Cliff Butler

By Marv Goldberg

© 2024 by Marv Goldberg

Cliff Butler was a fixture on the Louisville, Kentucky music scene for many years. Starting as a singer, he also spent years as a DJ, wrote lots of songs, owned some record labels, and finally gravitated to gospel.

Clifford Bertrude Butler was born in Louisville, Kentucky in 1922, although exactly when is in question. His Kentucky birth record said November 7, but his headstone says October 17. I suppose one of them is correct.

Per that birth record, his mother was Georgia Bodine. There was no father's name given (but I looked at other Kentucky Birth Index records and I don't think that any of them showed a father's name).

His mother's maiden name was Georgia Easley; his father is unknown. Georgia had been married to William Bodine, who is most probably not Cliff's father (although in the 1930 census, he was enumerated, with his mother, as "Clifford Bodine"). Georgia and William Bodine had two sons (Cliff's half brothers): William (born 1912) and Robert (born 1914). In the 1920 census, "Georgia Bowdeine" said she was a widow; William Bodine, on the other hand, said he was married, but there was no wife. When half-brother Robert Bodine died in 1952 (auto accident), Cliff Butler was the informant on the death certificate [the one who supplies information about the deceased], and gave Robert's parents as William and Georgia Bodine. In both the 1914 and 1928 Louisville City Directories, Georgia and William Bodine are at different addresses. In fact, I can't find a single record of them together.

[Cliff appears in a few online family trees, but they're so laughably inept that they're useless. For example, one of them shows Clifford Butler as a bellman at a Louisville hotel. The source for this gem: the 1923 Louisville City Directory, prepared when Cliff was under a year old!]

There was a William Butler, married to Georgia Butler in the 1920 census (and some trees show them as Cliff's parents), but they were born in 1870 and 1873 and are, therefore, much too old. (Besides, Georgia Easley was born in April 1895.)

The 1930 census shows Georgia Bodine (married, no husband present, and a "stemmer" in a tobacco factory), along with her three sons William Bodine, Robert Bodine, and "Clifford Bodine". Cliff's obituary would name his surviving brother as "William Burdines".

Shortly after that census, Georgia Bodine died (June 25, 1930), at only 35. She had a broken ankle which somehow developed septicemia. Her sister, Frances, was the informant and said: Georgia was married, her husband was Will Bodine (who doesn't show up in the 1930 census at all), and was a tobacco shop worker. When William Bodine died in 1941 (from acute bronchitis), his death certificate said he was a widower, his late wife was Georgia Bodine, and he was a machine operator in a broom works. The informant was a woman named Luetisha McNairy, living at the same address as William. However, in the 1940 census, William Bodine said he was married to Luetisha. Anyone want to untangle this?

Nah; forget it. Enough of that tangled web; let's get back to Cliff. He supposedly studied music at Jackson Junior High School and joined a jug band, but he only had a single year of high school.

At the time of the April 1940 census, Clifford Butler was 17, single, living with his aunt Frances, and a delivery boy for Walgreens drugstore. Note that he's now calling himself "Butler", so he must have known that was his father's surname. Alternatively, it's also possible that it's just a name he chose to break away from the "Bodine" label.

Sometime before registering for the draft on October 16, 1940 (Registration Day), he married Betty Louise Wilson. Presumably the marriage took place close to the time of his registration, because on the form he and Louise Butler (don't even ask how the registrar spelled "Louise") were still living at different addresses. He was still working at Walgreens. In the 1940 census, Betty was 28, 11 years older than he.

Cliff seemed to want to be drafted for some reason. To that end, he lied about his age to the draft board, making himself three years older: he gave his birthdate as January 17, 1919 - the registrar clearly wrote down 1-17-19. With his real birthdate (either November 7 or October 17), he would have been just short of his 18th birthday - now, he was seemingly over 21, the minimum age to register.

The first mention of Cliff Butler in the news was in the Louisville Courier- Journal of January 3, 1942:

A traffic school sentence for reckless driving was given a Negro listed as Clifford Butler, 23, of 923 S. Hancock, charged with driving from 45 to 50 miles an hour on Broadway near Clay Thursday. [What? You thought he started as a singer? Note that the age tied into the fictitious birth year he gave the draft board. Possibly he used that age to get a drivers license. And, it was the same address he'd given the draft board.]

Strangely, after making himself older, he didn't enlist in the Army, waiting around to be drafted, which he was on October 11, 1943 and sent to Camp Atterbury, Indiana. [While all intakes were deemed "Enlistment", the giveaway is a line that says "Selectees (Enlisted Men)". "Selectees" means he was selected by the draft board.]

Less than two years into his service, something happened (all the online record says is "disease"), causing him to receive a medical discharge on July 13, 1945.

Once home in Louisville, Cliff began his musical career. Note that, while few things ever mentioned it, aside from singing, Cliff played tenor sax. It isn't evident on any of the recordings I've heard (in cases where there's a prominent sax, it was played by a studio musician). Also note that all appearances I'll talk about were in Louisville, unless otherwise noted. Cliff rarely appeared outside of Kentucky, and most of his appearances outside Louisville were in Lexington, Kentucky, about 75 miles away. I guess his musical career started slowly, however; when the 1946 Louisville City Directory was published, Clifford B. Butler was a "laborer".

Let's start elsewhere. In February 1946, blind pianist Bennie (or "Benny") Holton was appearing at the Hillcrest Club. A trio called the 3 Notes was added there starting in March. Ads said "The Three Notes Direct From New York's Famous 52nd St. and Bennie Holton Terrific Blind Pianist And Singer". (Many of you know by now that the phrase "direct from" means that the act might have played there sometime between the extinction of the dinosaurs and the date of the ad. In this case, I can't find any mention of the 3 Notes in New York.) The two acts were in ads through July 13, after which the Hillcrest Club was re-named Club Cobana; the 3 Notes were advertised there through August 10.

