What a revelation to find out that World Radio History‘s website not only allows access to a comprehension collection of music trade publications, including Billboard, Cash Box, and Record World, but also the ability to search all back issues simultaneously! What’s especially helpful is how the search results often show each magazine page rendered in miniature, while the search terms are shown in relation to the other text on the page, thus allowing you to see more readily which articles are actually germane to your search (and not simply “noise”).
This new reckoning of World Radio History’s vast holdings, consequently, impelled me to pull together a comprehensive bibliography of periodical literature that documents King Records during its years of operation – within the context of Cincinnati’s own substantial popular music and media (radio & TV) history – as well as the impact of King’s legacy in the decades following Syd Nathan’s passing in 1968. Utilizing journal and newspaper clippings from my own files, as well as bibliographic references from Steven C. Tracy‘s Going to Cincinnati (1993), Jon Hartley Fox‘s King of the Queen City (2009), and David Bottoms‘ sweeping Stacks of Wax – The Complete Story of the Record Labels of Cincinnati, Ohio (2020), not to mention information gathered on field trips to the Library of Congress’ Recorded Sound Research Center (plus a trial subscription to Newspapers.com, and even gleanings from an early incarnation of this website), I have been able to encapsulate the King story through 75 years or so of news and journal literature.
Just from reading the titles of the articles and summary notes cited below, one can take in the magnitude of the King musical legacy — a remarkable span of commercial success for an independent operation that restlessly sought to exploit areas of the marketplace that were insufficiently served by the major labels. This detailed bibliographyof over 1,000 items — many in full text — will be updated over time and is a public service of Zero to 180:
King Records & Cincinnati Music History:
In The Periodical Literature
Updated: Jan. 31, 2025
Click on hyperlinks for full text
1935-1945
Radio ‘Station Notes’ = WLW adds five staff engineers, including Earl Herzog – Billboard – Mar. 14, 1936
Duke Ellington to return to Cincinnati’s Castle Farm – Cincinnati Enquirer – Aug. 9, 1936
“Real Estate Transfers” – Cincinnati Enquirer – Jan. 13, 1940
Boone County Jamboree & Lulu Belle and Scotty referenced in “Case for Hillbillies” – Billboard – Apr. 13, 1940
Review = “Boone County Jamboree of 1941” [this latest edition “has gone sophisticated, gradually getting away from the fiddling and guitar type of hokum and hoe-down dancing”] – Billboard – Nov. 9, 1940
“Renfro Valley [Barn Dance] Dropped by WLW” = “WLW severs all connections with the Renfro Valley Barn Dance, rural show managed by John Lair, which started on this station several years ago” – Billboard – Apr. 19, 1941
WLW Promotions ad = “Year After Year – Still Packing ‘em In!” [“Paced by America’s No. 1 Rural Radio Show … Boone County Jamboree … WLW’s personalities continue to establish new box office records wherever they appear”] – Billboard – May 27, 1944
Excerpt – The King organization, with offices at 1351-53 Central Avenue here, has rented a spacious plant at 1540 Brewster Avenue here in which is being installed a modern fully equipped plating plant where the firm will be able to turn out 24 pieces (masters) per day.
“Company is Formed; To Make Recordings; Located in Evanston” – Cincinnati Enquirer – Nov. 12, 1944
“Deals Include Store Units, Parcel for Sears Expansion” – Cincinnati Enquirer – Dec. 13, 1944
WLW Promotions ad = Boone County Jamboree – “Still Best in the Middle West” – Billboard – 1944 Yearbook
Excerpt – E. T. Herzog Recording Company, headed by E. T. Herzog and H. G. Weiss, opened studios here this week. Firm, in addition to complete recording service, will also do slide and strip film work, including writing, production and photography, as well as air checks for agencies.
“Two Corporations Replace King Record Company” – Cincinnati Post – Oct. 8, 1946
“Strummin’ Geetar Is Music to Millions” by J.F. Cronin – Cincinnati Enquirer – Nov. 27, 1946
Excerpt – Followers of this music are loyal to their artists. They have been known to elect favorite talent to high office in certain Southern states. And the tastes of these music lovers endure. Their favorite tunes do not pass into oblivion in a few weeks, but are played over and over again. Yes, Nathan has found that the music goes ’round and ’round.
Excerpt – Our engineering department is constantly striving for better quality and longer life of record. After two years of development we will put up our label against that of any other company for quality, tone, and longevity.
“Radio Reaps $$ In Promotion Covering Fairs” = WLW is deemed a “pioneer” [“WLW, Cincinnati, has had an attraction working fairs and outdoor celebrations since 1938” – the first being John Lair’s Refro Valley Folks] – Billboard – Mar. 29, 1947
‘I Love You Yes I Do’ by Bull Moose Jackson = #1 in Harlem – Cash Box – Jan. 10, 1948
‘I Love You Yes I Do’ by Bull Moose Jackson = #1 in New Orleans – Cash Box – Jan. 10, 1948
‘I Love You Yes I Do’ by Bull Moose Jackson = #1 in Harlem – Cash Box – Feb. 7, 1948
Reviews = ‘Waltz of the Wind’ by Clyde Moody – Bullseye of the Week + ‘Signed, Sealed & Delivered’ by Cowboy Copas – #2 folk-hillbilly hit – Cash Box – Feb. 14, 1948
Excerpt – Television is not new to Crosley or Cincinnati. We established one of the first television stations in the United States in April, 1939, under the call letters W8XCT. Experimental television broadcasting has been conducted continuously since that date, interrupted only by the war.
NOTE – WLW’s Midwestern Hayride drew Jerry Byrd & The Pleasant Valley Boys to Cincinnati in late 1948 thanks to lucrative pay for television and radio, plus plenty of studio session side work. Zero to 180’s detailed history piece from 2022 — The “Pre-Nashville A Team” at Cincinnati’s Herzog Studios — reveals the Queen City to be one of country music’s earliest recording centers.
‘I Love You Yes I Do’ by Bull Moose Jackson – #1 on LA’s Central Ave – Cash Box – Mar. 20, 1948
‘All My Love Belongs to You’ by Bull Moose Jackson – #1 on Chicago’s South Side – Cash Box – Mar. 27, 1948
Excerpt – The new “Pop Series” will go on the King Blue Label which heretofore carried only the King race catalogue. The hillbilly line will remain on the King Red Label.
