Fats Thomas
By Marv Goldberg
© 2025 by Marv Goldberg
Fats Thomas had a nice voice, which could handle jump numbers and ballads equally well. What he didn't seem to be able to handle was his billing.
A note on the photos: they're awful. There doesn't seem to be a single good-quality picture of him available. Sorry.
Fats Thomas was a man with an identity crisis. You'll read, all over the Internet, that he was actually Al (or Allen) "Fats" Thomas. Well, he would be, but, in the beginning...
The future "Fats Thomas" was born Herman Thomas, on December 19, 1912, in Bessemer, Alabama. (His middle name was Albert, which he shortened to "Al" and expanded to "Allen".) He was the only child of Liston H. Thomas and Ada Belle Waters.
Or not. We'll see that, in 1940, he began calling himself "Herman Albert Finch". Since he was born in 1912 and Liston and Ada Belle didn't marry until January 13, 1914, he wasn't Liston's son. When Liston died, in 1964, the obituary said he was the step-father of Herman A. Finch. I was unable to find out who his biological father actually was.
We'll encounter more names as we go along.
By 1919, the family had moved to Cleveland, where Fats would spend the rest of his life (apart from a brief sojourn in New York City).
In the 1930 census, Herman Thomas was 17 and a paper hanger's helper. Interestingly, he wasn't called a "singer", "musician", or "entertainer" in any census.
The first mention of "Fats Thomas" was in the March 5, 1932 Afro-American:
A rumor is out that Fats Thomas and his Royal Rompers are about to go on the road to help relieve Earl Hines.
I assume that the Royal Rompers were a band; but this is the only mention of them anywhere.
The January 19, 1935 Cleveland Call And Post talked about the show at the local Elite Club. It said: "Sonny Carr, along with 'Fats' Thomas, the crooner, entertained with a war skit."
On March 12 of that year, "Mr. (Fats) Thomas" sang at a wedding reception. One of his tunes was "Stay As Sweet As You Are".
On April 16, 1938 (Easter Saturday Night), "Al (Fats) Thomas" (first time he's called that) was one of the entertainer's at Cleveland's Cotton Club.
He sang "Stardust" at Cleveland's Circle Ballroom on July 1, 1938, where he appeared as the vocalist with Joe Cisco's Musical Magpies. They had recorded for Victor as far back as 1924, but he wasn't on any of the recordings. They were a very successful Cleveland band that was around for 40 years.
In 1940, he was still living with his parents. The 1940 Cleveland directory has Herman Thomas "entertainer"; in the 1940 census (as of April 1), Herman Thomas was a laborer for a paper company.
On September 8, said the September 21, 1940 Chicago Defender he was at Cedar Gardens, as part of a jam session sponsored by the Ripper Dippers. It told us: "The show opened with three jitterbug couples doing their number amid wild applause. Then followed the genial Fats Thomas singing 'I'll Never Smile Again', and an impersonation of Louis Armstrong." The word "genial" is important; he would later take on many jobs as a Master Of Ceremonies.
And now, a whole new identity. When Fats registered with the draft on October 16, 1940 (the national holiday when all males from 21-35 had to register), it was as "Herman Albert Finch", a name he'd keep for the rest of his life. (No mistake, he told them his mother was Mrs. Ada Belle Thomas; they were both at the same address as in the 1940 census. Since Ada and Liston were having marital problems - when she died in 1945 they were divorced - she'd probably, at some point, told Herman who his real father was.) He gave his occupation as "not employed" (he didn't really seem to take singing seriously). With all the research I've done into the registration process, I still don't know how you proved who you said you were and when you were born, or even if you had to. Did they really take your word for everything? Did you have to show a birth certificate? It wasn't mentioned in any of the instructions that were in the papers in the weeks leading up to October 16.
On December 11, 1940 Fats sang at the opening of a Cleveland social club called the New Coliseum. He crooned "Only Forever" and "Now I Lay Me Down To Dream Of You" and was also the Master Of Ceremonies, something he was very good at.
Something else he could do. The January 11, 1941 Cleveland Call And Post said that he was at a party at the Pepper Pot: "Fats Thomas sang and tended bar."
An ad for Cleveland's Dunbar Club said that there would be Cabaret Jam Sessions every Sunday, beginning March 16, 1941. The first of these had many performers, including Fats Thomas. However there was only the one ad and I don't know how long they continued, or if he was always a part of it.