On March 2, 1946 there was an ad for Club Colony, which featured a combo called the "Bo-Weavers" (advertised through March 16). Fortunately, they printed a photo of the group and Cliff Butler is in it (bottom right). I'm also reasonably certain that a guitarist named John Wood is at the bottom left and a bassist named Leslie Grinage is at the top left.

June 22 found "Cliff 'The Voice' Butler and His Butlers" appearing at the Starlight Night Club. This was the first ad that named Cliff Butler. Many ads, through 1953, would refer to him as "The Voice", but other than the Starlight, there never seem to have been any other places that mention the Butlers.

One appearance Cliff made outside Kentucky was in Muncie, Indiana (about 175 miles from Louisville) on June 23, when "Cliff Butler and his orchestra, of Louisville, Ky." played for a military ball at the Muncie Armory. This was part of a larger Veterans Of Foreign Wars encampment that lasted for four days. Presumably the "orchestra" was the Butlers, but the article didn't say.

They were back at the Starlight Night Club on July 27. This time the ad called them "Cliff (The Voice) Butler & His Butlers (Formerly Bo-Weavers)". That's kind of strange; you'd think that a notice of a name change would be necessary if a band had been very popular, but I could only find three March 1946 ads that mentioned the Bo-Weavers (and all three of those ads were for Club Colony).

On April 19, 1947 "Cliff Butler And His All Star Review" returned to Club Colony with no mention of the Bo-Weavers. But, their May 1 ad called him "Cliff (Bo-Weaver) Butler" and used the same year-old photo. The group would be there through the end of June.

Sometime in 1947, pianist Benny Holton joined Cliff's group. Note that Benny's wife, Pauline Holton, was a band singer (although never, it seems, with Cliff Butler).

Somehow, Cliff's fame traveled. This was in the October 16, 1947 Los Angeles California Eagle:

Quite a bit of ravin' comes all the way from Louisville, Ky. where a young man who answers to the name of Cliff Butler has been labeled "The Voice". He's an all-around musician: writes, arranges, and plays a trumpet, but his love is just to "croon". We're told whether sweet or hot, this fella has 'em yellin' for more.

While there are only two offhand references to Cliff playing the tenor saxophone, this is the only reference to a trumpet. Either he played both, or the instrument got garbled in its cross-country flight. This turned out to be the only mention of Cliff in a California paper; in fact, he was rarely mentioned outside Kentucky at all.

It's now late in 1947 and James Petrillo, head of the Musicians Union, has announced a strike to begin on January 1, 1948. At that time, no union musicians would be permitted to record. The first time Petrillo had done this (beginning August 1, 1942), the strike lasted a year. Therefore, record companies now went into overdrive, recording around the clock for two basic reasons: they'd need product to sell in 1948 (since they had no idea how long the strike would last this time) and it would be cheaper to record now, before musicians' rates went up. As it turned out, the strike lasted through December 14, 1948.

Somehow, Cliff got to record for Signature Records, a New York company owned by Bob Thiele. Thiele must have really loved music; over the years, he'd be married to three singers: Monica Lewis (voice of Chiquita Banana), Teresa Brewer, and Jane Harvey (Desi Arnaz's singer from 1946 - 1958).

By this time, the Bo-Weavers and Butlers had slimmed down to four, now called "Cliff Butler & The Three Notes", they were: Cliff Butler (vocals; there's no aural evidence that he played the sax or trumpet on any of the recordings), Ben Holton (blind pianist), Leslie Grinage (bass), and John S. Wood (guitar). Note that Holton would hover around Cliff for around 25 years, continuing to perform on Butler's gospel records into the 1970s. While other musicians came and went, Benny stayed.

The four Signature songs were supposedly recorded in New York City, but were they? While it's possible, it would be expensive to have four of them come to New York and stay there for a couple of days (and, there are no ads for them appearing in the City). At any rate, the tunes were: "You Bring Happiness To Me", "She's Really Sweet To Me" (with nice guitar work), "Please Don't Say We're Through", and the instrumental "Benny's Boogie", which features Ben Holton's piano (but what did Cliff do on it, since there's no sax or trumpet?).

In March 1948, Cliff (The Voice) Buttler [sic] and the Three Notes appeared at the Silver Dollar Bar.


Finally, a record: in April, Signature issued "You Bring Happiness To Me", paired with "She's Really Sweet To Me".


When that one didn't zoom to the top of the charts, Signature released "Please Don't Say We're Through" and "Benny's Boogie" in May. They were reviewed in the June 19 Billboard:

Benny's Boogie (66): B.w. [?] piano solo with rhythm. Not especially unique, but has some blues feeling.

Please Don't Say We're Through (63): Cliff's chanting of pop written by himself is fair. Tune just ordinary.

On November 28, 1948, the Louisville Courier-Journal had a two-page spread about Be-Bop, the new jazz phenomenon. One page was headed "I Like Bebop" (by Don Freeman); the other was called "I Don't" (by Edward Devol). [One of the reasons for the rise of Be-Bop was the hefty entertainment tax, imposed in 1944, which started at 30%. If you could dance to the band, you paid heavily for the privilege. This led, in time, to the growth of Be-Bop, since there was no tax for music you could only listen to.]

