The Bob Carter Trio
By Marv Goldberg
© 2024 by Marv Goldberg
NOTE: Much of the information for this article was gleaned from Robert Campbell's Sunbeam Records page on the Red Saunders Research Foundation site.
The Bob Carter Trio was a fixture on the Chicago music scene for a few years. They appeared on four (possibly five) records, which, although good, didn't set the world on fire. As I say all too often, "their beginnings are shrouded in mystery". With a single exception (identification in a photo), if the members' names hadn't been printed on all their record labels, we wouldn't know any of them.
Let's start with the leader.
ROBERT JAMES CARTER (bassist) was born in Downing, Alabama (a hamlet about 30 miles southeast of Montgomery). His parents were John Carter and Rosela Jones. His birthdate (per both his World War 2 registration and his Social Security record) was June 24, 1917.
Or maybe not. I've come across a birth record for "Marshol Carter" in the Alabama County Birth Registers. He was born on June 22, 1917, in Downing, to John and Rosie Carter. Even though the recorded birth date was two days earlier, there was never another John Carter, married to Rosie, in Montgomery County. There are only two explanations that come to mind for the name: either "Marshol" (or "Marshal") was subsequently renamed "Robert", or Robert had a twin brother who died prior to the 1920 census. (That's unlikely; in that case there would also be a birth record for Robert.) There are any number of ways to account for the two-day difference in birth dates, but none of them can be proven.
Bob had a sister, Anna Belle Carter, who was a little older. In the 1920 census, Annie was 3 and Robert was 2. Since she was born December 28, 1915 (per the California Death Index record), this tells me that her parents were somewhat slipshod in keeping track of how old Anna was (she was actually 4 at census time). In 1920, they were living in Porters, Alabama, also in Montgomery County. By the 1930 census, the family was living in the city of Montgomery itself.
Anna married Andrew Wiley in 1934 and they moved to Toledo, Ohio. But by 1940, they'd relocated to Chicago. Anna eventually ended up in Los Angeles, where she died on November 12, 1977. I bring all this up because we'll meet her again later on.
By 1940, Robert Carter, now an "orchestra musician", was living in Chicago. One of the questions asked on that year's census was "where were you living in 1935?"; his answer was Cleveland. However, still confused about his age, he told them he was 20 (therefore born in 1919). He reported his 1939 earnings from music to be $500 (working 41 weeks), but he also said he had other income.
When he filled out his World War 2 Draft Registration (on Registration Day, October 16, 1940), he said he was employed by Mabel Sanford Theatrical Agents, indicating that he was working in the entertainment field. Since there were no ads for him, I'll presume he was a member of a band. (He was a bassist, so I wouldn't expect his name to appear in an ad unless it was as the leader of a group. As far as I know, unlike pianists and guitarists, bassists don't appear as soloists.)
I can't find Bob in the 1950 census. I have no idea whether he ever married or had any children.
By late 1944, Bob Carter had started his combo. However, there are no ads or other mentions of them at that time, so we don't actually know what it was called. NOTE: There was an unrelated Bob Carter Trio in Boston in 1943-4, one in New Jersey in 1953, one in Kansas City in 1962, one in Birmingham, England in 1966, one in New Jersey in 1968, and one in Tucson, Arizona in 1985. There was even another Bob Carter Trio in Chicago in 2000! A common enough name, there were other Chicago musicians named "Bob Carter" around at the same time (including a white pianist). You have no idea how many different people named "Bob Carter" were mentioned in Billboard alone.
But, thanks to Chicago union contracts, we know where he was, starting in early 1945. (Keep in mind that contracts were signed by an orchestra's leader; other members weren't mentioned, nor was the name of the combo. Again, he wouldn't have been appearing on his own as a bassist, so he was already the leader of a group.)
On January 18, 1945, he contracted for two weeks at the Circle Inn; on February 15, the contract was for two weeks at the DuSable Lounge; on November 1, there was an indefinite contract with the Hurricane Lounge; and on December 20, two weeks at the Vogue Lounge. Robert Campbell tells me that, generally, the engagement started during the week after the contract was signed. There are no ads for these places during those time periods, so I can't tell you what the group was called. The first mention of the "Bob Carter Trio" didn't occur before late 1946.
I don't know who was in the group originally, but an early photo shows the other two members to be Junior Mance and Walter Scott.