The Cleveland Plain Dealer of August 31, 1941 said:
One of the amusing oddities at Patterson's White Horse Tavern is Herman (Fats) Albert Thomas, who can switch from tenor to baritone and falsetto soprano in raising the roof with "Ol' Man River".
He was still at the White Horse on September 21, when the Plain Dealer said:
And, for a third oddity, "Fats" Thomas at Pat's White Horse Tavern will break a vocal cord some day day if he keeps trying to lift his baritone voice up to a high C.
By January 1942, the White Horse Tavern, still with Fats as MC, had been re-named, in the wake of Pearl Harbor, the Bomb Shelter Room.
Sometime in March 1942, he was one of the entertainers at Mason's Farm. By the end of the month, he was at the Red Raven.
On February 11, 1943, the Cleveland Plain Dealer reported a marriage application filed by Herman Finch and Marie Vactor in Cleveland (Cuyahoga County). They remained married and are buried in adjoining graves. They don't seem to have had any children.
Al (Fats) Thomas was at a Mother's Day jam at the C.I.O. Hall on May 9, 1943. He was the M.C., but might have sung also. The May 15 Cleveland Call And Post said that it would be a regular event every Sunday evening.
By December, Fats was the M.C. with Henry Thompson's Orchestra, appearing at Cleveland's Quincy Club every Friday, Saturday, and Sunday night. He'd spend about a year and half with Thompson.
On January 22, 1944, Herman Finch sang on the WJW Treasury Theater radio show.
In mid-February 1944, the Thompson orchestra was still at the Quincy Club. April 9 found them at Mason's Farm for a Dawn Dance (starting at 3:30 a.m.). That night, there was an Easter Parade Matinee at Mason's. Another Matinee Dance was held on May 21 at the Quincy Club. On May 30 there was a Memorial Day Dance at the Euclid Ballroom. This time, Fats was advertised as a vocalist, so I'm sure he also sang at those performances where he was only advertised as the M.C.
For all you doubters, when the band played the Italian Hall for a November 23, 1944 Thanksgiving Dance, the ad said:
Jump With The Little Man Of Swing. Hear Vocals By Herman "Fats Thomas" Finch. [That's the way he was advertised every time they played the Italian Hall.]
They were back at the Italian Hall on New Year's Day, 1945 and again on March 31, for a Pre-Easter Ball.
And then, it was off to New York. On October 18, 1945, while Fats was appearing at Smalls Paradise in Harlem, he was part of the Spotlighter Night show, at the Skyroom, along with Art Tatum, Sheila Guyse, and the Holman Sisters.
The July 27, 1946 Cleveland Call And Post said:
Fats Thomas, who has been singing in New York, has put new life in Fleets Inn on E. Ninth Street [Greenwich Village]. Fats sings a sweet number, "It's Wonderful".
On New Year's Day 1947, he appeared at Brooklyn's Putnam Central Club. He was billed as "The lad with the golden voice".
February 21 found him starting a week at the Apollo Theater, along with the Johnny Otis band and the Cats & The Fiddle. The February 22, 1947 New York Age said: "... Fats Thomas, a two hundred and seventy-five pound baritone who will also be making his first appearance at the Apollo." Apollo owner Frank Schiffman's comment: "Two hundred and seventy five pounder, who had a very good baritone voice. He went over very well." Fats was paid $115 for the week.
On May 6, 1947, he copyrighted a song called "Fat Man's Jump" as "Fats Thomas [pseud. Of Herman Finch]".
On May 30 Fats was one of the acts that appeared at the James Fenimore Cooper School to do a Camp Fund benefit show. June 28 found him at Manhattan's City Center Casino, with Lee Norman's orchestra.
The October 18, 1947 Chicago Defender said:
Newest artist to invade the recording field is Fats Thomas, vocalist, whose initial records will be released this month. Fats, recording with the popular Lee Norman Orchestra, is the first Negro artist to record with the newly formed Lissen Records. [Lissen, owned by Henry Brown, was started back in May with a release by Morey Amsterdam.]
The October 25 Afro-American added:
Scheduled for immediate release are two sides, "The Fat Man Blues" and "Just Plain Foxy". Two other sides are scheduled to follow soon.
Fats, regular vocalist with Norman's orchestra, has been heard several times over the M.B.S. [Mutual Broadcasting System] "Harlem Hospitality Club". Norman's ork., in addition to its regular dance engagements, is house ork for New York's RKO vaudeville shows.