The "I Like Bebop" page had a photo of Cliff and the 3 Notes, with the caption: "Members of Cliff Butler's band, photographed at a Louisville night club, are Ben Holton, piano; Leslie Grinage, bass; John S. Wood, guitar; and Butler, who provides the vocals. The band plays other music than bebop, of course."

The "I Don't" page contained an interview with Cliff:

Recently I sat in on a rehearsal of a Louisville musician who likes bebop. He was Cliff Butler, whose trio plays at a night club and for dances here. "Of course," Butler said, "We can't play much bebop in public. People don't dig it."

Butler, an intelligent man in love with music, explained what bop is and how it's played. His musicians, Leslie Grinage, John Wood, and Ben Holton, obliged with demonstrations of its more intricate phases. I began to get a faint idea of the technical side of the subject.

Then I asked Butler, "What I want to know is this: why do you play bebop?"

He looked surprised. "We just like it. We got tired of playing the old way all the time."

At some point in early 1949, Ben Ingram, Jr replaced Leslie Grinage on bass.


June 4, 1949 found Cliff and His Three Notes at the Club Neon (don't forget: Waltz Contest, Sunday Nite Only). I believe this is the last time the 3 Notes were mentioned. Not only that, but it seems to be the last time a Cliff Butler band had any name at all.

On June 27, the group (Cliff Butler, Benny Holton, John Wood, and Ben Ingram) journeyed the hundred miles to Cincinnati to record for King Records. There was a single session (produced by Henry Glover), which resulted in six songs: "Crying Blues", "When You Love (You Should Love From The Heart)", "Hearts Only Ache (Hearts Never Break)", "Gold Diggin' Baby", "Shame On You" (with nice guitar work), and "I Dream Such Foolish Things". As is usual with these things, their signing wasn't mentioned until after they'd recorded; it was in the September 3 Billboard.

The group had a station wagon with a towed trailer. Sometimes, Ingram's bass wouldn't fit inside and had to be lashed to the top of the wagon. This is from my Orioles article:

What was it like lugging that bass around? "You don't want to know," said Johnny Reed [bassist] of the Orioles. "We did pretty good with it because they would help me with it... The only way you can get a good sound is from a wooden bass, not a Fender. A Fender's too mechanical. You'll always find a good bassist with an upright bass... [In the car] it takes up the room of a whole person."

In August 1949, King issued "When You Love (You Should Love From The Heart)", backed with "Crying Blues". There's a subtle group on "When You Love", which could be the Swan Silvertone Singers, since their session came immediately before Cliff's. These were reviewed in the September 9 Cash Box and the September 17 Billboard:

Cash Box (no ratings): Some great wax in the offing for music ops [juke box owners] is this disking by piper Cliff Butler. Top deck [When You Love] is a soft, hush-hush ballad, purred by Cliff in smooth tones that ring true. Music is toned down enough to make you wanna listen time and again. The flip has Cliff coming back with a bit of ballad blues that should do well in the boxes. We like the top deck, "When You Love".

When You Love (BB; 72): Note-bending bary warbles an okay ballad with good feeling.

Crying Blues (BB; 66): Unsensational blues effort.

"Crying Blues" was #1 on Cash Box's local Louisville charts on October 10, but it only appeared that one week.

Cliff was at Club El Rancho on November 18, 19 & 20; he'd be back the following weekend. One ad showed his whole group, which contained seven performers. Ben Holton is on piano, John Wood is on guitar, and I suppose it's Ben Ingram on bass. There's also a sax player, a drummer, and a trumpeter, none of whom were ever mentioned before or again. (The ad promised "No Covert Charge Sunday".)

A new venture. In early 1950, Cliff Butler became a DJ over Louisville's WLOU (1350 kilocycles on your AM dial). From January 11 through February 3, he was listed as "Cliff Butler" from 3:00 - 3:30. By February 6, the show at that timeslot was called "Music Grab Bag", presumably still with Cliff. But by April 26, for several months, there were only sports programs in that timeslot; then hillbilly music. If a show didn't have his name associated with it, I'd have no way of knowing it was him. He'd be back on the air, under his own name, in September 1952.

In February 1950, King released "Shame On You", coupled with "I Dream Such Foolish Dreams". ("Shame" is another of those songs that has "suffer" and "no better for you" in the lyrics - it means "too bad, you don't deserve any better".) They were reviewed in the March 18, 1950 Cash Box:

"Shame On You" is a slow moving ballad that airs Cliff Butler using some tricky vocal stunts with a quivering delivery. Lyrics is [sic] strong and the accompaniment commands as much attention as the chirping. The record asks for an audience and ops might give it a tumble. Reverse, "I Dream Such Foolish Dreams", has a piano introduction and another Butler vocal weaving its way throughout. Somehow, this number doesn't quite come off. "Shame On You" takes all the merit that the record has to offer.

In the April 1950 census, Cliff said he was an "Entertainer (Singer) Night Club" and had worked 28 hours the prior week, although there had been no ads for him so far the whole year. He and Betty (now calling herself "Louise B.") had four children: Clifford B. Jr., Robert F., Georgia B., and Lamont W. Like her mother, daughter Georgia B. would switch her names around and call herself Betty G. There'd be two further daughters: Mary Ann and Elise.

In May, King issued "Hearts Only Ache (Hearts Never Break)", backed with "Gold Diggin' Baby". The press-agent-written bio on the DJ copies said "He came from a musical family and hence his love for singing. Cliff picked up quite a bit of his knowledge of music from his brother...." This is the first, and only, time any of his family has been mentioned as being musical.

On July 22, 1950, "Cliff Butler and his Band" began a long-term engagement at Club Neon, lasting until early December. Since Club Neon had a radio show on WINN (11:00 to 11:30 PM Thursday nights), Cliff and the band must have been heard over the air.