JULIAN CLIFFORD "JUNIOR" MANCE (piano) was born in Evanston, Illinois (a Chicago suburb) on October 10, 1928, to Julian Mance, Sr. and Marie McCollum. He learned piano at a very young age and was playing in clubs when he was as young as 15. His mother wanted him to go to college to become a doctor, but instead, he went to college to learn music. When he registered for the draft in October 1946, he said he was a student. I'm guessing that he was with the Bob Carter Trio while attending college, for some period in 1945-6. Later, he was with Gene Ammons (1947) and Lester Young (1949). Junior Mance would go on to become a highly respected jazz pianist.
"SIR" WALTER LEE SCOTT (guitar) was born in Birmingham, Alabama, on April 17, 1925, to Arthur Scott and Maude Evans. By 1930, he and his mother (and younger brother, Elmer), had moved to Chicago. He was still single (and living with his re-married mother) in the 1950 census.
When he registered for the draft (on April 17, 1943, the day he turned 18), he was unemployed.
A true trouble-maker, Walter was arrested, in an Indianapolis police crackdown on speeding, on April 17, 1951, his 26th birthday. He was named, in the press account, as "Sir Walter Scott".
Walter married Wilhelmina Wilson, in Cleveland, on December 22, 1952.
I can't say for certain that they were both there from the beginning, but newspaper accounts never mentioned any names at all.
Bob Carter signed more union contracts in 1946: another 2-week contract for the Vogue Lounge, signed on January 3); and further two-week contracts with the Vogue on March 7 and March 21. On April 18, he signed a two-week contract with the Music Box; there was a second one on May 2.
Occasionally, the Chicago Defender had a popularity poll for entertainers. In the 1946 Specialty Artists category, the Bob Carter Trio received 19,711 points; the King Cole Trio won with 106,653. Cole also beat out the Ink Spots, the Mills Brothers, the 4 Vagabonds, the Charioteers, the Golden Gate Quartet, the Brown Dots, the Red Caps, the Deep River Boys, the Delta River Boys, Johnny Moore's 3 Blazers, the 4 Shades Of Rhythm, and the 3 Loose Nuts (all of whom scored higher than the Carter Trio).
Since I have no idea when it happened, I'll mention here that Junior Mance left the Trio, to be replaced by pianist Art Simms.
"PROFESSOR" ARTHUR WILLIAM SIMMS (piano) was born in Painesville, Ohio, on October 11, 1915, to Arthur A. Simms (a barber) and Blanche Moxley. Art had two sisters, Dorothy and Frances. While they were all still in Painesville in 1930, Art was living with his grandmother, while his sisters were living with their parents.
By 1935, he'd wandered off to Buffalo, New York to work as a musician. He married Alyce Irving in Ripley, New York (a town southwest of Buffalo, on the Pennsylvania border) on June 19, 1935. They were still in Buffalo at the time of the 1940 census, in which he was a "nightclub musician" (who'd made $1050 in 1939).
His October 1940 World War 2 registration found him in Buffalo, working for Dan Montgomery, a hotel owner, who was also the leader of the Adams Wonder Band that performed at his restaurant/night club. (Remember You Are Never A Stranger But Once At Dan Montgomery's - "Where Friends Meet".)
There's no further mention of Alyce, but by 1947, Art had married Rubie Inez Johnson (who, as Rubie Inez Smith, was a somewhat well-known beautician in Chicago).
After the Bob Carter Trio, Art would form his own combo, the Art Simms Trio.
NOTE: In 1945, Arthur Simms was reported to be the house pianist at the Celebrity Club in Harlem. However, this was Arthur Sims, a different person, who was born in New York.
Bob filed another two-week contract with the Vogue Lounge on June 6, 1946. This was followed by a 4-week contract on June 20; and three more, for 2 weeks each, on July 3, July 18, and August 15. After that, they moved to the Last Chance Lounge for an indefinite period.
On September 14, 1946, there was a Chicago Defender ad for the Bob Carter Trio at the Wonder Bar (544 East 63rd Street). They'd end up appearing there through April 1947. However, the October 13 ad was for the New Wonder Lounge (more confusingly, it was sometimes called the Wonder Inn). This is the only ad for the Trio that I could find.