Fats recorded four songs for Lissen, probably in a single September 1947 session in New York: "Litta Bitta Momma", "Fat Man Blues", "Just Plain Foxy" and "Whoe-ee Blues".
In early October, Lissen issued "Just Plain Foxy", backed with "Fat Man Blues". [I would have thought that this is what he copyrighted as "Fat Man's Jump", but it's not a jump tune.] The label credit was to "Lee Norman And Band - vocal by Fats Thomas". The tunes were reviewed in the October 27, 1947 Cash Box:
Pair of sides that are bound to make your race spots jump for joy and yowl with glee are these done up brown by the Lee Norman crew. Featuring Fats Thomas pitching in the tonsil department, the duo look like a pair that will gather loads of coin. Titled "Fat Man Blues" and "Just Plain Foxy", Fats renders the pair in full throated voice with lots of kicks coming in. On the top deck, Fats really gives with his all to set up a platter replete with loads of howling. Mood is stock race tempo with Fats' warbling spinning around the title. On the flip, the Norman boys join Fats in wailing the smart lyrics, with loads of beat and meat behind the piper. Ops that have spots for this brand are missing a bet by not getting next to this pair.
In November, Lissen (now re-named "Lis'n") issued "Litta Bitta Momma", coupled with "Whoe-ee Blues". There was a little blurb in the November 29, 1947 Cash Box: "Lissen Records becomes Lis'n Records - with a brand new yaller and pink label."
On November 17, Fats was at Harlem's Baby Grand for a show put on by Dan Burley. Others were Nellie Lutcher, Al Hibbler, Bunny Briggs, Baby Dee, Buck Clayton, Stuff Smith, Melrose Colbert, Doc Pomus, Dotty Saulter, and two of the Harlemaires: Billy Butler and Chester Slater. Burley knew how to throw a show.
The Lis'n record was reviewed in the December 6, 1947 Cash Box:
Ya gotta Lis'n to this one. It's the Lee Norman crew with Fats Thomas to the fore to wail the hypo wordage to "Whoe-ee Blues" and "Litta Bitta Momma". Fats steps out in full voice with all the riff and holler you can stand on the top deck while the maestro pitches blended tones to back the piper in fine fashion. On the flip, with some stock race stuff, Fats keeps the mood happy as he wails about that light gal. [Actually, he wails so fast it's impossible to understand all the lyrics.] Both sides for the race spots.
Fats was at the RKO 125th St. Theater on June 1, 1948, called a vaudeville act (along with others I never heard of). I'm not sure if it was for more than one day.
Nothing more until the January 22, 1949 Billboard, which told us that Fats (and Tommy Edwards) had been signed to four-year contracts by National Records. He was called a "blues and bop warbler". There was only a single record on National, but it would be a few years until he recorded again. Did they try to hold him to that contract without recording him further?
Back in Cleveland, Fats ("Direct From New York City") appeared at the Samoa Lounge, as part of Smitty Al's [stage name of Albert Smith, Jr.] band from mid-May through August. From now on, all of his appearances would be in Cleveland and environs. Remember, the phrase "Direct From" means that the act had appeared there sometime within the last several thousand years.
Many years later (in the December 25, 1971 Cleveland Call And Post), Smitty Al looked back at his career and had this to say about Fats:
One guy named Al (Fats) Thomas could hit any note on a comb, if wax-paper was wrapped around it just right. Once, even, Fats unscrewed the goose-neck speaker of an old Victrola, stuck a kazoo in it, and could make it sing like a sax, or even talk. A kazoo is a pretty versatile little critter. [It doesn't sound like Smitty even knew that Fats was still alive at that time.]
There was a photo with the article showing Fats with a mock saxophone. However, it doesn't look like a modified Victrola horn; it's too much like a real sax. Whatever it was, the actual instrument he was playing was a kazoo; the "sax" was just the holder. There were musicians who did the same thing with "trumpets" that were kazoo holders.
On June 17, 1949, Fats finally recorded for National. The four songs were: "Maybe Baby Blues", "Oo Bob Aloo Bo (Big Fat Man Blues)", "All My Life", and "If I Give You My Love".