[A July ad for the Shuffle Inn had "Dancing Under The Stars to the music of John Young (formerly with Cliff Butler) and his orchestra". Young was an alto sax player, but this was the only time the association ever came up. I suppose he could be the unidentified sax player in that November 1949 El Rancho ad, but we'll never know.]

Part of Club Neon's advertising went "Cliff Butler, The Band With The Beat That's Really Reet. Swings His Way Into Your Hearts." Well aw root!

Cliff sang at a Musicians union concert held at Chickasaw Park on Sunday, September 10. The announcement didn't say if his band was with him. Many ads only had his name, leaving us to guess whether he brought one along.

1951 started with an engagement at the Club El Rancho, only advertised on January 5 and 6. The ad said "I want to let you know I am now appearing at the El Rancho" - nothing about a band or a combo. But you were invited to come and "Riff With Cliff".

His next ad was also for El Rancho, but, since it wasn't until May 1, I don't believe that he'd been there all the while. This time he was "The Voice and his Orchestra". It was a long stint, lasting until the end of the year.

Somewhere along the way, Cliff had recorded for Dot Records. The two resulting records were never advertised or reviewed and are probably pretty rare. The first, released in November 1951, was "I Love You So Much It Hurts", backed with "Lucky Me".

On April 21, 1952, "Mr. Crying Blues, Cliff Butler", was at the Golden Horseshoe Danceland in Richmond, Kentucky, about 100 miles from Louisville. It was just for the one day.

Cliff was back at El Rancho (their Patio Plaza) from July 31 to August 23. He was still called "The Voice" and he still had an orchestra. As far as I know, only Benny Holton remained with him over the years; I rarely know who any of the others were. Actually, this is the last time he's mentioned as having any kind of musical group until March 1955.

Cliff was at Baron's Theatre Lounge from August 30 September 13 along with the Mart-Tuck Duo. Martin Phelps was a pianist; I don't know who "Tuck" was.

Back to radio, Cliff turns up again on WLOU with an hour show starting September 1, 1952. He's advertised as a DJ straight through to September 28, 1954.

Another recording company; this time Leonard Allan & Lewis Simpkins' States Records of Chicago, where Cliff had a session on November 17, 1952. Once again, Benny Holton was his pianist, but the others were Chicago session musicians: Leon Washington (tenor sax), Jimmy Richardson (bass), and Red Saunders (drums). The six tunes were "You're Honey But The Bees Don't Know It", "Got Me On My Mind", "Adam's Rib", "Benny's Blues", "Boogie", and "Butler's Rock".

Around January 1953, Dot released another Cliff Butler disc: "Boogie With Lou", coupled with "Can't Get Her Off My Mind". Cliff had written "Boogie With Lou" for Dorothy "Louisville Lou" Howard, another DJ on WLOU, although she'd be relocating to Augusta, Georgia soon.

A second January release was on States: "Adam's Rib", backed with the instrumental "Benny's Blues", as Cliff Butler & His Blue Boys. They were reviewed in the January 17, 1953 editions of both Billboard and Cash Box, as well as the February 11 edition of Down Beat:

Benny's Blues (BB; 76): Pleasant after hours stuff by the Butler group, featuring Ben Holton on the keyboard. It's mighty fine music with Holton turning in a great job. Pop jockeys who are looking for good programming material should give this one a spin.

Adam's Rib (BB; 75): Butler tells how he can't live with or without women as he chants his way thru this slow blues with nicely modulated ork support.

Benny's Blues (CB; C+): Cliff Butler and His Blue Boys dish up a slow feathery blues softly as they showcase the talented fingers of Ben Holton on the piano.

Adam's Rib (CB; B): Cliff sings on this side as the material is another slow blues. Vocal is warm and appealing.

DB: Adam's Rib (4 stars); Benny's Blues (5 stars): Both of these sides are most potent. The first is sung by Butler, who laments the fact that anyone ever thought of putting Adam's rib to the purpose it was. The Blues sports some excellent piano by Ben Holton in an after-hours mood. [The March 11 Down Beat called Benny's Blues a Best Bet.]

Ziggy Johnson's column in the February 14 Chicago Defender mentioned "Benny's Blues":

Hey Jack Surrell. We have a radio in the dressing room now, and you sounded off real good Tuesday night. How about 'Topping The Town' with Cliff Butler's version of "Benny's Blues". [Surrell was a Detroit DJ (WXYZ), whose show was called "Top Of The Town". It seems like Johnson is recommending that Surrell play "Benny's Blues" on his show, but my command of Columnist Gibberish is not all it should be.]

On February 2, 1953, Cliff opened again at Club Neon (for a while, the club had lost its liquor license and was shuttered because of illegal gambling). He'd be advertised through April 19.

Cliff sang at the Metropolitan Louisville Home Show, at the State Fairgrounds, from May 17 to May 24.


On June 29, 1953, Cliff had a second session for States. This time, along with Ben Holton, he brought a vocal group called the Doves, with which he'd be appearing. (I'd like to say "with which he'd been appearing", but there are no ads with their name until after this session.) Session musicians were bassist Jimmy Richardson, drummer Red Saunders, and probably Dick Davis on saxophone. The four tunes recorded were "People Will Talk", "TB" (possibly an instrumental called "TB Blues"), "Jealous Hearted Woman", and "When You Love" (a song he'd done for King in 1949).

The only known member of the Doves was someone named Doc Williams.

Cliff Butler ("Louisville's Own WLOU Disc Jockey") and the Sensational Doves appeared at the Lyric Theatre in Lexington, Kentucky on August 26. Also on the bill was B.B. King.