‘Pleasing You’ by Lonnie Johnson – #1 in New Orleans – Cash Box – Nov. 13, 1948
‘Sweeter Than the Flowers‘ by Moon Mullican – #1 folk-hillbilly jukebox hit – Cash Box – Nov. 13, 1948
‘Sweeter Than the Flowers’ by Moon Mullican – #2 folk-hillbilly jukebox hit – Cash Box – Nov. 20, 1948
‘Sweeter Than the Flowers’ by Moon Mullican – #2 folk-hillbilly jukebox hit – Cash Box – Nov. 27, 1948
‘Blues For The Red Boy’ by Todd Rhodes – #1 in New Orleans – Cash Box – Nov. 27, 1948
Reviews = ‘Walkie Talkie’ by Todd Rhodes Orchestra – Race Disk o’ the Week + ‘I Like It’ by Ivory Joe Hunter – Cash Box – Dec. 11, 1948
Reviews = ‘The Best of Friends’ b/w ‘The Things You Do To Me’ [flip side co-written by Henry Glover] by Savannah Churchill (Columbia) – Race Disk o’ the Week – Cash Box – Dec. 18, 1948
Reviews = ‘As You Desire Me’ b/w ‘More Than You Know’ & ‘Say It Isn’t So’ b/w ‘Goodnight My Love’ by Barbara Cameron (King) – Cash Box – Dec. 25, 1948
Review = ‘The Hucklebuck’ by Paul Williams [i.e., stolen arrangement of ‘Boarding House Blues’ by Henry Glover, later recast as ‘D Natural Blues‘] – Cash Box – Feb. 5, 1949
“Juke Box Operator’s $6 Debt Makes Hillbilly Hits” by Jack Ramey – Cincinnati Enquirer – Feb. 6, 1949
Excerpt – Glover, former trumpet player with Lucky Millinder’s orchestra, arranged and wrote material for the Bull Moose Jackson combo which was polled the leading race group in 1948 with such outstanding hits as “I Love You, Yes I Do”; “All My Love Belongs To You” and “I Can’t Go On Without You,” of which he was co-writer.
Review = ‘Feel That Old Age Coming On’ by Wynonie Harris – Race Disk of the Week – Cash Box – Mar. 5, 1949
Review = ‘I Know What It Means to Be Lonesome’ by Clyde Moody – Bullseye of the Week – Cash Box – Mar. 12, 1949
Review = ‘D Natural Blues’ by Lucky Millinder [co-written by Henry Glover – stolen arrangement turned into ‘The Hucklebuck’ by Paul Williams, the #1 R&B hit of 1949]
“Record Firm Here Smashes Jim Crow; Workers’ Positions, Pay Keyed to Ability” – Jerry Ransohoff – Cincinnati Post – Mar. 21, 1949
Excerpt – Two years ago they told Ben Siegel, of the King Record Co. of 1540 Brewster Avenue, that it couldn’t be done.
“Cincinnati is a border town,” said the skeptics, “you can’t get Negroes and white people to work together. It’s too close to the south.”
But Mr. Siegel didn’t believe them. He told [Sydney] Nathan and Howard [Kessel] officers of the company, that he’d be King’s personnel manager only if they’d let him run his department as he saw fit. They backed his policies.
The skeptics were wrong. King hires 400 employees, and the non-discrimination policies have needed no “backing.” Here’s the way things stand today: The musical director [i.e., Henry Glover], assistant office manager, foreman of the mill room, set-up man on the production line, assistant promotion director, legal secretary, a dozen stenographers and 20 per cent of the factory workers are Negroes.
‘Rocking at Midnight’ by Roy Brown = #1 in New Orleans – Cash Box – Mar. 26, 1949
‘Rocking at Midnight’ by Roy Brown = #1 in New Orleans – Cash Box – Apr. 2, 1949
Excerpt – The terms “race” and “hillbilly” records, pertaining to music which during recent years has proved to be of extraordinary appeal to a considerable segment of American record collectors, have a derogatory undertone which does no honor to our American democratic feeling, does not invite interest in this music, and fails completely to give an accurate description of the music thus characterized.
In an admirable statement, which Record Retailing endorses fully, Mr. A.B. [Al] Green, president of National Records, calls upon the record industry to rid itself of the term “race” in describing records made by Negro artists. Mr. Green asserts that the record industry, which prides itself on its role as a powerful democratic force in our cultural development has so far failed to cast aside the harmful policy of designating popular tunes recorded by Negro artists as “race” music. In Mr. Green’s words, “the term is a primitive misnomer, harking back to the infant days of recording … The best solution to the entire problem is to include all music in the “popular” category since this term can apply to all types of music.
Reviews = ‘Wrong to Love You Like I Do’ by Cowboy Copas – Bullseye of the Week – Cash Box – June 4, 1949
“Annual Folk Festival Holds Spotlight Here Saturday” – Blackstone Courier Record – June 17, 1949
Excerpt – 300 copies of the Nathan recording [“Hail To Old Blackstone“] will be given away as prizes during the afternoon program – be sure and be there to get your copy.
Full text – BLACKSTONE, VA. — King Records Inc., this past week disclosed their whole-hearted support of a huge folk festival scheduled to take place in this city on Saturday, June 18th.
Syd Nathan, president of the firm, and John S. Kelley, Jr., vice-president and general manager, were learned to be planning on attending in addition to many King recording artists. King artists Grandpa Jones, Clyde Moody and Jimmy Osborne are scheduled to appear. Tony Wren, King Records’ Richmond, Va. salesman, has been appointed festival program director by Ed Silverman of station WKLV.
Mr. Nathan [with Henry Glover’s assistance] has especially written a song in honor of the city, and will officially present the original copy to the City Fathers at the festival.
