The story of the Harptones goes back to the streets of Harlem in the early 50s. First, there was a group called the Skylarks, comprised of William Dempsey James (always known as “William Dempsey”), Curtis Cherebin, and Freddy Taylor. It was 1951 when they began their street-corner serenades around 115th Street and 7th Avenue. Soon the trio expanded into a quartet, with the addition of Eugene “Sonny” Cooke, and then a quintet when “Skillum” joined. A trip to the Apollo Theater's Wednesday night amateur show ended in disaster when they were booed off the stage.
Another group around at the time was the Winfield Brothers, which consisted of Willie Winfield, his brothers Clyde and Jimmy, his brother-in-law Johnny Bronson, and William “Dicey” Galloway. Singing seems to be in the Winfield blood: one of Willie's cousins (although by marriage) is Dickie Smith of the 5 Keys; another is George Winfield of the Chateaus. Actually the Winfield Brothers were an oddity, one of the few Manhattan R&B groups that didn't come from Harlem (all but Dicey were from the Lower East Side). In fact, because Dicey lived in Harlem, he could also sing with Dempsey's Skylarks at the same time.
In time, members of both groups combined, under the tutelage of pianist/arranger Raoul Cita. When the dust settled, the members were: Willie Winfield (tenor), Billy Brown (bass; a friend of Curtis Cherebin, whose mother wanted him to finish school instead of singing), Claudie “Nicky” Clark (a first tenor whom they stole from the 5 Crowns), William Dempsey (second tenor), William “Dicey” Galloway (baritone), and Raoul Cita (accompanist/arranger). [Sonny Cooke would end up with the Charmers on Timely.]Cita chose the name “Harps” for the new group, which sang on street corners, hallways, subway stations, anywhere they could. While memories of the Skylarks' Apollo Theater disaster still haunted them (Willie had been in the audience that night), the Harps decided to try their own luck at it. On a November night in 1953, they walked off with first prize for their arrangement of Louis Prima's 1946 composition, “A Sunday Kind Of Love” (in spite of Willie's being so nervous that he had to be pushed out on stage).
The win almost led to the big time for the Harps. A representative from M-G-M Records was in the audience and asked them to look him up. They went down to his office and, to kill time while waiting for him to show up, they (naturally) started singing in the hallway. That hallway was in 1650 Broadway, and there were plenty of other ears around to hear them. Four of those ears belonged to Morty Craft and Leo Rogers (who were partners with Monte Bruce in the newly-formed Bruce Records). Almost immediately, in November 1953, the three partners herded the Harps into a studio and, in spite of Willie having a bad cold, “A Sunday Kind Of Love” and “I'll Never Tell” became the first songs recorded by the group.
At the last minute, in order to avoid confusion with a Harps gospel group, Cita had them change the name to the more familiar “Harptones” (or “Harp-Tones” as it was spelled on the record). The two sides were released in December 1953, as not only the first Harptones record, but the first Bruce record, too.
With some time to kill on his way to the Air Force, the 5 Keys' Dickie Smith (Willie's cousin) cut a couple of sides for Bruce (“A New Kind Of Love” and “When You're Gone”). The group in the background is, of course, the Harptones. (Although I can't hear them on “When You're Gone.”)
“A Sunday Kind Of Love” started taking off, but was hampered by poor distribution. This was, unfortunately, to be a hallmark of Harptones' records for their entire career. It was distributed throughout the Northeast, down to Washington, D.C., and out to Chicago, doing well on local charts wherever it went. (You have to wonder how R&B history would have been changed if only the M-G-M rep had been around when the Harptones showed up.)The next Bruce record, released in March 1954, was “My Memories Of You”/“It Was Just For Laughs” (also released with the title “The Laugh's On You” and “Just For Laughs”). The tunes had been cut back in late December. “Memories” is led by Willie, with Nicky on the bridge); “Laughs” is led by Dicey. The release coincided with an appearance at the Apollo theater, for the week beginning March 19 (although the other acts aren't known).
The Harptones had been backed up on these sides by the Sonotones, another of Bruce's acts. They consisted of Al Cass (saxophone), Jimmy Smith (organ), and Don Gardner (drums). Cita is also present on the piano.