In August, States released "People Will Talk", backed with "When You Love", as Cliff Butler & His Doves. They were reviewed in the August 29, 1953 Billboard and the September 5 Cash Box:

People Will Talk (BB; 75): Butler and the Doves tell about the common weakness most people have for gossip. It's a blues pattern with a stepped-up tempo. There's a good beat and the group blends well.

When You Love (BB; 73): Butler narrates as well as sings this one with his Doves backing effectively. It's a quiet effort and well done.

People Will Talk (CB; B+): A quick beat bouncer with a gay touch and spiritual flavor is run through by Cliff Butler and his Doves. Tune has some go-go to it and the lead, Butler, does a top job.

When You Love (CB; C+): Reverse deck is a slow ballad dreamily performed with soft-lights appeal.

The November 24, 1953 Courier-Journal had this in their "Complaints Filed" column: "Cliff Butler vs. Laura McDonald, violation of contract". Laura seems to have been a widow who ran a rooming house in Louisville, but she had a bar license suspended for selling liquor after hours and was also taken to court for operating a nursing home without a permit in 1957. None of that explains the complaint, however.

Cliff and the Doves were back at Lexington's Lyric Theatre on January 21, 1954. Also on the bill was comedian Joe E. Lewis. The two Lyric gigs are the only time he was advertised as appearing with the Doves, who seemingly flew off into the sunset.

In 1954, one of Cliff's musicians was bassist Alonzo Cureton, who was 14. He could have only been there a couple of years at most, since he went into the Navy in 1957, upon graduation from high school.

The "Complaints Files" column in the April 15, 1954 Courier-Journal had this one line: "5259 - Lavenia Lyles vs. Cliff Butler, damages". Feel free to invent your own explanation; I'm out of ideas.

There were no listings for Cliff Butler on WLOU for a while after September 28, 1954. However, an October 31 article in the Courier-Journal talked about WLOU and said:

Cliff Butler, Louisville band leader and proud possessor of a "hit" record in "People Will Talk", does a record show on WLOU.

There was even a photo of him with James Carter, another member of the WLOU staff. So he must still have been doing something there, although his name no longer appeared in listings. In his time slot was "Mr. Blues", which, I suppose, could be him.

February 1955 saw the release of another record on States: "You're Honey But The Bees Don't Know It", backed with "Jealous Hearted Woman", both credited to Cliff Butler & His Combo. While "Jealous" had been recorded with the Doves, this time they're not mentioned on the label.

Cliff and his combo furnished the music for a style show at the Central High School auditorium on March 18.

Starting on August 1, 1955, he was once again listed on WLOU with an 8:00 AM hour-long program.

Another Chicago label: Favorite, about which I know nothing. The first record was "You Name It", backed with "No Faith In You". Both were credited to "Cliff Butler", with "No Faith In You" also naming Benny Holton and Eggie Porter on guitar. (Arthur "Eggie" Porter had been the Royals/Midnighters' guitarist for about a year, from late 1953.) A September 17, 1955 blurb in the Chicago Defender talked about the record:

We came here from Louisville where we had a swell time with Cliff Butler, the singing Dee-Jay from radio station WLOU. Cliff and his band have a new recording that is really catching on. It is a thing called "You Name It".

The second Favorite disc was "Listen To Me", backed with the instrumental "Bennie's Boogie"(credited to Bennie Holton on the label). Since it was the next number after "You Name It", it was probably from September or October.

I'm confused. There were three ads for the Cliff Butler Trio appearing at Gordon's Bar & Grill. The ones on September 21 and September 28, 1955 said they'd be there every Wednesday night. But the one in the middle (September 26) said every Monday night. They, themselves, were so confused that, starting on October 5, Gordon's ads no longer mentioned anyone appearing.

The January 21, 1956 Billboard gave us this enigma: "Vee-Jay has signed Cliff Butler and his band. Butler is a well-known deejay at station WLOU, Louisville." There were never any Vee-Jay releases and no known recording sessions.

But he did have a record released on Alan Bubis' Kit Records (Nashville) around February: "Rent's Too High" (with voices that probably belong to his band members), coupled with "Fool".

WLOU gave Cliff two daily one-hour programs starting May 1, 1956, but by December, it was down to a single hour again.

Cliff and his orchestra played for a dance at a carnival in Danville, Kentucky on June 1, 1956.

A strange recording. Around June 1956, King released "Flip Kitten" and "Blue Jean Bop", by Pat Patton and His Orchestra, vocal by Ben Curtis. For some reason, Cliff Butler was billed as "Ben Curtis" on this one (he'd use the name again in the future). In my opinion they're embarrassing (especially "Flip Kitten"). [Note that "Blue Jean Bop" isn't the Gene Vincent song. Also, one member of Pat Patton's band was Ben Ingram, Cliff's former bassist.] In case there's any doubt in your mind about Butler and Curtis being the same, this was in the August 4 Cash Box:

Cliff Butler, Louisville DJ and King recording artist, buzzed thru town [Chicago] long enough to have Jim Lounsbury introduce Cliff's latest wax, "Flip Kitten" to local teens.

The record was reviewed in the June 23 Cash Box, with both sides rated "C+":

Flip Kitten: Pat Patton and his orchestra provide a middle beat bouncer, pop styled, that is easy to listen to, tho on the routine side. Ben Curtis handles the vocal.

Blue Jean Bop: Another pop item with teener lyrics. Same comments.

Cliff Butler's Band appeared at Tucker Lake on June 21, 1956. The ad says "Each Thursday Night, 9 p.m. - 1 a.m.", but there was only that one ad. I'm actually totally confused as to what "each" and "every" mean in performance ads. To me, those words imply a long engagement, but ads rarely support this.