On October 4, 1946, Art Rupe, owner of Specialty Records, put together a Chicago session for drummer Armand "Jump" Jackson. Others in the band were Johnny Morton (trumpet), Oett "Sax" Mallard (alto sax), and Eddie "Sugarman" Penigar (tenor sax). For whatever reason, Rupe hired Bob Carter's trio (with Simms and Scott) to replace Jackson's rhythm section and Carter ended up doing the vocals on all four sides recorded that day: "Rainy Day Blues", "Red Light", "Worryin' Blues", and "All Alone Blues".
Specialty released "Rainy Day Blues" and "Red Light" (credited to "Jump Jackson And His Band") in November 1946. They were mentioned in Billboard's November 16 "Advance Record Releases" column.
While they were appearing at the Wonder, they had another recording session, this time with Marl Young's Sunbeam Records. Young was a pianist and arranger, who, during the war years, had led bands that appeared in Chicago clubs, such as the Rhumboogie and Joe's Deluxe Club. He'd also done arranging for other bands.
Their Sunbeam session took place sometime in March 1947, at Chicago's Universal Recording. The four songs were: "Too Lazy to Work (And Too Nervous to Steal)", "Bonus Blues", "Hey Now", and "Get A Gal Of Your Own"; once again, Bob Carter does the vocals on all of them. Somewhat behind the times, their signing by Sunbeam was announced in the April 19 Billboard.
Robert James Carter had copyrighted "Hey Now" on November 8, 1946. Two others were "Bonus Blues" and "Crazy Baby", on March 12, 1947.
Also in March, Specialty released the other two Jump Jackson tunes: "Worryin' Blues", backed with "All Alone Blues".
Sunbeam issued "Too Lazy to Work (And Too Nervous to Steal)", backed with "Bonus Blues" in May (they were mentioned in Billboard's May 17, 1947 "Advance Record Releases" column). It's possible that the other two ("Hey Now" and "Get A Gal Of Your Own") were issued as Sunbeam 109, but there's no trace of them anywhere except on lists of Sunbeam releases. Therefore, I'm going to assume that they were scheduled for release, but never actually issued.
"Too Lazy to Work" was a bouncy number in the Nat King Cole tradition. It was written by Marl Young, along with DJ Holmes "Daddy-O" Daylie. "Too Lazy" was revived by Joe Williams (soon to become the band singer for Jay Burkhart's orchestra, and, eventually Count Basie) on the extremely obscure Glo Tone label. Young had moved to Los Angeles by that time and would later revive "Too Lazy" for a September 1950 T-Bone Walker Imperial session. "Bonus Blues" concerns the domestic worries of a GI returning from World War 2; he's waiting for his bonus check to arrive so that he can dump his cheating girlfriend.
During April 1947, the Bob Carter Trio checked into the Hurricane Lounge. In early May, they replaced Tommy Dean's combo at the Music Box for an "indefinite" stay. They may have been there straight through until late January 1948, with only a three-day engagement at El Casino in early October 1947.
But things weren't going well for Sunbeam; it closed operations in late November. On November 16, the Bob Carter Trio received a formal release from Marl Young.
By this time, the Trio had gotten an offer from Bill Putnam's Universal label (a subsidiary of Universal Recording), which wanted to get a session in before the recording ban started. James Petrillo, president of the American Federation Of Musicians, had announced that, beginning January 1, 1948, union musicians would no longer be allowed to record. Therefore, record companies started recording around the clock in order to have enough product to sell during 1948, since no one knew how long the ban would last. Their signing to Universal was announced in the December 13 Billboard.
Sometime in November or December 1947, the Bob Carter Trio waxed eight sides for Universal, all of which Bob had written: "Crazy Baby", "Petrillo Blues", "Everyday Woman", "Poutin' Woman", "Don't Believe Nobody But Me", "I Got My Bonus Baby",' "I'm Out Of My Head", and "This Time I Got My Fingers Burned". The one that intrigues me is "I Got My Bonus Baby". If the title was supposed to be written exactly like that, he's calling his girl a "bonus baby". However, if the title should have been "I Got My Bonus, Baby", the comma might indicate that it was a follow-up to his "Bonus Blues", in which he was awaiting his bonus so that he could dump his girl.
In January 1948, Universal released "Petrillo Blues" (as "The Petrillo Blues"), backed with "Don't Believe Nobody But Me". There was an ad for it in the January 24 Billboard, and both tunes were copyrighted by Bob Carter on January 19, 1948.