As I said in my "Hey! Ba-Ba-Re-Bop" article:
Not really part of the series, but the way "Fats" Thomas sings the "Oo Bob Aloo Bo" refrain ties in perfectly with the others. It was recorded in New York on June 17, 1949 with Eddie "Lockjaw" Davis (tenor sax), Howard Biggs (piano), Mundell Lowe (guitar), George Duvivier (bass), Specs Powell (drums), and Thomas (vocal).
National released "Oo Bob Aloo Bo (Big Fat Man Blues)" and "If I Give You My Love" in August 1949 (as Singin' "Fats" Thomas - featuring Eddie Davis, tenor sax). They were reviewed in the August 20 Cash Box, the August 27 Billboard, and the September 23 Down Beat:
(CB): Vocal work by a new star on National turns out fine, with Singin' Fats Thomas basking in a well deserved spotlight. Top deck has Fats wailing "If I Give You My Love", a tune that has been around some. This rendition should add to the popularity of the song. On the other end, Fats comes up with a rhythm blues number in "Oo Bob Aloo Bo", with some nice spots by Eddie Davis. Wax rates ops listening time - and more.
If I Give You My Love (BB; 67): Glissing, virile-voiced bary does middling well with an okay ballad.
Oo Bob Aloo Bo (BB; 46): Variation on the "Hey, Baba Rebop" cliché falls flat and tired.
(DB; both sides 2 stars; tepid): Routine singing of the blues on Bo, with some good accompanying musicians not getting much chance to be heard. [Remember, Down Beat only really seemed to care about musicians, not singers.]
In the April 1950 census, Herman A. and Marie B. Finch are in Cleveland. Once again forgetting that he's an entertainer, he was enumerated as a porter in a bakery!
On May 27, 1950, the "Fats Thomas Quartette" appeared at the Chatterbox in Geneva, Ohio. This is the only mention of him having a quartet.
By August 26, when he appeared at the Log Cabin, he was with the Ray Bradley Combo ("Featuring Fats Thomas On Congo [sic] Drums & Vocal").
Nothing at all in 1951, but in early 1952, he was a member of the Carlson-Thomas Trio, appearing at the Paddock Musical Bar And Grill starting February 2 (just in time for Groundhog Day). The trio consisted of Rae Carlson (presumably a pianist), Fats (vocals and, it looks like, drums), and Herbie Francis (trumpet). There was a photo and an ad, but no further mentions.
On April 28, 1952, Herman Albert Finch copyrighted a song called "Baby, Please, No No". The index had Fats Thomas as a pseudonym for Finch. It would be recorded later that year, but without the commas.
On May 17, 1952 Al "Fats" Thomas ("Sensational Singing Entertainer") was part of Alan Freed's "Moondog May Time Ball" at the Cleveland Arena. He shared the stage with the Dominoes, H-Bomb Ferguson, Joan Shaw, the Todd Rhodes Orchestra, the Freddie Mitchell Orchestra, the Morris Lane Orchestra, Little Jimmy Scott, and the Kalvin Brothers. Also appearing, but not in the ad, were Jackie Brenston & His Delta Cats, and the Arbee Stidham Orchestra.
Due to a mix-up in dates, Fats Thomas' band and Doris Knighton (piano/vocals) got to substitute for Buddy Lucas, on May 28, at Gleason's Musical Bar. Lucas was there the following night to fill out his engagement.
Friday, May 30 found Fats Thomas and His Orchestra ("Tons Of Fun") at Cleveland's Paradise Auditorium for a Dawn Dance Cabaret Party that began at 8:00 a.m. Now, there are two references to him having a band, but nothing ever said who they were. Also at that dance were the Modern Sounds, a predecessor group to the Regals.
But the band was with him when, on June 13, 1952, he recorded two songs for Checker Records in Cleveland: "Baby Please No No" and the instrumental "Dog Days". They were released by the end of June, as by "Al Fats Thomas And Orchestra". "Baby" is an odd sound; a pleading ballad with an insistent drum beat. It also features the band members acting as a backup group. Note that publishing credit for both songs was "Moon Music", presumably owned by Alan "Moondog" Freed. They were reviewed in the August 30 Billboard:
Dog Days (70): Instrumental is set to a jumpy rhythm by the Thomas ork.
Baby Please No No (78): Plaintive tune is set to a tribal-type drum beat. Vocal by Thomas is full of heart. Quiet humming in the background by ork members adds to the effect. An interesting disk.