The September 1 Cash Box had this: "With his click, 'Flip Kitten', under his belt, Cliff Butler just cut six more sides for Al Bubis this past week. Looks for more King hits." However, nothing else ever appeared on King.

But, there were a couple of releases on Louisville's Fran label, which was pressed by King (which may just be a coincidence). In one session (based on master numbers), they recorded "Andy Jumps", "Beer Mash Blues", "On My Mind", and "My Mood".

The first Fran release, later in 1956, was "Andy-Jumps" (featuring a strangely-placed hyphen), backed with "Beer Mash Blues". Both sides were instrumentals, led by saxophonist Andy Jackson and credited to the "Cliff Butler Orch."

The other Fran release was from around January 1957: "On My Mind" (a vocal by Cliff), backed by "My Mood", an instrumental featuring Bennie's piano (and credited to "Bennie Holton With Cliff Butler Orchestra"). The disc was reviewed in the February 16 Cash Box:

On My Mind (B+): Cliff Butler does a fine job singing the tuneful slow beat blues. Butler sings the story of his deep feelings for his girl. It is a well done, pleasing wax.

My Mood (C+): A slow beat mood instrumental done with depth. A very interesting "blue" offering featuring the piano.

In the 1957 Louisville City Directory, Cliff was an "announcer WLOU". However, Cliff and Louise were now living at different addresses.

"Cliff Butler's Rock-'n'-Roll Band" was at the Kentucky Fair And Exposition Center for a flood-relief benefit, on February 10, which starred Tony Bennett and Eileen Rodgers (and my personal favorites, "Many Other Acts"). Cliff would be there twice more in 1957, each for one day (May 18 and December 31).

"On My Mind" and "My Mood" were re-released on Ernie Young's Nashville-based Nasco label (part of Excello) in June 1957. The disc became a Billboard Review Spotlight item on July 8:

My Mood - Bluesy, mood instrumental features outstanding piano work by Bennie Holton with solid ork support. Side merits plenty of pop as well as r&b spins. Flip, "On My Mind", has Butler shouting out a blues with organ backing. [Presumably Bennie was experimenting with the organ now.]

They were reviewed by Cash Box on July 20. Notice that one had been downgraded and the other upgraded from their initial February reviews of the original Fran release.

On My Mind (B): Here is a potent blues number chanted with authentic blues feeling by Butler. Impressive blues waxing.

My Mood (B): Butler's ork takes over the funky approach here. Benny Holton's keyboard is the big instrumental factor here.

As long as Cliff was now associated with Ernie Young, his next record was on the main Excello label in November 1957: "Lover's Plea" and "Shame On You" (a re-recording of his 1951 King tune).

Here's something you wouldn't expect. On November 30, 1957, several WLOU DJs (Tobe Howard, Cliff Butler, Ed Cook, and Jimmy Rucker) were at the Louisville Armory for a Roller Derby competition between the Louisville Chiefs and the Red Devils. The DJs themselves engaged in a roller skating race. (No idea who won.) Interestingly, there'd soon be a Roller Derby skater named Cliff Butler (with the S.F. Bay Area Bombers).

On December 26, Cliff and the band played for the Sub Deb "Stairway to The Stars" sorority dance at the National Guard Armory in Danville, Kentucky.

1957 closed with Cliff and his band playing for a New Year's Eve dance and show at the Kentucky Fair And Exposition Center. Also entertaining were the Clovers and Lloyd Price. Although the ad didn't mention Cliff having a band, the accompanying blurb did.

With his band, Cliff was at the Shangri-La every Friday and Saturday night. They were advertised from January 17, 1958 through February 1.


Still with the Excello group of labels, Cliff had "Devoted To You" and "That's How I Go For You" released around April 1958 on Nasco. They were kind of reviewed in the April 21, 1958 Billboard, appearing in a column labeled "The following records, also reviewed by The Billboard music staff, were rated 70 or less" - there was no further comment.

Speaking of horses, Louisville was the site of the annual Kentucky Derby. A May 3, 1958 Derby Night Party dance had a battle of the bands at Freedom Hall, featuring Cliff Butler & His "Cats", Benny Hyman's Orchestra (playing Latin American rhythms), and Sleepy Marlin (Fiddle Champion, playing square dances). There were various dance contests to go with the diverse musical styles.

Another Nasco release in June, this time a couple of gospel tunes: "Love One Another" and "Let Us Break Bread Together". The same month, there were two more songs on Cliff's own Blue Grass label. Along with the Interprise Singers, he issued "Everything Is All Right", backed with "True Love".

There was a single ad for "Cliff Butler And His Great Band" at Carl's Club on August 30, 1958.

On the domestic scene, the September 30, 1958 Courier-Journal recorded Cliff's divorce from Betty L. Butler.

His one-hour WLOU program continued straight through until December 15, 1958, when he seems to have been replaced by James "Jim Dandy" Rucker.

On January 1, 1959, Cliff was the MC at a New Year's Day dance in Madison, Indiana. The band was Andy Jackson's Cabaret Combo. (Remember that Andy did the sax work on Cliff's 1956 Fran releases.)

The January 3 Lexington Herald-Leader talked about the University Of Kentucky's K-Club, which was having a banquet on January 10: "Following the banquet, a dance will be held in the Student Union Building ballroom, which will be open to the student body. The Phineas Newborn Trio, which comes to Lexington direct from Birdland in New York, and the Cliff Butler Band will supply the musical entertainment from 8:30 until 12:30."