The trio probably remained at the Music Box until the end of January 1948. Then, Carter filed a contract for one week at the Blue Heaven Lounge on February 5, 1948.
The Trio hooked up with the Associated Booking Corp. (which seemed to book them into places that didn't advertise); their photo appeared in an undated Associated ad.
The Universal disc was reviewed in the February 14 Billboard (although there were no ratings given):
Don't Believe Nobody But Me: Nothing unusual as trios go, but vocal is pleasant and guitar work is good.
The Petrillo Blues: The "Boss" [Petrillo] may consider this a dubious honor. Sounds like Taft had a hand with lyrics.
The Taft-Hartley Act of June 23, 1947, sought to rein in some of the powers of unions. (It was named after Senator Robert A. Taft and Congressman Fred A. Hartley). Congress passed the bill, but it was vetoed by President Truman. However, there was enough bipartisan support in Congress to override the veto. Petrillo was not amused. He probably wasn't amused by the lyrics to the song either:
Musicians are cryin', talkin' about the record ban.
Musicians are cryin', talkin' about the record ban.
After '47, Petrillo has another plan.
You've made your last recording,
So make yourself content.
If you haven't made them, brother,
Then you can't pay your rent.
Musicians are cryin', talkin' about the record ban.
After '47, Petrillo has another plan.
You'll make no more recordings
Till Petrillo say the word;
Maybe nineteen hundred and fifty,
Oh brother haven't you heard.
So don't think about recording
Or making transcriptions too,
If you violate this order,
Petrillo is through with you.
Musicians are cryin', talkin' about the record ban.
After '47, Petrillo has another plan.
I made this recording
Before the record ban.
I'm going to keep it, brother,
Because it will be in demand.
I'll sell a few million records
And wait for the phone to ring,
And when I get that money
That ban won't mean a thing
Musicians are cryin', talkin' about the record ban.
After '47, Petrillo has another plan.
On April 13, 1948, Bob Carter got a release from Bill Putnam at Universal. It looks like he was approached by another label, but the deal fell through. (He couldn't have recorded anyway, as long as the Petrillo Ban was in effect; it would last until December 14.)
Universal Recording never recorded Carter again, nor did they release any of the other six sides from the late 1947 session.
In the Specialty Artists category of the 1948 Chicago Defender popularity poll for entertainers, the Bob Carter Trio received 46,089 points (there doesn't seem to have been a poll in 1947). The King Cole Trio once again won, with 103,276 points, also beating out the Ink Spots, Johnny Moore's 3 Blazers, the Mills Brothers, the 4 Tunes, the Charioteers, the Slam Stewart Trio, the Golden Gate Quartet, the Deep River Boys, the 4 Vagabonds, and the Cats & The Fiddle (all of whom scored higher than the Carter Trio).
In May 1948 the Trio started doing a series of 3-day weekends at the Saratoga Lounge (with contracts posted May 20, July 1, July 15, and August 5).
On August 5 and September 2, 1948, Walter Scott filed 3-day contracts with the Saratoga Lounge club in his own name. Was Carter involved at all? Had Scott left the Trio? Remember that only the leader signed the contract. Scott may have signed as a temporary leader or as the leader of his own combo. (However, both Carter and Scott signed contracts on August 5, so it really seems like Scott had formed his own unit.) As I've said before, there was never anything other than record labels that mentioned the names of the Bob Carter Trio members. While I've assumed that the membership was constant once Art Simms joined, there might have been dozens of members in and out; I'd never know.
On October 9, the Bob Carter Trio started at Joe Lightfoot and Freeman Barnes' Hollywood Rendezvous. They were still there a month later.
The January 8, 1949 Chicago Defender had an ad for the Blue Dahlia (425 East 43rd Street), which had the Bob Carter Trio ("Recorder of 'Too Lazy to Work'") as headliners. They'd be there for four weeks.
The January 15, 1949 Billboard had an article about a new Bill Putnam label called Double Feature. The Bob Carter Trio was one of the "new artists who have cut for the DF catalog", although any Trio releases (there never were any) would probably have been some of the unreleased Universal sides (remember Putnam owned Universal). Each Double Feature release consisted of a 78 record with four songs (a kind of EP). Says Robert Campbell:
A Double Feature was a crude 78 rpm EP (I own a few that Universal mastered and pressed for other small labels in Chicago). There were two tracks on each side, and I don't think the total time per side could exceed 5 minutes (the ones I've seen typically ran to 4 and a half). The 78s were crude because the grooves were narrower than on regular 78s, but not as narrow as the "microgroove" that was starting to appear in 45s and 33s. (RCA made its big launch of 45s in April 1949. Some LPs were out even earlier.)