Another song he copyrighted (as Herman Albert Finch) was "Poppin' My Fingers", on June 23, 1952. The copyright notice also said that the arrangement was by Herbert Daniel Francis, the "Herbie Francis" who was in the Carlson-Thomas Trio a few months previously. It's reasonable to suspect that Herbie was in Fats' current band; possibly Rae Carlson was too. Since there are some numbers missing from the Checker master records, it's possible that this song was also done at the June 13 session.
On July 26, when Levi Mackay & the Three Naturals appeared at Jack's Musical Bar, the ad said "Featuring Fats Thomas". However, the ad from July 19 didn't mention him, nor did the one from August 2.
Late in 1952 Fats heard a group, the Crazy Sounds, performing at a local club called the Loop. Impressed, he phoned Alan Freed and let him listen to the group. Freed ended up managing them, changing their name to the Moonglows, after his "Moondog" persona.
Fats and his wife were in the 1953 Cleveland City Directory as Herman K. [sic] and Marie B. Finch. This time, he's actually listed as a musician.
The January 24, 1953 Cleveland Call And Post said:
"Fats" Thomas, local boy who made good when he made the "Moondoggers" howl, opens at the Ebony [Club] next Monday, Jan. 26, remaining there for one week.
Another benefit, this time for polio. A Benefit Ball was held at the Pla-Mor Ballroom on either January 29 or February 5 (it's really hard to tell when weekly newspapers reference something that happened last Thursday). It was run by WDOK DJ Bill "Walkin' Talkin'" Hawkins, and starred the bands of Eddie Chamblee, Duke Jenkins, Ralph Wilson, Rudy Brown, and, of course, Fats Thomas. Also there were Smitty Al's trio and Bill Doggett's trio. The Moonglows (or the "Four Moon Glows" as the paper put it) sang, as did Terry Timmons, and a group called the Continentals.
In late 1953, Fats recorded some songs for Cleveland's Hawk Records, owned by that same DJ, "Walkin' Talkin'" Bill Hawkins: "Blowing My Horn", "I Thought I Found Love Again", "I'll Be Yours", and (probably) "Flying Saucers".
Both "Blowing My Horn" and "I Thought I Found Love Again" were released in November 1953, although on separate Hawk records. "Blowing My Horn" sounds like it should be an instrumental, but it has some introductory lyrics and a lot of vocalization, which, like scat singing, uses sounds and syllables in place of words. "I Thought I Found Love Again" is a very nice ballad. They were Fats' final known recordings.
"Blowing My Horn" was released as "Allen Thomas And Orchestra"; "I Thought I Found Love Again" was credited to "Nate Spencer And His Orchestra - vocal Allen Thomas". Since they were both done at the same session, Thomas' "orchestra" has to be Nate Spencer's.
The flip of each of the records ("Fishtruck Boogie" and "La-Dee-Da", respectively) was credited to "Kitty Kaye And The Cats". "Kitty Kaye" was a pseudonym for Clevelander Herma Katz. If the master numbers are meaningful, those songs were recorded at a session before Fats'.
Allen "Fats" Thomas appeared at Cedar Gardens on New Year's Eve 1953. He shared the stage with Madeline Greene and the Meadowlarks (presumably not the Los Angeles group). This was the write-up in the January 2, 1954 Cleveland Call And Post:
The Cedar Gardens Cabaret (downstairs) beautiful room which, in the past, has been the scene of many a spectacular party, once again will come alive New Year's Eve when Merritt Stepp unveils his "Show Of Shows There". [This is what I mean about figuring out dates from weekly newspapers. It's dated January 2, but talks about what will happen on December 31. The date is the day the paper is supposed to be taken off the newsstand, but it's still confusing at times.]
Starred in Stepp's newest revue will be Madeline Green [sic; should be "Greene"], singing star formerly with Earl Hines, Benny Goodman, and Count Basie - and Allen "Fats" Thomas, Cleveland trombonist [only time that was ever mentioned], who recently recorded "Blow My Horn" and "I'll Be Yours". Miss Green, like Thomas, is a native Clevelander [let's see: he was born in Alabama, she in South Carolina; close enough], but she has not appeared here professionally for a long time.
[It went on to talk about two other acts, but not the Meadowlarks.]
Another new venture: When the Club Congo opened, after redecorating, on July 21, 1954, it had Gay Crosse & His Good Humor Six as the band. But the act you'd want to see was Merritt Stepp & Fats Thomas "In Their TV Two Ton Song And Dance Act".