“Hail To Old Blackstone“
Written by Syd Nathan & Henry Glover
‘Little Girl Don’t Cry’ by Bull Moose Jackson #1 in LA + ‘Waiting in Vain’ by Ivory Joe #2 in New Orleans – Cash Box – June 25, 1949
‘Little Girl Don’t Cry’ by Bull Moose Jackson #1 in LA + ‘Waiting in Vain’ by Ivory Joe #2 in New Orleans – Cash Box – July 2, 1949
Reviews = ‘The Longer We’re Together’ by Hawkshaw Hawkins – Bullseye of the Week + Paul Howard & Ark Cotton Pickers – Cash Box – July 9, 1949
‘Little Girl Don’t Cry’ by Bull Moose Jackson – #1 on Chicago’s South Side + ‘Pot Likker’ by Todd Rhodes – #1 on L.A.’s Central Ave – Cash Box – July 16, 1949
‘Why Don’t You Haul Off and Love Me’ by Wayne Raney (#2) + ‘Blues Stay Away’ by Delmore Brothers (#3) hillbilly-folk jukebox hits – Cash Box – Dec. 10, 1949
‘Why Don’t You Haul Off and Love Me’ by Wayne Raney (#2) + ‘Blues Stay Away’ by Delmore Brothers (#3) hillbilly-folk jukebox hits – Cash Box – Dec. 17, 1949
Reviews = Johnny Rion (King) + Rex Allen with Jerry Byrd & the String Dusters recorded at Herzog Studios (Mercury) – Cash Box – Dec. 17, 1949
Reviews = ‘I’ll Sail My Ship Alone’ [co-written by Henry Glover] by Moon Mullican (King) + ‘You Can’t Divorce a Loving Heart’ by Redd Stewart (King) – Cash Box – Dec. 24, 1949
Ad = ‘Thanks from Hank’ – ‘Love Sick Blues‘ 1949’s #1 hillbilly record – Cash Box – Dec. 24, 1949
‘Why Don’t You Haul Off and Love Me’ by Wayne Raney (#2) + ‘Blues Stay Away’ by Delmore Brothers (#3) hillbilly-folk jukebox hits – Cash Box – Dec. 24, 1949
‘Why Don’t You Haul Off and Love Me’ by Wayne Raney (#2) + ‘Blues Stay Away’ by Delmore Brothers (#3) hillbilly/folk jukebox hits – Cash Box – Dec. 31, 1949
1950
“The Man Who Is King [Syd Nathan]” – Saga – January, 1950
[Note: According to Jon Hartley Fox, this article (above) presents information on Syd Nathan “that formed a basis for subsequent discussions of him in print”]
‘Why Don’t You Haul Off and Love Me’ by Wayne Raney (still #2) + ‘Blues Stay Away From Me’ by Delmore Brothers – (still #3) folk/hillbilly jukebox hits – Cash Box – Jan. 7, 1950
Paul Cohen Named Sales Manager Decca’s New Country & Sepia Dept. [p. 10] – Cash Box – Jan. 7, 1950
‘Blues Stay Away From Me’ by Delmore Brothers – (#2) + ‘My Bucket’s Got A Hole In It’ by Hank Williams (#5) folk/hillbilly jukebox hits – Cash Box – Jan. 14, 1950
Reviews = ‘I Love You Because’ by Clyde Moody – Bullseye of the Week – Cash Box – Jan. 14, 1950
‘Blues Stay Away From Me’ by Delmore Brothers (#2) + ‘My Bucket’s Got A Hole In It’ by Hank Williams (#5) folk/hillbilly jukebox hits – Cash Box – Jan. 28, 1950
Reviews = ‘I Love My Baby’s Pudding’ by Wynonie Harris – Award o’ the Week – Cash Box – Feb. 18, 1950
‘Blues Stay Away From Me’ by Delmore Brothers – #5 folk-hillbilly jukebox hit – Cash Box – Feb. 18, 1950
Ohio Ballroom Operators’ Association [“NBOA Chapter”] formed – Milt Magel, owner of Cincinnati’sCastle Farm & Louisville’s Club Madrid, elected president – Billboard – Feb. 25, 1950
Reviews = ‘It’s Too Late To Say You Were Wrong’ by Clyde Moody – Bullseye of the Week + ‘Al Dexter Signs King Wax Pact’ + Zeb Turner “Huckleberry Boogie” (co-written by Henry Glover) 78 – Cash Box – June 3, 1950
‘Well Oh Well’ by Tiny Bradshaw – #1 on L.A.’s Central Ave – Cash Box – June 10, 1950
Reviews = ‘Southern Hospitality’ by Moon Mullican – Bullseye of the Week + Al Dexter & Hank Penny 78s – Cash Box – June 24, 1950
Ad = King Goes Direct to Writers for New Songs [pg. 18] – Billboard – July 22, 1950
Excerpt – King Records is soliciting tunes direct from writers, amateur or professional. Songs must be original and unpublished, submitted on an audition record. If the tune is accepted, a recording is guaranteed within six months.
Reviews = ‘I Have No Reason To Complain’ by Ivory Joe Hunter [co-written by Henry Glover] – Award o’ the Week + ‘Hey Spo-Dee-O-Dee’ by Wild Bill Moore (King) + Percy Mayfield 45 released by King in 1951 – Cash Box – July 22, 1950
Reviews = Zeb Turner & Redd Stewart (King) + Red Kirk with Jerry Byrd & String Dusters @ Herzog Studios (Mercury) – Cash Box – July 29, 1950
Excerpt – Dedication of the new Roselawn Elementary School on Summit Road was slightly inauspicious yesterday because of the condition of freshly laid sod which had been torn up by automobiles from an overflow crowd at Castle Farm Saturday night.
Dr. Claude V. Courter, Superintendent of Schools, who spoke at the dedication, said approximatley forty patrons had parked their automobiles on the school lawn after parking areas at the night club and school had been filled.
Reviews = ‘Would I Love You’ by Bettie Clooney (King) + ‘Kinda Sorta Miss You’ by Margaret Phelan (King) + ‘Twilight Blues’ by Jerry Byrd (Mercury) – Cash Box – Mar. 10, 1951
Reviews = Hank Penny & Grandpa Jones (King) + Tex Atchison (Federal) – Cash Box – Mar. 31, 1951
King staffers Howard Kessel, Jim Wilson, and Mary Lou Smith referenced in “More Notes for MOA Convention” – Cash Box – April 7, 1951
Reviews = ‘Alone’ b/w ‘I Haven’t Seen You in a Month of Sundays’ [flip side co-written by Henry Glover] by Bettie Clooney (King) + ‘The Hour Of Parting’ by Gene Williams (King) – Cash Box – May 5, 1951
Reviews = ‘A Love Untrue’ by Wynonie Harris (King) + ‘Sunday Morning Blues’ by Henry Hill (Federal) + ‘I’m Waiting Just For You’ by Lucky Millinder [co-written by Henry Glover] – Cash Box – May 12, 1951
“King Plans to Cover All Hillbilly Hits” – Ralph Bass to relocate to Los Angeles, while Henry Glover to remain in New York City – Cash Box – Sep. 29, 1951
Top Ten R&B Jukebox hits = ‘Sixty Minute Man’ (#1) + Lucky Millinder, Wynonie Harris & The Swallows – Billboard – Oct. 6, 1951
Reviews = ‘I Am With You’ by The Dominoes (Federal) – Award o’ the Week + ‘The Song Is You’ by Joe Holiday (Federal) + ‘Blue Piano’ by Sonny Thompson (King) – Cash Box – Oct. 6, 1951
Excerpt – King is in the midst of a three month experiment in a traveling distribution point. [King sales manager, Jack] Kelley has set up a man, working out of Knoxville with a ton-and-a-half truck specially equipped with record racks to hold 10,000 disks. Thus far, King has found that dealers and juke ops like the faster service, less breakage and the faact that they receive immediately the exact numbers they ordered. Truck carries about 80 per cent current King material, witht the remainder catalog.
