning first place in an amateur contest at Harlem's Savoy Ballroom. Three years later, Kenny was credited for bringing the group to global success with his unusual high tenor ballad singing.[5]
In 1938, after being in the group for two years, Kenny started to introduce the group to a new format that he called "Top & Bottom". This format was used primarily for ballads rather than the uptempo "jive" songs the group was used to performing. This format called for the tenor (Kenny or Watson) to sing the lead for one chorus followed by a chorus performed by bass singer Jones reciting the lyrics rather than singing them. After a chorus of the "talking bass" the lead tenor sang the rest of the song until the end. The earliest example of their "Top & Bottom" format is from a radio broadcast from 1938. The song, titled "Tune In on My Heart", features Kenny taking the lead and Jones performing the talking bass.[6]
Also in 1938, Kenny took his first feature solo in Decca studios. His feature was on a song titled "I Wish You the Best of Everything". Although not in the "Top & Bottom" format, it was a ballad and used the signature Ink Spots guitar intro. Even though it got a good response, it was not very successful in terms of record sales and did not reach the pop chart.[7]
"If I Didn't Care" and the late 1930s
On January 12, 1939, the Ink Spots entered Decca studios to record a ballad written by a young songwriter named Jack Lawrence. This ballad, "If I Didn't Care", was to be one of their biggest hits, selling over 19 million copies and becoming the 8th-best-selling single of all time. This is the first studio recorded example of the Ink Spots "Top & Bottom" format with Kenny singing lead and Jones performing the "talking bass". For this recording, each member was paid $37.50; after the record sold 200,000 copies, however, Decca destroyed the original contract and the group was paid an additional $3,750. This was the recording that brought the group to global fame and established the "Top & Bottom" format as the Ink Spots "trademark". From 1939 until the group's disbanding in 1954, many of their songs employed this format. The year 1939 also saw the Ink Spots enjoy commercial success with five other recordings that featured Kenny in the "Top & Bottom" format. Their most successful hit of 1939 was the Lombardo, Marks & Hill ballad, "Address Unknown". Other successful hits from 1939 and early 1940 included "My Prayer",[8] "Bless You", "Memories of You", and "I'm Gettin' Sentimental Over You".[2]
1940s
Recordings
Between the years 1940 and 1949 the Ink Spots landed well over 30 hits on the US Pop Charts with 18 of them on the top 10. The group’s first Billboard #1 hit came in 1944, when they teamed up with Ella Fitzgerald to record "I'm Making Believe".[9] This recording featured Bill Kenny. In 1946, the Ink Spots earned another #1 spot on the US Pop Charts with "To Each His Own". The Billy Reid composition "The Gypsy" was the Ink Spots' biggest chart success, staying at the #1 position on the Billboard Best Sellers chart for 10 straight weeks in 1946.
Other hits for the Ink Spots in the 1940s included "When the Swallows Come Back to Capistrano", "Maybe", "We Three", "I Don't Want to Set the World on Fire", "Don't Get Around Much Anymore", "A Lovely Way to Spend an Evening", "Into Each Life Some Rain Must Fall", and "I'm Beginning to See the Light".[10]
Films
In 1941, the Ink Spots were featured in The Great American Broadcast starring John Payne and Alice Faye. In the film, the Ink Spots play Pullman porters who sing during their breaks and ultimately "make it big time" and sing live on the radio during a national broadcast. The group sings a short segment of "If I Didn't Care", "Alabamy Bound", and "I've Got a Bone to Pick with You". They also provide background vocals to Faye and Payne on a ballad entitled "Where You Are".
The following year, the Ink Spots were featured in an Abbott and Costello film, Pardon My Sarong. In this film, the Ink Spots play singing waiters in a nightclub. They sing the ballad "Do I Worry?" and the swing song "Shout Brother Shout".[2]
Line-up changes
In 1943, Ink Spots baritone singer and guitarist Fuqua was drafted into the US Army. He chose his friend Bernie Mackey to be his temporary replacement until he returned to the group. After being with the group for two years, Mackey was replaced by Huey Long in March 1945. Long completed the role as a "fill in" until Fuqua finally returned in October 1945.
Jones died in October 1944, after collapsing on stage at the Cafe Zanzibar in New York City, near the height of the Ink Spots' popularity. He had been having cerebral hemorrhages for a year, and had fallen ill from the condition in June 1944.[11] Jones was temporarily replaced by Cliff Givens, who filled in from October 1944 to March 1945, before a permanent replacement was found in Bill Kenny's brother (and fraternal twin) Herb Kenny. Herb Kenny sang with the group from 1945 to 1951, when he began a career as a solo artist. The last bass singer in the Ink Spots was Adriel McDonald, who was with the group from 1951 to 1954. McDonald was previously the Ink Spots' personal valet, a job given to him by Herb Kenny, with whom he had sung in a group called "The Cabineers" in the early 1940s.
Due to personality clashes between Bill Kenny and Watson after Jones' death, Kenny decided he would rather carry on as the leader of the group and bought Watson's share of the group for $10,000, which gave him the power to kick Watson out of the group. Watson went on to form a group similar in style to the Ink Spots called the Brown Dots (which later became the Four Tunes), and his place was filled by Billy "Butterball" Bowen, who sang with the Ink Spots from 1944 to 1952.