Nothing more until May 1955, when he showed up as the M.C. for the Emmett King Combo, playing at Cleveland's Flame Lounge. Also there were Cleveland's own Coronets.
Again, nothing for over two years. In the fall of 1957, he appeared at the Lake Glen Country Club (near Akron) for a month. He was first advertised on October 5; the last ad was on November 9. The Club's band changed over during that time, so he wasn't an orchestra vocalist. Note that in mid-1956, Eddie "Cleanhead" Vinson made some appearances in Cleveland with the Lloyd "Fat Man" Thomas orchestra. Different guy.
Fats and Marie were in the 1958 Cleveland directory as "Herman A. and Marie B. Finch" (this time, he's an "emp").
In late June 1958, he was back at the Lake Glen Country Club. Since someone else was named as M.C., Fats would have been the singer.
On July 22, 1958 he was at the Wheel Lounge for the Steppettes Social Club's cabaret style smorgasbord (whatever that meant). He was advertised as "Radio Star" and "Star Of TV". The show would have had something to do with Merritt Stepp.
From April 24-26, 1959, Allen "Fats" Thomas, "the big fellow with the big voice", was back at the Lake Glen Country Club. He was called "A Singer Of Songs For Everyone".
On March 20, 1960, Fats entertained at a benefit for Joyce Spence, one of the Spence Twins (with sister, Jean). The March 26 Cleveland Call And Post said she "has been seriously and expensively ill for several months."
A new enterprise: the March 12, 1960 Cleveland Call And Post had this:
Newest as well as one of the biggest and best local shows on TV is the Fats Thomas Revue [actually, the "Spotlight Revue"], which comes on every Saturday, 9:45 to 10:30 a.m., when you dial WEWS, Channel 5. Sponsored by the American Appliance Co., 12419 Superior Ave., Thomas' revue features such Cleveland favorites as Merrit Neal Stepp; pianist and vocalist Del Thorne; sweet singer Gwen Martell; the Hornets; Crystal Farrell, whose dancing is the "end"; drummer Fats Heard and his five-piece band, with Eddie Preston's trumpet, Hugh Thompson's piano, Joe Alexander's sax, and Jimmy Williams' big bass fiddle. Doing the commercials is the clever "Jockey John". Dial them in this Saturday. You won't regret it.
Sounds great, doesn't it? However ["why does he keep saying that, daddy?"], it was a very short-lived show. I've checked newspaper listings and found that it was only broadcast on three Saturdays: March 12, March 19, and March 26. No listings before or after.
Even worse, that was nearly his last mention ever. On July 13, 1967, he was one of the acts in the Fountain concert series at the Severance Shopping Center.
There was never another word about him under any name (with the sole exception of that December 25, 1971 interview with Smitty Al that I mentioned back in 1949). I suppose he must have done something with the rest of his life.
On June 13, 1972, a lot of people died in Cleveland: Herman Thomas, Al Thomas, Allen Thomas, Herman Albert Finch, and, most regrettably, Fats Thomas.
Fats Thomas, while never having any national hits, seemed to do well for himself as a local singer and M.C. There were never any negative reviews of any of his appearances. Shame he didn't do more recording.
Some information was taken from The Red Saunders Research Foundation's Chess page.
LISSEN (Lee Norman And Band - vocal by Fats Thomas)
1041 Fat Man Blues / Just Plain Foxy - 10/47
LIS'N (Lee Norman And Band - vocal by Fats Thomas)
1042 Litta Bitta Momma / Whoe-ee Blues - 11/47
NATIONAL (Singin' "Fats" Thomas - featuring Eddie Davis, tenor sax)
9088 Oo Bob Aloo Bo (Big Fat Man Blues)/ If I Give You My Love - 8/49
UNRELEASED NATIONAL
Maybe Baby Blues
All My Life
CHECKER (Al Fats Thomas And Orchestra)
759 Baby Please No No / Dog Days [instrumental] - 6/52
HAWK
72053 Blowing My Horn / [Fishtruck Boogie - Kitty Kaye And The Cats] - 11/53
Above by Allen Thomas And Orchestra
72054 I Thought I Found Love Again / [La-Dee-Da - Kitty Kaye And The Cats] - 11/53
Above by Nate Spencer And His Orchestra - vocal Allen Thomas
UNRELEASED HAWK
I'll Be Yours
Flying Saucers (probably)