Reviews = ‘Lovin’ Machine’ by Wynonie Harris – Award o’ the Week – Cash Box – Dec. 15, 1951
Reviews = ‘It Ain’t the Meat’ – The Swallows (King) + ‘Crying Blues’ – Little Esther (Federal) + H Bomb Ferguson – Cash Box – Dec. 15, 1951
Reviews = ‘Better Beware’ by Little Esther – Award o’ the Week – Cash Box – Apr. 12, 1952
‘Keep on Churnin” by Wynonie Harris – Award o’ the Week [one of six King/Federal 78s reviewed, including Swan’s Silvertone Singers; The Swallows; Jimmy Tyler; Sonny Thompson & The Dominoes] – Cash Box – Apr. 19, 1952
News = Earl Bosticpost-near-fatal car accident en route to one-nighter – Cash Box – Apr. 26, 1952 (pictured below – with John Coltrane, middle of photo in all likelihood)
‘I Can’t Stop Loving You’ by Cowboy Copas – Bullseye of the Week – Cash Box – May 17, 1952
Reviews = Moose Jackson (King), Dorothy Ellis (Federal) & the Four Internes (Federal) – Cash Box – May 17, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in San Francisco – Cash Box – May 24, 1952
Excerpt – The so-called master record is first sprayed with a silver solution to improve the plating operation by protecting the record. It is then put in a plating tank charged with Revere copper anodes. The copper platter that results from this operation receives a suitable dressing and is then used to make the “mother” platter. From the “mother” are made the “stampers” or dies from which the records are actuallv pressed. Plating plays a big part all through the process, and the quality of our anodes must be good to insure the best possible records.
Reviews = ‘My Ding a Ling’ by Dave Bartholomew (King) + Preston Love & The Four Internes (Federal) – Cash Box – July 12, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in Los Angeles, Dallas, St. Louis & Atlanta – Cash Box – July 12, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in Harlem & Memphis – Cash Box – July 12, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in Harlem & Memphis – Cash Box – July 19, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in Los Angeles, St. Louis & Atlanta – Cash Box – July 19, 1952
Reviews = Delmore Brothers, Jimmy Thomason & Bob Newman King 78s – Cash Box – July 26, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in Savannah – Cash Box – July 26, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in St. Louis – Cash Box – Aug. 2, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in Milwaukee – Cash Box – Aug. 9, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in St. Louis, Richmond, & Shoals – Cash Box – Aug. 9, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in St. Louis – Cash Box – Aug. 16, 1952
“Unknown Warblers [i.e., Ruby Wright & Dick Noel] Sought in ‘Bible’ of Theatrical Trade Revealed in Cincinnati” – Cincinnati Times-Star – Aug. 20, 1952
‘Have Mercy Baby’ by The Dominoes – #1 in Houston – Cash Box – Aug. 30, 1952
Reviews = Four Internes (Federal) & Billy Hadnott (Federal) – Cash Box – Sep. 6, 1952
“Sid” Nathan quoted in “Jockey Promotion – The Disker View” = King, one of nine record companies examined [Capitol, Columbia, Coral, Decca, King, London. Mercury, MGM & RCA Victor) – Billboard – Feb. 28, 1953
Reviews = ‘My Baby Keeps Rollin” by Anisteen Allen – R&B Sleeper of the Week + Smokey Hogg (Federal), Chiemi Eri & G.I. Joe (Federal – recorded in Japan) & Spiritual Harmonizers (Glory) – Cash Box – May 23, 1953
“King to Handle Distribution of Four Star Thru Its Company Owned Branches” – Cash Box – Dec. 5, 1953
PHOTO: Bill McCall & Jack Kelley
Excerpt – This marks the second change in King’s distribution policy during the current year. Until last spring, King handled its own labels — King, Federal and DeLuxe — only through its branches. There were no distributor connections.
‘Rags To Riches’ = Tony Bennett [#1 juke box hit] vs. The Dominoes [#4 R&B hit] – Cash Box – Dec. 12, 1953
‘Rags To Riches’ by The Dominoes – #2 R&B hit – Cash Box – Dec. 19, 1953
‘Rags To Riches‘ by The Dominoes – #1 R&B hit – Cash Box – Dec. 26, 1953
1954
‘Rags To Riches’ by The Dominoes – #2 R&B hit – Cash Box – Jan. 2, 1954
‘Rags To Riches‘ by The Dominoes – #1 R&B hit – Cash Box – Jan. 9, 1954
‘Rags To Riches’ by The Dominoes – #3 R&B hit – Cash Box – Jan. 16, 1954
‘Rags To Riches’ by The Dominoes – #4 R&B hit – Cash Box – Jan. 23, 1954
Reviews = Four Internes (Federal) & Rudy Ferguson (DeLuxe) + ‘Watch Dog’ by Lula Reed (King) #15 R&B Chart – Cash Box – Mar. 6, 1954
Billy Ward & Dominoes + Midnighters’ latest entry in the ‘Annie’ trilogy written by Henry Glover & Syd Nathan – R&B Ramblings – Cash Box – Sep. 4, 1954
Reviews = ‘Annie’s Aunt Fannie’ by The Midnighters – Award o’ the Week – Cash Box – Oct. 30, 1954
‘Annie Had A Baby’ – #1 in Nashville – Cash Box – Nov. 6, 1954
‘Hearts of Stone’ by The Charms – #1 in New Orleans + ‘Annie Had A Baby’ – #1 in Newark – Cash Box – Nov. 6, 1954
Syd Nathan – ‘Blue material not tolerated‘ – Cash Box – Nov. 6, 1954
Excerpt – In an interoffice communication to his A & R staff, [Nathan] advised them that he was strongly against “blue” material and urged them to pass up such songs or revise the lyrics. Nathan pointed out the growth of R & B to its present stature and stressed the industry’s moral obligation to the youth of America.