In February 1959, Excello released "Pack Your Bags", paired with "Take A Key". This time, Cliff was billed as "Steve Colley". I haven't heard "Take A Key", but on "Pack Your Bags", he sounds like a white C&W singer.

Cliff's band was at the Lexington Cotton Club the night of February 28. The February 28 Indianapolis Record had this:

Cliff Butler, a talented singer-bandleader who waxes exclusively on Nasco Records, is the only artist in the country who cuts every other platter under a different moniker.

In 1956, he recorded "Flip Kitten" and "Blue Jean Bop" with the Pat Patton crew under an alias, Ben Curtis. A week ago, "Take A Key" was released on Nasco Records [actually Excello] with Cliff assuming a new name, Steve Colley.

The March 2, 1959 Billboard echoed that:

Our thanks to Brazzle Tobin, [theatrical editor] of the Louisville Defender, for his kind compliments for this column. Tobin has recently launched a publicity firm of his own. His initial client is chanter Cliff Butler, a Louisville lad who records for Nasco. He has also recorded for the same label as Ben Curtis and as Steve Colley.

I suppose it's possible that Cliff also recorded under other names, but there were no further mentions of aliases.

And yet another label. this time it was Frantic Records, owned by Jumping Jack Sanders, a WAKY DJ. Using a group called the Lovers (about whom nothing is known), Cliff recorded "I Can't Believe" and "Everybody Needs Somebody" (which sounds like he's standing in a different studio down the hall). There was an article in the March 29, 1959 Courier-Journal saying that Frantic was "a recently-organized company owned by Louisville disc jockey Jack Sanders, recording technician Charles C. Gorman, and Doctor Walter A. Kirchner." While I initially thought it was a Louisville label, an early 1959 release by Jerry Cox shows it to be from Shreveport, Louisiana. (And, in a March 1959 Courier-Journal article, Cox, Frantic, and Sanders were all mentioned.) Two things to know about Jack Sanders:

Jack Sanders was due to host a big Louisville show, on February 11, 1959, starring Buddy Holly & the Crickets, the Big Bopper, and Richie Valens. However, the three had been killed in a plane crash on February 3. The show went on as scheduled, with the Crickets appearing as a tribute to Holly, and rushed-in substitutes Frankie Avalon and Jimmy Clanton.

In early September 1959, Jack Sanders asked WAKY for a raise; it was denied. For spite, he barricaded himself in the studio and played "The Mummy" (a Brunswick recording by Bob McFadden [a voice-over artist] & Dor [Rod McKuen]) for five hours straight, all the while giving reasons why he should be given a raise. So many fans surrounded the station that he got his raise. By the way, I loved "The Mummy" during my Misspent Youth (although probably not five hours' worth).

Cliff and the band (which, as I said, hasn't had a name in years) were at the Jefferson County Armory (Louisville) on June 12, 1959. Also on the bill were the Lovers and Narvel Felts. The MC was Jack Sanders. This is the only time that he seemed to appear with the Lovers.

On July 4, the band was at a dance in Madison, Indiana (about 50 miles from Louisville, across the Ohio River). The July 4 Indianapolis Recorder said "Music for the dance will be furnished by Cliff Butler and his Falls City combo." ("Falls City" is a nickname for Louisville, since it's on the falls of the Ohio River.)

Cliff appeared at the Elks Club in Lexington on September 25, 1959. He was there again on October 2.

The December 2, 1959 Courier-Journal reported a suit for divorce: Clifford B. Butler vs Frances M. Butler. I have no idea who she is or when they married, although it could have only been in late 1958 or sometime in 1959. I first thought it might be his son, Clifford B., Jr, but he would have been only 14 at the time. The divorce was granted, per the March 22, 1960 Courier-Journal.

One more appearance at the Lexington Elks Club: this time on January 22-23, 1960.

The band (still unnamed) appeared at the Winter Carnival in Indianapolis, held at the National Guard Armory on February 6. It was a battle of the bands with George Frieje's orchestra.

And even another label. This time it was Zil, another part of Ernie Young's Excello complex in Nashville. With another anonymous group (the Sun-Rays), he released "No Treason In My Heart" in February 1960. It was backed by an updated version of "Lucky Me" (which he'd done for Dot in 1951).

And then Cliff disappeared for a while. Along the way, he'd suffered a mild heart attack, but I don't know exactly when. It might account for him being missing from February 1960 through mid-1963, when he sang at a concert at Shawnee Park. By that time, he'd re-emerged as the Reverend Cliff Butler. All recordings after this were gospel and outside the scope of this article. When he returned to WLOU, it was as the announcer for the Gospel Train show.

On June 10, 1965 Clifford B. Butler, minister, took out a marriage license with Flora Bell Edmonds Baker. She was, said the paper, 55 to his 42 (they were close, she was actually 60).

One record I'll mention is 1972's "True Love" / "Wade In The Water" on Nu Sound (owned by Cliff). It was credited to The Interprise, the same bunch that was on Cliff's 1958 Blue Grass release of "True Love". Since I've never heard either record, I don't know if "True Love" is the same master as the earlier release, but "Wade In The Water" is an instrumental featuring Benny Holton's piano. The Nu Sound label says they were produced by "Ben Curtis", the name Cliff used on his 1956 recording of "Flip Kitten".

The April 24, 1976 Billboard talked about Cliff's new venture:

Lu-Sound Productions, a new recording studio in Louisville, is being financed by the Greater House Of Truth Church of the same city.

.... Lu-Sound was built to not only service gospel, but jazz, country, and rock performers.

The new studio is equipped to produce jingles, radio and television commercials, and record acts.

