Black Milwaukee Nurtured the Magical Sound of Original Black R&B

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Clyde McPhatter

Clyde McPhatter

Milwaukeeans have long musical memories, which I continue to rediscover concerning magical, original Black rhythm and blues. We were there at the beginning as the sound flourished among Black people here during its heyday from the late 1940s to the early-‘60s.

Black Milwaukee’s overwhelming, nationally recognized support of the music resulted in local performances by Little Richard, Bo Diddley, Fats Domino, Etta James, Della Reese, Chuck Berry, James Brown, Muddy Waters, Ruth Brown, Ray Charles, Faye Adams, B.B. King, Little Walter and Howlin’ Wolf.

This was helped by our proximity to Chicago, where R&B artists recorded on Brunswick, Chance, Chess, Miracle, One-derful, United—and nearby Gary, Indiana. There, the Black-owned Vee-Jay label released the Spaniels, Dells, Dee Clark, El Dorados, Gene Chandler, Jimmy Reed, John Lee Hooker and Memphis Slim and others. 

Indeed, Milwaukee’s love of the sound helped lead the way, as much of the most successful original Black R&B was produced in the Midwest. This includes Cleveland, the place famed New York radio R&B disc jockey Alan Freed got his start. That’s where he originated the term “rock ‘n’ roll” for his “Moondog Show.”

Unlike my white high school friends in Milwaukee, who grooved on Elvis Presley, Eddie Fisher and the McGuire Sisters, I gravitated to Black artists whose records were played on radio by DJs such as Mannie Mauldin Jr., Eddie O’Jay, Doctor Bop and Chuck Dunaway, as well as Al Benson and Daddy-O-Daley in Chicago. And along with many teenage pals, I bought countless 45 rpm R&B sounds at Radio Doctors, Music Mart and Mannie’s Harlem Records.

Loud and Clear

Not to be overlooked was “Randy’s Record Shop” on clear channel WLAC in Memphis, heard all over the Midwest. Hosted by Hoss Allen—a Black-sounding white DJ—it was a summer night staple on car radios cruising Milwaukee’s Black community, especially crowded Walnut Steet. Allen often took listener requests and acknowledged our city’s role in nurturing original Black R&B when Milwaukeeans called in.

These tuneful times come to my mind whenever I sing the praises in print of the late, great James “Pookie” Hudson, whose legendary Spaniels often played Milwaukee in the 1950s-‘60s at the Colonial, Garfield, Palace and Riverside theaters. 

As I was finishing my authorized biography of The Spaniels in November 1994, Pookie paid heartfelt tribute to the city’s influence during his historic, in-studio appearance on WNOV-AM’s “Carter-McGee Report.” He was joined by Milwaukee musical legends Al Jarreau, John Taylor, Willie Higgins and Mel Rhyne.

When a caller mentioned several other fine, original Black R&B vocal groups—including the Five Satins whose “In the Still of the Night” once topped the charts—Pookie laughed heartily, but added, “They were after us.”

To this day, The Spaniels—their haunting “Baby, It’s You” (1953) remains R&B and doo-wop’s all-time best—paved the way for all that followed. The next year, their “Goodnight Sweetheart, Goodnight” introduced white America to rhythm and blues, which evolved into rock ‘n’ roll and changed the world. 

Many Black Milwaukeeans who flocked to see the group in person, also bought lots of 45 rpm records by other lead singers in record numbers, helping to raise the national profile of this riveting sound. Here’s a sampling of comments I’ve received from multi-record-buying Black Milwaukee callers—each of whom said they talked-up the real Black R&B: 

• “Pookie was great, no doubt. But to me, the best was Clyde McPhatter, originally with The Dominoes, then The Drifters. He was in a class by himself.”

• “What about Chester Brown, of The Counts? His “Darling Dear” lead topped requests on high school Friday Canteen Nights at the Northside YMCA, at Sixth and North.”  

• “I think Frankie Lymon, who was only 12 years old when they made “Why Do Fools Fall in Love,” was the best, bar none.”

• “Don’t forget my man Pirk, of the El Dorados. His falsetto on “I’ll Be Forever Loving You” and “At My Front Door,” was unmatched.”  

• “The Moonglows” were tops and Bobby Lester was boss. “Most of All;” In My Diary;” “When I’m With You;” “Starlite,” I could go on and on. They were even in some of those old ‘50s rock ‘n’ roll movies.”

• In New York, the white Warren Tesoro, of famed Colony Records, raved about Milwaukee’s Black R&B influence. And he loved to perfectly mimic the guttural lead of one of our city’s faves—The Danderliers’ Dallas Taylor—on their two-sided hit, “Chop, Chop, Boom” and “My Autumn Love.” 

Indeed, the Black sounds on which I cut my youthful musical teeth here in the mid-1950s, was replete with fine, mostly male vocal groups. Their soaring, yet soothing sounds were instantly recognizable through background harmonies, melodic choruses set-off by rousing tenor sax solos and the distinctive voices and phrasing of talented lead singers. All were instantly recognizable and are unforgettable to the present day.

But no matter who sang lead—and most of the greats have gone on to meet their maker—their original Black R&B was nurtured in Milwaukee and will never die.