‘Hearts of Stone’ by Red Foley – Bullseye of the Week – Cash Box – Dec. 18, 1954
‘Hearts of Stone‘ by The Charms – #1 R&B hit – Cash Box – Dec. 18, 1954
‘Hearts of Stone‘ by The Charms – #1 R&B hit – Cash Box – Dec. 25, 1954
Music:
The perfect gift
News = WLW to replace Pee Wee King’s TV show with Eddie Cantor on films – Cash Box – Dec. 25, 1954
1955
Ad = “King signs Lucky Millinder” + Thanks from The Midnighters – 1954’s #1 R&B group – Cash Box – Jan. 1, 1955
‘Hearts of Stone’ by The Charms – #1 R&B hit – Cash Box – Jan. 1, 1955
‘Hearts of Stone’ by The Charms – #1 R&B hit – Cash Box – Jan. 8, 1955
‘Hearts of Stone’ by The Charms – #1 R&B hit – Cash Box – Jan. 15, 1955
‘Hearts of Stone’ by The Charms – #1 in Memphis, Atlanta & Nashville – Cash Box – Jan. 22, 1955
‘Hearts of Stone’ by The Charms – #1 in San Francisco & St. Louis – Cash Box – Jan. 29, 1955
‘Hearts of Stone’ by The Charms – #1 in San Francisco & St. Louis – Cash Box – Feb. 5, 1955
‘Hearts of Stone’ by The Fontane Sisters – #1 juke box hit (for three straight weeks) – Cash Box – Feb. 5, 1955
Full-page ad = “Rock Love” b/w “All My Love Belongs To You” by Eddie Fontaine, led by Neal Hefti [pg. 17] – both songs written by Henry Glover – Cash Box – Feb. 12, 1955
“Weaver Brothers First Country Folk” = includes Boone County Jamboree history lesson (“WLW became the third station in the nation to introduce a major jamboree attraction”) – Billboard – May 21, 1955
Reviews = ‘Gum Drop’ by Otis Williams & Charms – Award o’ the Week + ‘Hayride’ b/w ‘Grinding’ [flip side co-written by Henry Glover] by Doc Bagby – Cash Box – June 11, 1955
Reviews = ‘Wipe Your Tears’ by Jimmy Nolen (Federal) + ‘Squashy’ by Bill Doggett (King) + ‘I’m Tore Up’ by Billy Gayles (Federal) – Cash Box – Apr. 28, 1956
Reviews = ‘Fever’ by Little Willie John – Award o’ the Week + The Hurricanes & Earl Connelly King – Cash Box – May 5, 1956
Reviews = ‘If I Had Me a Woman’ by Mac Curtis – Bullseye of the Week – Cash Box – May 12, 1956
‘Fever’ by Little Willie John – #1 in Chicago, New Orleans & Cleveland – Cash Box – June 2, 1956
‘It’s All Over‘ by Otis Williams – Award o’ the Week – Cash Box – June 2, 1956
‘Fever‘ by Little Willie John – #1 R&B hit – Cash Box – June 16, 1956
‘Please Please Please’ by James Brown – breaking in Cleveland, Newark & Detroit – Cash Box – June 16, 1956
‘Please Please Please’ by James Brown – breaking in Cleveland, Newark, San Francisco & Atlanta – Cash Box – June 23, 1956
‘Fever’ by Little Willie John – #1 R&B hit – Cash Box – June 23, 1956
‘Fever’ by Little Willie John – #1 R&B hit – Cash Box – June 30, 1956
‘Fever’ by Little Willie John – #1 R&B hit – Cash Box – July 7, 1956
‘Fever’ by Little Willie John – #1 R&B hit – Cash Box – July 14, 1956
‘Fever’ by Little Willie John – #1 R&B hit – Cash Box – July 21, 1956
‘Fever’ by Little Willie John – #1 R&B hit – Cash Box – July 28, 1956
Reviews = ‘Step It Up And Go’ b/w ‘Let Me Come Home’ by Rudy [‘Rudy Ray’] Moore (Federal) + Margie Day (DeLuxe) + 5 Royales (King) – Cash Box – July 28, 1956
‘Honky Tonk’ by Bill Doggett – #3 R&B hit – Cash Box – Dec. 22, 1956
Ad = ‘Fever‘ by Little Willie John – Best R&B 45 of 1956 – Cash Box – Dec. 22, 1956
Review = ‘One Hand Loose’ & ‘Bottle to the Baby’ by Charlie Feathers – Billboard – Dec. 22, 1956
Review = ‘One Hand Loose’ & ‘Bottle to the Baby’ by Charlie Feathers – Cash Box – Dec. 29, 1956
‘Will the Sun Shine Tomorrow’ by Little Willie John – Award o’ the Week – Cash Box – Dec. 29, 1956
1957
‘Pardon Me’ by Otis Williams & Charms – Award o’ the Week – Cash Box – Jan. 5, 1957
Harry Carlson article = “Fraternity Spinning Record Tunes – Cincinnati-Owned Disc Company Is Operated by a Photographer Who Never Took a Picture; Harry Carlson Is Making Bid Toward Big Things in Recording Field” by Dick Schaefer – Cincinnati Enquirer – Jan. 13, 1957
Excerpt – Fraternity has 33 distributors in the United States and their records are also manufactured in Canada, England, Australia and Japan. Recently a contract with Electrical Musical Industries provided for worldwide distribution, except in Canada and Australia, where independent companies have release rights … Surprisingly it takes about $15,000 to exploit a record. Fraternity sends out 7000 free promotional copies of a major single release to disc jockies, reviewers, etc. On an LP, nearly 5000 are given out.
Otis Williams (et al) ‘strong King releases this week’ – R&B Ramblings – Cash Box – Feb. 23, 1957
Reviews = ‘Walkin’ After Midnight’ by Otis Williams & Charms – Award o’ the Week – Cash Box – Mar. 2, 1957
‘Hurts To Be in Love’ by Annie Laurie – #1 in Detroit – Cash Box – Mar. 2, 1957
Reviews = ‘Love, Life And Money’ by Little Willie John – Award o’ the Week – Cash Box – Mar. 9, 1957
‘Hurts To Be in Love’ by Annie Laurie – #1 in Detroit – Cash Box – Mar. 9, 1957
‘Hurts To Be in Love’ by Annie Laurie – #1 in Detroit – Cash Box – Mar. 16, 1957
‘Hurts To Be in Love’ by Annie Laurie – #1 in Newark – Cash Box – Mar. 23, 1957
‘Hurts To Be in Love’ by Annie Laurie – #1 in Newark – Cash Box – Mar. 30, 1957
‘Hurts To Be in Love’ by Annie Laurie – #1 in Memphis – Cash Box – Mar. 30, 1957
‘Hurts To Be in Love’ by Annie Laurie – #1 in Detroit – Cash Box – Apr. 6, 1957
‘Hurts To Be in Love’ by Annie Laurie – #1 in Detroit – Cash Box – Apr. 13, 1957
‘Hurts To Be in Love’ by Annie Laurie – (near) #1 in Atlanta [three weeks straight] – Cash Box – Apr. 20, 1957
‘Chloe’ by Bill Doggett – Award o’ the Week – Cash Box – Apr. 13, 1957
“WLW to Start Local Color” = Crosley Broadcasting Corporation “will begin local colorcasting at WLW-T in June” – Billboard – Apr. 20, 1957
Reviews = ‘Look What You’ve Done To Me’ by Little Willie John – Award o’ the Week – Cash Box – May 4, 1957
“All That Rockin’ and Not Much ‘Kingly’ Music” by Dick Schaefer = fly-on-the-wall account of a Bill Doggett recording session at King produced by Henry Glover (with help from Eddie Smith and Louis Innis) – Cincinnati Enquirer – May 19, 1957
Labor & trade details: Studio musicians received $41.25 for a three-hour session at King, with the bandleader paid double. No more than four tunes can be cut over a three house session, per musician union rules.