Contracts filed on February 3, 1949 covered three nights at the Flamingo Lounge, followed by the Saratoga Lounge for around a month. On March 3, Carter signed an indefinite contract with the Music Box. On May 19, there was another three-day contract with the Flamingo Lounge. On August 18, there was a two-week contract with the Music Box.
Also in August 1949, two "Bob Carter's Sextet" releases appeared on Chicago's Rim Records. On three of them ("If You Get It", "You Made My Heart Cry Out", and a cover of the Ravens' "Write Me A Letter"), they were backing up singer Rudy Richardson. The fourth side was an instrumental called "Burton's Bounce". The labels give the personnel as Arthur "Swing Lee" O'Neil (tenor sax), Porter Kilbert (alto sax), Art Simms (piano), Nick Cooper (trumpet), Curt Ferguson (bass), and E. Miller (drums).
So who was this Bob Carter? Two things to note: (1) Curt Ferguson was the bassist in the group and (2) what Carter actually does isn't mentioned on the label. However, it's an interesting coincidence that Art Simms is the pianist. I'm not ready to say that he either is or isn't "our" Bob Carter, although I'm leaning towards "is". All four sides were released in August 1949 (see discography).
Sometime in 1949, the Bob Carter Trio dissolved. Walter Scott (if he was even still with the Trio) then joined the combo led by tenor saxophonist Eddie Chamblee, recording with them in their September 1949 Federal session that produced "Blues For Eddie" and "Blue Steel". By August 1950, the Art Simms Trio was advertised as appearing at the 5639 Club.
Bob Carter, who wasn't mentioned again for four years, must have put together another group since he signed an indefinite contract with the Rose Bowl Casino on March 19, 1953 (it was extended on June 18). Again, as a bassist, he wouldn't have been appearing as a soloist. The engagement seems to have been extended throughout the better part of 1954.
On June 15, 1953, Bob copyrighted two songs ("Baby Sitter" and "Blues For Louise"), written with someone named Jonel C. Howard, of whom I can find no trace.
In July 1953, there were two releases on Chicago's tiny Cool label, part of Co-Ben Recording & Publishing Company. They both had "Bob Carter's Orchestra" backing up single artists Herbert Beard and Billy Arnold. The musicians seem to be playing tenor sax, piano, electric guitar, bass, and drums, but they weren't otherwise identified.
But it wasn't that simple (it never is). The March 28, 1953 Billboard said "The first releases will be by a newcomer, Herbert Beard, backed by John Davis and ork. They are 'Luxury Tax Blues' and 'Rhythm In My Soul'." However, the April 11 Chicago Defender noting the formation of the label, said, "First releases will be by a newcomer, Herbert Beard, and the Hepsters Combo. They are the 'Luxury Tax Blues' and 'Rhythm In My Soul'." The next time Herbert Beard was mentioned was in the July 11 Billboard. It was because Cool had released "Gal! You Need A Whippin'" and "One Half Hour", two songs that Beard had recorded at the same session as the other two (which never were issued). However, this time the backing musicians were called "Bob Carter's combo". However, the label itself has "Bob Carter's Orchestra". Even stranger, all press releases (in March, April, July, and August) only mention Co-Ben, never Cool (even though the record had been released, on Cool, in July!). Only an ad in the July 11 Billboard said "Cool", but in much smaller letters than "Co-Ben".
That band also backed up Billy (Boy) Arnold on "Hello Stranger" and "I Ain't Got No Money", which were released on Cool around the same time. (See discography.)
Was this the same Bob Carter who was on Rim in 1949? Is it "our" Bob Carter? Will we ever know? (Seems to me there should be organ music and a soap commercial right about now.) The short answer is: I have no idea. The more detailed answer is: I have no idea. (But, once again, I'm leaning towards "is".)
(You can read about Cool Records here.)