Copyrighting and producing demos and tapes are also provided by the studio, which is open to the general public.

To date, the operation has produced three LPs and two singles with sessions lined up for gospel, rock, jazz, and country recording acts.

According to church sources, the owners, Bob Davis, Bishop Cliff Butler, and Clinton Coleman, opened the studio to help others in the field of songwriting, singing, arranging, and recordings break into the disk industry.

Butler, a former musician, singer, and air personality of WLOU, in Louisville, is also pastor of the Greater House Of Truth Church.

Davis, builder of the studio, is its chief engineer, and Coleman brings his production/arranging talents to the group.

In addition to Lu-Sound recording studio, Lu-Sound Records has also been formed.

When Cliff died, on January 13, 1982, he was Bishop Clifford B. Butler. The funeral took place at the Greater House Of Truth Apostolic Church, which Cliff had founded in the early 1960s.

Aside from being a singer, Cliff Butler was a songwriter. Here's a list of the songs he's credited with:

"Gold Diggin' Baby", "Hearts Only Ache" (with Joseph B. French), "I Dream Such Foolish Dreams" (with Joseph B. French), "When You Love You Should Love From The Heart" (with Henry Glover and Sydney Nathan [let's see a show of hands from all who believe this]), "You're Honey But The Bees Don't Know It" (with Arthur Frederick Kromer), "Andy Jumps" (with Andy Jackson), "Lucky Me", "No Treason In My Heart", "I Promise" (with Robert L. Board), "Money Won't Buy Love". "You Bring Happiness To Me", "She's Really Sweet To Me", "Please Don't Say We're Through", "Jealous Hearted Woman", "No Faith In You" (with Broughton), "Listen To Me", "Adam's Rib", "Everybody's Doing Their Thing", "It's My Fault", "On My Mind", "People Will Talk", "Precious One", "Rent's Too High" (with Broadwater), "Fool" (with Broadwater), "Lover's Plea", "Shame On You" (King label only credits Ben Holton), "Shame On You" (Excello label only credits Cliff Butler), "Take A Key", "Everybody Needs Somebody" (with C. Coleman), "Lucky Me", and "That's All Right".

Although Cliff Butler had a few releases that I like, he'll never be one of my favorite singers (and I wouldn't think of calling him "The Voice"). But he knew his target audience and was popular in Louisville for many years as singer, DJ, and pastor. His was an interesting life.


Special thanks to Victor Pearlin and Jay Bruder.


SIGNATURE (Cliff Butler And The Three Notes)
1028 You Bring Happiness To Me / She's Really Sweet To Me - 4/48
1029 Please Don't Say We're Through / Benny's Boogie (I) - ca 5/48

KING (Cliff Butler)
4311 When You Love (You Should Love From The Heart) / Crying Blues - 8/49
4341 Shame On You / I Dream Such Foolish Dreams - 2/50
4365 Hearts Only Ache (Hearts Never Break) / Gold Diggin' Baby - 5/50

DOT (Cliff Butler)
202 I Love You So Much It Hurts / Lucky Me - 11/51
1130 Boogie With Lou (I?) / Can't Get Her Off My Mind - ca 1/53

STATES
112 Adam's Rib / Benny's Blues (I) - 1/53
            (Above as Cliff Butler & His Blue Boys)
123 People Will Talk / When You Love - 8/53
            (Above as Cliff Butler & His Doves; "When You Love" is a re-recording of the 1949 King tune)
148 You're Honey But The Bees Don't Know It / Jealous Hearted Woman - 2/55
            (Above as Cliff Butler & His Combo - "Jealous" has the uncredited Doves)

   UNRELEASED STATES
      Got Me On My Mind (recorded Nov 17, 1952)
      Boogie (recorded Nov 17, 1952)
      Butler's Rock (recorded Nov 17, 1952)
      TB (recorded June 29, 1953)

FAVORITE (Cliff Butler)
600 You Name It / No Faith In You - ca 9/55
601 Listen To Me / [Bennie Holton - Bennie's Boogie (I)] - 55

KIT (Cliff Butler & His Band)
885 Rent's Too High / Fool - ca 2/56

KING (Pat Patton & His Ork - vocal by Ben Curtis [Cliff Butler])
4942 Flip Kitten / Blue Jean Bop - ca 6/56

FRAN (Cliff Butler Orchestra)
600 Andy-Jumps (I) / Beer Mash Blues (I) - 56
788 On My Mind / My Mood (I; with Bennie Holton) - ca 1/57

NASCO (Cliff Butler - re-release of the Fran sides)
6003 On My Mind / My Mood (I) - 6/57

EXCELLO (Cliff Butler)
2126 Lover's Plea / Shame On You - 11/57
      ("Shame" had also been done on King in 1950)

NASCO (Cliff Butler)
6010 Devoted To You / That's How I Go For You - ca 4/58
6014 Love One Another / Let Us Break Bread Together - 6/58 (gospel)

BLUE GRASS (Cliff Butler & Interprise Singers)
713 Everything Is All Right / True Love - ca 6/58

EXCELLO (as "Steve Colley")
2148 Take A Key / Pack Your Bags - 2/59

FRANTIC (Cliff Butler & Lovers)
801 I Can't Believe / Everybody Needs Somebody - ca. 3/59

ZIL (Cliff & Sun-Rays)
9002 No Treason In My Heart / Lucky Me - 2/60
      ("Lucky Me" had been done on Dot in 1951)

NU SOUND
1003 Money Won't Buy Love / People Will Talk - 70 (gospel)
      ("Money" is by "C. Butler" - "People" is by "Cliff - Mayo - Holton")

Some gospel records after this