Reviews = ‘Ding Dong’ by Bill Doggett – Award o’ the Week + ‘Think’ by 5 Royales + Don Gardner (DeLuxe) + The Gum Drops (King) + Kenny & Moe (DeLuxe) – Cash Box – June 1, 1957
Reviews = ‘United’ by Otis Williams & Charms – Award o’ the Week – Cash Box – July 6, 1957
Reviews = ‘If I Thought You Needed Me’ b/w ‘Young Girl’ by Little Willie John [both sides co-written by Henry Glover] – Award o’ the Week – Cash Box – July 13, 1957
Reviews = ‘Hammer Head’ by Bill Doggett – Award o’ the Week + ‘Rolling Home’ by Otis Williams (DeLuxe) + Ike Turner and Billy Ward & the Dominoes (Federal) – Cash Box – Aug. 10, 1957
Reviews = ‘Dinner Date’ by Little Willie John (King) – Award o’ the Week + ‘Annabelle’ by Roy Gaines (DeLuxe) – Cash Box – Sep. 21, 1957
“King Signs More Talent” [Reggie & Jimmy + Swinging Phillies (via Andy Gibson, DeLuxe) -also- Faith Taylor and Kenneth Tibbs (via Ralph Bass, Federal)] – Cash Box – Aug. 23, 1958
Reviews = ‘Don’t Wake Up The Kids’ by Otis Williams & the Charms [co-written by Henry Glover] – Award o’ the Week – Cash Box – July 19, 1958
Review = ‘I’ll Sail My Ship Alone’ b/w ‘Seven Nights To Rock’ by Moon Mullican [third issue of ‘I’ll Sail My Ship Alone’ in ten years] – Cash Box – Jan. 31, 1959
Reviews = ‘Made For Me’ by Little Willie John (King) & ‘I Want You So Bad’ by James Brown (Federal) + ‘Lah-Dee-Dah-Dee’ by Roy Brown – Award o’ the Week– Cash Box – Feb. 14, 1959
Dallas news = “Trini Lopez has a new King release consisting of ‘My Runaway Heart’ and ‘Yes You Do.’ He’s a Dallas boy who has been attracting lots of attention in the rock ’n’ roll field.” – Cash Box – Feb. 28, 1959
Dallas news = “King Records reports that Dallas’ Trini Lopez is making a good showing with his new waxing of ‘Yes You Do’.” – Cash Box – Mar. 14, 1959
Dallas news = Trini Lopez – just got back from a Cincinnati recording session – Cash Box – Mar. 21, 1959
Reviews = ‘Answer Me’ by Titus Turner – Award o’ the Week – Cash Box – Mar. 21, 1959
Reviews = ‘Kansas City’ by Midnighters (King) & Little Willie Littlefield (Federal) + ‘Miracle of Love’ by 5 Royales (King) + ‘Sweet Pea’ by Earl Bostic – Award o’ the Week – Cash Box – Apr. 4, 1959
Syd Nathan’s open letter to the record industry – ‘Save the Single‘ – Cash Box – July 11, 1959
Excerpt –
Singles built the record business, singles keep the record business going. Singles are the long profit.
Without singles, the record industry cannot sustain itself because, it is from the singles that we create the excitement and the new stars that make it possible to produce and market package merchandise.
It is the rare exception, where a new star has been born or a lot of excitement has been created from an album. Sure, there have been several cases—but at that, not too many where an artist has been released first on albums and then released on singles when one particular track in the album starts to take and makes a little noise. However, in almost every case where this has been true, the artist did not get hot, nor did the album really get big until the single, which had been lifted from the album, started to move and got big. For example, look at Julie London and “Cry Me A River” and most recently, Martin Denny with “Quiet Village.”
Syd Nathan
“Beverly Ann Gibson on King Records” – Montgomery Ala Tribune – July 24, 1959
Reviews = ‘Cute Little Ways’ by Hank Ballard & Midnighters + ‘Call On Me’ by Beverly Ann Gibson [co-written by Henry Glover] – Award o’ the Week – Cash Box – Aug. 29, 1959
Reviews ‘Dark Eyes’ by Earl Bostic – Award o’ the Week – Cash Box – Sep. 19, 1959
Dallas news = ‘Nobody Loves Me’ – latest 45 by King artist Trini Lopez + Bill Bolden is leaving King to form Cobo Records – Cash Box – Nov. 28, 1959
Reviews = ‘Look at Little Sister’ by Hank Ballard & Midnighters – Award o’ the Week – Cash Box – Dec. 5, 1959
“Gagging Up ‘The Taste’” – Syd Nathan sends Christmas card of a piano-playing Santa bearing the message ‘Play-ola Greetings’ – Billboard – Dec. 28, 1959
1960
News = Starday’s Don Pierce in Cincinnati to confer with King’s Syd Nathan over shared commercial venture – Billboard – Jan. 11, 1960
Don Pierce, Starday Records chief, spent three days here last week mulling record and packing projects with Syd Nathan and Hal [Neely], King Records nabobs; arranging a new mail-order set-up with Wayne Raney, WCKY c&w deejay, and visiting with Jimmy Skinner and Lou Epstein, of Jimmie Skinner’s Music Center downtown.
Reviews = ‘Waiting’ by Hank Ballard & Midnighters – Award o’ the Week + ‘Raw Turkey’ by Bill Doggett [written by Henry Glover] – Cash Box – Feb. 6, 1960
Cincinnati News = vigorous recording activity at King Studios, with Smitty Smith & Cecil Suratt; Little Willie John; Rusty York; and Harry Carlson of Fraternity Records cutting John Scoggins, as well as jingles for Ashland Oil and Kenner Toys – Billboard – July 11, 1960
Syd Nathan, King Records chief, urges that trade papers give more space to rhythm and blues. He also urges that an association be formed to advance the cause of R&B.
These are interesting proposals and merit some comment.
With regard to the first point – more space – it is to be noted that various publications give varying amounts of space to R&B. Some have dropped their R&B charts. We can only speak for The Billboard, in which connection we point out the continued existence of the R&B chart. Too, in its editorial columns, The Billboard is constantly aware of R&B’s continuing contribution to the music world — both in its pure and pop-oriented forms. (See page 1 story, July 4.)
However, it is necessary that the R&B field clarify its own aims.
In relatively recent times, many R&B diskeries and artists resented being categorized as R&B. Their common complaint: “I have news for you – it is all pop.”
We now have an ironic reversal of viewpoint. To some degree, this reversal may be legitimate; there is some indication of a resurgence of aactivity in the pure speciality fields.
To some degree, too, this reversal reflects another condition: viz, that overall single business is not too good; that the majors are again a great threat in the singles field; that perhaps it is wise for indies to retrace some steps and cultivate the old hard core of buyers in the specialty fields.
On the part of indies, some soul-searching is necessary, particularly in view of the fact that careless generalizations of the situation raise sociological implications.