During the time that Eddie Chamblee's combo was playing George's Bar And Orchid Room in Indianapolis, Walter Scott died. On October 19, 1953, he was found dead in his hotel room of (said the death certificate) fulminating pneumonia and acute hemorrhagic bronchitis. The October 24 Indianapolis Recorder had a brief obituary:
Walter Scott, guitarist with Eddie Chamblee's combo is dead. Scott was a member of the Chamblee group for three years [actually four]. His versatile style of playing was instrumental in gaining recognition for Chamblee's aggregation throughout the nation. Although young in years, Scott ranked high in popularity among the guitar "greats". Funeral services will be held for Scott in Chicago, Ill.
The same issue had a small article about Eddie Chamblee's combo, which named the members: "Featured with the group are: Walter Scott, guitar; John Young, 88; Archie Taylor, drums; and Eddie, vocalist and tenor sax." It concluded with "Mr. Scott died last Sunday."
NOTE: A lot of sources have Walter Scott as part of Eddie Chamblee's band when it backed up the Moonglows on their "Sincerely" session. However, that session was held in September 1954, when Scott had been dead for nearly a year.
Let's briefly get back to Bob Carter's sister, Annabell. In February 1954, she recorded "You Oughta Quit It" and "Lovin' Daddy Blues" for the Blue Lake subsidiary of Parrot Records (they were released in June, as by "Ann Carter"). Probably right after the session, she went to Los Angeles and engaged John E. Barnett as her agent. There's a possibility that she remained there (it's where she died, as Annabell Wiley, on November 12, 1977), but I can't find any ads for her appearing anywhere. She was mentioned in the July 17, 1954 Chicago Defender:
New blues shouters are cropping up all over with acclaim from wax agencies and purchasers as well. One of the latest is Ann Carter, Los Angeles thrush, whose disc, "Lovin' Daddy Blues" is socko with juke box fans.
Note that she's already a "Los Angeles thrush", so she'd relocated by this time (and, they didn't seem to know her as a Chicago singer). Also, keep in mind that the word "acclaim" has no meaning whatever when used in these contexts (that is, without telling us who did the acclaiming).
The last union contract that Bob Carter signed was on May 21, 1959, for a two-week stand at Oddo's Lounge. It probably wasn't a long one; in October 1959, Oddo's license was revoked for serving liquor to minors. One last appearance: the Virginia Hotel And Bar (Atlantic City, New Jersey) starting August 7, 1959 (unknown duration).
After that, Bob seems to have given up running his own group, joining Lorenzo Smith's combo as bassist, playing one-nighters and weekend gigs all over Illinois.
Then, to have a steady income flow, Bob began working for the Post Office.
While he remained a member of the local union, at least through 1985, once his mother died (in 1968), his involvement with music tapered off.
Art Simms died in Chicago on August 21, 1986. Bob Carter passed away on September 5, 2000, also in Chicago. Junior Mance died in New York on January 17, 2021.
The Bob Carter Trio turned out some nice music, but didn't interest the press to the extent that anyone thought it worthwhile to write a single thing about them while they were in existence. A maddeningly common name, it's tough to research them.
Special thanks to Robert Campbell and the Red Saunders Research Foundation () and Marc Myers.
SPECIALTY (Jump Jackson And His Band, incorporating the Bob Carter Trio)
506 Rainy Day Blues / Red Light - 11/46
509 Worryin' Blues / All Alone Blues - ca. 3/47
SUNBEAM (Bob Carter Trio)
107 Too Lazy To Work (And Too Nervous To Steal) / Bonus Blues - 5/47
109 Hey Now / Get A Gal Of Your Own (probably scheduled, but unreleased)
UNIVERSAL (Bob Carter Trio)
82 The Petrillo Blues / Don't Believe Nobody But Me - 1/48
UNRELEASED UNIVERSAL
Crazy Baby
Everyday Woman
Poutin' Woman
I Got My Bonus Baby
I'm Out Of My Head
This Time I Got My Fingers Burned
THE VOCALS ON ALL THE ABOVE SONGS ARE BY BOB CARTER.
RIM (Bob Carter's Sextet)
100 If You Get It / You Made My Heart Cry Out - 8/49
101 Write Me A Letter / Burton's Bounce - 8/49
Backing Rudy Richardson, except for the instrumental "Burton's Bounce"
COOL (Bob Carter's Orchestra)
101/102 Gal! You Need A Whippin' / One Half Hour - backing Herbert Beard - 7/53
103 Hello Stranger / I Ain't Got No Money - backing Billy (Boy) Arnold - 7/53