1950s
Final years
In 1952, Fuqua left the group to form his own vocal group using the name "Ink Spots". At this time, Kenny and Fuqua each owned 50% of the Ink Spots, and it was decided by court ruling that Kenny's group was to continue on as the original "Ink Spots", while Fuqua's group was to use the name "Charlie Fuqua's New Ink Spots". Defying the court ruling, Fuqua instead called his group the "Original" Ink Spots.
Fuqua was replaced in the Ink Spots by popular jazz and R&B guitarist Everett Barksdale, so the group now consisted of Bill Kenny (lead tenor), Teddy Williams (second tenor), who had replaced Bowen, Everett Barksdale (baritone and guitar), and McDonald (bass). After being with the group for only a few months, Williams was replaced by Ernie Brown. Barksdale stayed with the group for about a year before being replaced by baritone vocalist and guitar player named Jimmy Cannady. This line-up of Kenny (lead tenor), Brown (second tenor), Cannady (baritone and guitar), and McDonald (bass) lasted until 1954, when the final change of lineup was made.
In April 1954, Brown was replaced by Henry Braswell, who sang with the Ink Spots for their final three months. Kenny officially disbanded the Ink Spots in July 1954, after an appearance at the Bolero Bar in Wildwood, New Jersey.[2]
Members
inducted into the Rock and Roll Hall of Fame
- Hoppy Jones (born as Orville Jones, February 17, 1905, Chicago, Illinois – d. October 18, 1944, New York City) sang bass. He played cello in the manner of a stand up bass.[12]
- Deek Watson (born as Ivory Jones, July 18, 1909 (some sources say 1913), Mounds, Illinois – d. November 4, 1969, Washington, D.C.) sang tenor and played tenor guitar.[13]
- Jerry Daniels (b. December 14, 1915 – d. November 7, 1995, Indianapolis, Indiana) sang tenor and played guitar and ukulele.[14]
- Charlie Fuqua (b. October 20, 1910 – d. c. 1970, New Haven, Connecticut)[15] had a baritone voice and played guitar and tenor guitar.
- Billy Kenny (b. June 12, 1914, Philadelphia, Pennsylvania, U.S. – d. March 23, 1978, New Westminster, Canada) sang lead tenor.
Additional members
Timeline
| Name | "Jerry and Charlie"/"The Four Riff Brothers" | "King, Jack, and Jester" | "King, Jack, and Jester" (1934), then "The 4 Ink Spots" (1934), "The Ink Spots" (1934-onward) | "The Ink Spots" (instrumentation unknown from here onward) | "The Ink Spots" (Considered the end of the true "The Ink Spots" by a judge in 1955) | "The Ink Spots" | "The Ink Spots" | "The Ink Spots" | "The Ink Spots" | "The Ink Spots" | "The Ink Spots" | "The Ink Spots" | "The Ink Spots" | "The Ink Spots" | "The Ink Spots" or something very similar |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 1931–1933 | 1933–1934 | 1934–1936 | 1936–1943 | 1943 – Oct 1944 | Oct-late 1944 | late 1944 – Mar 1945 | Mar–Oct 1945 | Oct 1945–1951 | 1951–1952 | 1952-1952 or 1953 | 1952 or 1953-1953 or 1954 | 1953 or 1954 – April 1954 | April 1954 – July 1954 | 1952–present | |
| Jerry Daniels | Part of "Jerry and Charlie" | Part of "King, Jack, and Jester" | sang tenor, played guitar and ukulele | ||||||||||||
| Bill Kenny | sang lead tenor | sang lead tenor | sang lead tenor | sang lead tenor | sang lead tenor | sang lead tenor | sang lead tenor | sang lead tenor | sang lead tenor | sang lead tenor | sang lead tenor | ||||
| Charlie Fuqua | Part of "Jerry and Charlie" | Part of "King, Jack, and Jester" | sang baritone, played guitar and tenor guitar | sang baritone | sang baritone | sang baritone | Part of groups called "Charlie Fuqua's Ink Spots" or "The Ink Spots" from 1952 to 1971 | ||||||||
| Bernie Mackey | sang baritone | sang baritone | sang baritone | ||||||||||||
| Huey Long | sang baritone | ||||||||||||||
| Everett Barksdale | sang baritone, played guitar | sang baritone, played guitar | |||||||||||||
| Jimmy Cannady | sang baritone, played guitar | sang baritone, played guitar | |||||||||||||
| Hoppy Jones | Part of "The Four Riff Brothers" | sang bass, played cello | sang bass | sang bass | deceased | deceased | deceased | deceased | deceased | deceased | deceased | deceased | deceased | deceased | |
| Cliff Givens | sang bass | sang bass | |||||||||||||
| Herb Kenny | sang bass | sang bass | |||||||||||||
| Adriel McDonald | sang bass | sang bass | sang bass | sang bass | sang bass | Part of an Ink Spots group | |||||||||
| Deek Watson | Part of "The Four Riff Brothers" | Part of "King, Jack, and Jester" | sang second tenor, played tenor guitar | sang second tenor | sang second tenor | sang second tenor | Part of "Charlie Fuqua's Ink Spots" from 1952 to 1953, Part of his own "The Ink Spots" from 1954 to 1969 | ||||||||
| Billy "Butterball" Bowen | sang second tenor | sang second tenor | sang second tenor | sang second tenor | Part of an Ink Spots group | ||||||||||
| Teddy Williams | Zdroj:https://en.wikipedia.org?pojem=The_Ink_Spots |