The Billboard, meanwhile, will continue to cover all facets of the record business; and, as in the past, will continue to be mindful of the importance of one of the great sources of American culture: Rhythm and Blues
“King A&R Men, Branch Managers [4-Day] Confab” = Syd Nathan, Hal Neely, Billy Myles, Sonny Thompson, Andy Gibson, Gene Redd, Jack Pearl, Jim Wilson, Jim Namey & Richard Kline – Billboard – July 18, 1960
“King ‘Summer Stocking Plan’ Includes All Its LP Labels” = King ‘summer special’ – 1 free LP for every 4 ordered (says Nathan, “to build sufficient volume to keep the twenty LP presses at the King pressing plant running at peak efficiency and production during the slow summer period“) – Cash Box – July 16, 1960
Review = ‘Finger Poppin’ Time’ by Stanley Brothers – Cash Box – July 30, 1960
‘Finger Poppin’ Time’ by Hank Ballard & the Midnighters – #21 on chart of Records Disk Jockeys Play Most [‘I’m Sorry’ by Brenda Lee at #1] – Cash Box – Aug. 6, 1960
‘Finger Poppin’ Time’ by Hank Ballard & the Midnighters – #8 on chart of Records Disk Jockeys Play Most [‘It’s Now Or Never’ by Elvis at #1] – Cash Box – Aug. 13, 1960
Reviews = ‘This Old Heart’ by James Brown (Federal) – a Pick of the Week + ‘Pipeliner’ b/w ‘Rocket to the Moon’ by Moon Mullican [flip side written by Henry Glover] (King) – Cash Box – Aug. 13, 1960
‘Finger Poppin’ Time’ by Hank Ballard & the Midnighters – #6 on chart of Records Disk Jockeys Play Most [‘It’s Now Or Never’ by Elvis at #1] – Cash Box – Aug. 27, 1960
‘Finger Poppin’ Time’ by Hank Ballard & the Midnighters – #5 on chart of Records Disk Jockeys Play Most [‘It’s Now Or Never’ by Elvis at #1] – Cash Box – Sep. 3, 1960
‘Finger Poppin’ Time’ by Hank Ballard & the Midnighters – #5 on chart of Records Disk Jockeys Play Most [‘The Twist’ by Chubby Checker at #1] – Cash Box – Sep. 10, 1960
‘Finger Poppin’ Time’ by Hank Ballard & the Midnighters – #9 on chart of Records Disk Jockeys Play Most [‘The Twist’ by Chubby Checker at #1] – Cash Box – Sep. 17, 1960
Reviews = ‘Let’s Go Let’s Go Let’s Go’ by Hank Ballard & Midnighters – a Pick of the Week – Cash Box – Sep. 17, 1960
“Coltrane on Coltrane” – Earl Bostic cited by the legendary saxophonist as an early influence – Downbeat – Sep. 29, 1960
“Afterwards, I went with Earl Bostic, who I consider a very gifted musician. He showed me a lot of things on my horn. He has fabulous technical facilities on his instrument and knows many a trick.”
Reviews = Five Keys (King) + El Pauling & the Royalton (Federal) – Cash Box – Oct. 8, 1960
‘Finger Poppin’ Time’ by Hank Ballard & the Midnighters – #34 on chart of Records Disk Jockeys Play Most [‘My Heart’ by Connie Francis at #1] + upside down ad – Cash Box – Oct. 15, 1960
“Local Firm Bows to FTC on Payola” – Cincinnati Post – Oct. 18, 1960
Reviews = ‘Hoochie Coochie Coo’ by Hank Ballard & the Midnighters – Award o’ the Week + ‘It Shouldn’t Happen To A Dog’ by Gene And Ruth (King) – Cash Box – Dec. 3, 1960
“King Expands Premium, Promotion Disk Biz with Bob Weems at Helm” – Billboard – Nov. 24, 1962
“Franny Jenson Scores a Coup” = Milwaukee youngster to record ‘Don’t Wait Till the Night Before Christmas’ on Bob Kames’ recommendation – Billboard – Nov. 24, 1962
1963
“King’s Happy New Year to Dealers – 15% Off” – Billboard – Jan. 12, 1963
“King’s ‘Royal Family’” – Hal Neely promoting spoof LP + ‘The Ska Is Coming’ – Music Business – May 23, 1964
B+ review for Prince Buster & the Ska Busters – Cash Box – May 23, 1964
Reviews = ‘Sa-Ba-Hoola’ by Lonnie Mack + ‘Out of Sight’ by James Brown – Best Bets – Cash Box – July 25, 1964
‘Out of Sight’ by James Brown = ‘Regional Breakout’ in Baltimore, St. Louis & NYC – Billboard – Aug. 8, 1964
Review = ‘Last Kiss’ by Wayne Cochran – Cash Box – Aug. 15, 1964
“King-Columbia Deal?” = Bob Rolontz’s ‘Man About Music’ column – Music Business – Aug. 15, 1964
Although it has been pretty hush-hush up to now there have been talks between responsible parties representing King Records and Columbia Records, with the possible purchase of King by Columbia. So far the talks are merely that, but there is a possibility that they could lead somewhere. If they do, insiders say, King would sell its record catalog and publishing firms, but retain its pressing plant and studios in Cincinnati.
Morris Levy buys Doris Gee Music, previously jointly owned by Levy & Henry Glover – Cash Box – Aug. 22, 1964
“The James Brown Case” [King vs. Mercury lawsuit] from Bob Rolontz’s ‘Man About Music’ column – Music Business – Aug. 22, 1964
Front-page ad = ‘Out of Sight’ by James Brown – Billboard – Sep. 5, 1964
The Ivorian radio and television system sponsors an annual gala, under the director of minister of information, M. Mathieu Ekra, in order to collect funds to finance the various national charities. A recent government Gallup revealed that James Brown was the most popular artist in the Ivory Coast. The Ivory Coast Consulate in New York City contacted Jack Bart, President of Universal Attractions, and negotiated for the appearance of Brown for the gala. The Ivorian government and its radio and television system will be paying for the costs of bringing the show to the country. The reported price for the one-nighter is $70,000, perhaps the highest figure for a one-nighter to date. This will be Brown’s first appearance in Africa.
Reviews = ‘I Got the Feeling’ by James Brown – a Pick of the Week – Cash Box – Mar. 9, 1968
James Brown, mainstay of the King roster, is aiding the firm’s executives in all areas, including production and promotion, and a suite of offices to house James Brown Productions has been set up on the King premises in Cincinnati, staffed by Bud Hobgood. Brown will continue his a&r production function in channeling sides into King through his James Brown Productions firm which now produces Bobby Byrd, Vicki Anderson, Marva Whitney, and the Dapps.
[Newly-appointed VP and manager of sales, manufacturing, and general activities, Johnnie] Miller has been with King for 21 years, serving in various executive capacities, and since 1964 he was the firm’s manager, reporting directly to Nathan. Miller is now looking for personnel to staff a&r activities and other general management functions.
King recently completed the building of a studio with 8-track facilities, a new 40-mike console, mix down room, and a mastering technique setup that includes a new compatible system developed by the firm’s engineers, Ron Lenhoff and Dave Harrison. King’s pressing plant now has 50 presses operating from a dry-blend system. Miller said that they are now renovating the pressing plant under a $600,000 program. King’s printing plant, which as full color presses, is capable of turning out more than 500,000 fronts a day. The jacket fabrication plant has a daily capacity of more than 25,000 jackets. The King operation also includes its own art and photo lab, plating and mill rooms.
According to Billboard, K&S (a division of K&S Films) recently opened at 10490 Taconic Terrace as an 8-track facility that encompasses 3,000 square feet of floor space and offers complete recording services, “including masters, plating, pressing and customer design jackets.”
Music Hall concert salute to Harry Carlson of Fraternity” + Henry Glover flies tapes of Tony & Carol’s debut single to Cincinnati – Cash Box – Feb. 20, 1971
“Billy Ward & the Dominoes” – Big Town Review – Feb/Mar 1972 (vol. 1, no. 1)
Polydor announces James Brown ‘Soul Classics’ 45 series – Cash Box – Mar. 4, 1972
“Starday-King Wraps Up Ross Distribution Deal” – Billboard – Mar. 11, 1972
“Starday to Distribute Hopi [New Label]” – Billboard – Apr. 1, 1972
Reviews = ‘Cool Jerk’ by The Coasters – a Pick of the Week – Cash Box – Apr. 8, 1972
“Avco’s Credo – Produce Shows Live for TV” by Bill Sachs [four shows beamed over WLW-T & affiliates: ’50-50 Club’ with Bob Braun; ‘Paul Dixon Show’; ‘Midwestern Hayride’ & ‘Phil Donahue Show’]– Billboard – Apr. 15, 1972
“Buck Ram and the Platters” by Steve Wasserman – Bim Bam Boom – July 1972
Full-page James Brown promotional ad [above] with Lyn Collins, Bobby Byrd, Hank Ballard & (the new single by) the James Brown Soul Train – Cash Box – July 1, 1972
Reviews = ‘Think’ by Lyn Collins – a Pick of the Week – Cash Box – Aug. 12, 1972
“AVCO Drops Country TVer” [Midwestern Hayride, formerly Boone County Jamboree – since 1948] – Billboard – Aug. 12, 1972
“Nashville Publishers: Creative Forces” = King’s catalog “a strong one” with over 35,000 copyrights [“some 15,000 of them country”] – Billboard – Jan. 27, 1973
NOTE = A comprehensive and chronological collection of James Brown-related trade ads and covers can be found within Zero to 180’s “Goodbye Cincinnati” piece from 2022.
1974–1979
“Cincinnati Boogie Woogie” by Steve Tracy – Living Blues – Summer 1974
Key quote in “Sire Records Expands Through Its Lengthy Involvement with the British Music Scene” by Seymour Stein [“At one meeting [EMI’s Len Wood] and Syd Nathan were heatedly debating King’s attempt to secure an option on all EMI repertoire if it was passed on by Capitol. Nathan did not succeed, but it was not until several years later that I realized how important this option could have been.” = see seed money for Sire] – Cash Box – Mar. 15, 1980
“James Brown’s ‘Live & Lowdown’ LP – Play It Once a Year’ – Louisville Courier-Journal – Nov. 16, 1980
“Queen Records” by Bill Daniels – Whiskey, Women and … – June 1983
“BMI Adds 30 Songs to ‘Million-Air’ List” (including “Honky Tonk” by Billy Butler, Bill Doggett, Henry Glover, Clifford Scott & Shep Shepherd) – Billboard – Aug. 11, 1984
‘Honky Tonk’ by Bill Doggett one of BMI ‘Million-Airs’ honored – Cash Box – Sep. 22, 1984
“Bob Shreve – Late Night TV King Dethroned” by Cliff Radel – Cincinnati Enquirer – Sep. 13, 1985
“BIll Doggett & the Hit That Started in Lima OH” – Chicago Tribune – June 6, 1986
“James Brown Still Shining” – Louisville Courier-Journal – June 7, 1986
Joel Selvin’s ‘Q&A with Charles Brown’ – San Francisco Examiner – Dec. 15, 1996
“King Records Rocks Into History” by Rick Kennedy – Cincinnati Magazine – January 1997
“King Exhibit @ Rock & Roll Hall” by Larry Nager – Cincinnati Enquirer – Jan. 24, 1997
“The Precarious Position of the African-American Entrepreneur in Post-WWII American Pop Music by David Sanjek – American Music Journal – Winter 1997 (vol. 15, no. 4)
“The Man Who Was King” by Darren Blase – CityBeat – March 19, 1997
“Rock Hails a King” by Rick Bird – Cincinnati Post – May 2, 1997
“Bootsy Collins’ King-Sized Break” by Larry Nager – Cincinnati Enquirer – May 4, 1997
“King of Cincinnati Sound – Sydney Nathan Enters Rock and Roll Hall” by Larry Nager – Cincinnati Enquirer – May 4, 1997
“Syd Nathan to Get Spot in Rock Hall” – Columbus Dispatch – May 4, 1997
“Ohio Legend in Rock & Roll Hall” – Richmond IN Palladium-Item – May 4, 1997
“Bootsy @ Rock & Roll Hall” by Larry Nager – Cincinnati Enquirer – May 7, 1997
“Hall of Fame Inductions Emphasize Unity” by Larry Nager – Cincinnati Enquirer – May 7, 1997
“James Brown to Visit King Site” by Larry Nager – Cincinnati Enquirer – June 5, 1997
“King Visit Soul Shocks Brown” by Larry Nager – Cincinnati Enquirer – June 6, 1997
“James Brown Wants to Re-Open King” – Wisconsin Rapids Daily Tribune – June 6, 1997
“Rhythm-and-Jews: The Story of the Blacks and Jews Who Worked Together to Create the Magic of R&B” by Mark Lisheron – CommonQuest: The Magazine of Black-Jewish Relations – Summer 1997 (vol. 2, no. 1)
“R&R Hall Faces Money, Growth & Integrity Issues” by Larry Nager – Cincinnati Enquirer – Aug. 31, 1997
“Aiding and abetting all of those aspiring producers were countless new independent studios and pressing plants.. Small studios like Sam Phillips’ Memphis Recording Service (which advertised, ‘We Record Anything, Anywhere, Anytime’) charged a mere $2 for a single-sided acetate, or $3 for a double.. King executive Jim Wilson recalled, ‘Theoretically, you could walk into King Records in the morning, record, then walk out of there with a dee-jay copy in your hand to take to radio stations.”