Once again, a Harptones release did very well locally; “My Memories Of You” made the local charts in New York and Newark. On May 1, 1954, the Harptones were one of the acts that appeared with Alan Freed in his triumphant “Moondog Coronation Ball” at the Newark Armory. They shared the stage with the Clovers, Charles Brown, and the Buddy Johnson Orchestra (featuring sister Ella Johnson and Nolan Lewis). Then it was on to the Howard Theater (in D.C.) with Johnny Ace and Willie Mae Thornton (who, as Duke/Peacock's biggest acts, were barnstorming the whole country).
It was at this time that Bruce issued the third Harptones record (two more songs that had been recorded in late December): “I Depended On You”/“Mambo Boogie.” The former tune was led by Nicky; the latter by Dicey. It was probably an unfortunate pairing, since Willie's now-familiar voice wasn't audible for the customers to pick up on. And they didn't pick it up!
July 1954 saw the fourth Bruce disc: “Forever Mine”/“Why Should I Love You.” This time the back-up group was the Shytans, another Bruce act. Both were led by Willie, with Nicky on the bridge of “Forever Mine” and the group whistling (anything for a gimmick) on “Why Should I Love You.” The latter song was covered by Columbia's 4 Lads, who stuck it on the back of “Skokiaan,” which became a big hit. (When one side of a single becomes a hit, it takes the flip with it. Thus Bruce, Craft, and Rogers, who owned the publishing rights, made a bundle out of it.)
Also in July, the Harptones were lent out to Essex Records in order to back up femme singer Bunny Paul's cover of the Drifters' “Honey Love.” The flip was the Harptones very own “I'll Never Tell” (the rights to which were owned by Bruce, Craft, and Rogers, so if Bunny were to hit it big with “Honey Love” ... [you fill in the blank]). The record was released in August, but failed to take off.The next Bruce release (November 1954) was “Since I Fell For You”/“Oobidee-Oobidee-Oo,” both led by Willie. By the time these had been recorded, however, William “Dicey” Galloway had been drafted; Cita sang his part at the session, after which former Skylarks member Freddy Taylor joined to replace Dicey.
A short time later (the week beginning December 3), the Harptones found themselves at the Apollo Theater, along with the Buddy Johnson Orchestra. This was memorable because it was Buddy who'd written “Since I Fell For You” back in 1948 (it was first sung on record by his sister Ella Johnson). The record did well locally again, but the Harptones were being cheated out of national recognition by Bruce's poor distribution system.
The Harptones started a new year in the company of Alan Freed. This time it was at his first New York appearance (held only four months after he'd moved from Cleveland to New York's WINS), the “Rock And Roll Jubilee” at the St. Nicholas Arena. This time Freed had Clyde McPhatter & Drifters, the Clovers, the Moonglows, Red Prysock, Fats Domino, and the Buddy Johnson Orchestra.March 1955 saw the release of two more tunes led by Willie: “I Almost Lost My Mind” (the Ivory Joe Hunter tune) and “Ou Wee Baby” (both of which had been record the previous November). The following month, those two songs, plus “Forever Mine” and “A Sunday Kind Of Love” appeared on the first Bruce EP. A second EP, a bootleg issued in the early 60s, contained “My Memories Of You,” “Mambo Boogie,” “I'll Never Tell,” and the previously-unissued “High Flying Baby.”
In May, Bruce records disintegrated, with Leo Rogers acquiring the company from Monte Bruce and Morty Craft. Rogers, who kept the Harptones, brought them to Hy Weiss, owner of Old Town Records. Weiss started up Old Town's Paradise subsidiary initially to handle the Harptones.
The group had a session in late May or early June 1955, at which they recorded four tunes: the incomparable “Life Is But A Dream” (led by Willie), “You Know You're Doing Me Wrong” (fronted by new member Bernard “Jimmy” Beckum, formerly of the Majors on Derby and a relative, by marriage, of Willie; he'd replaced Freddy Taylor), “My Success (It All Depends On You)” (Willie), and “You're Going To Need My Help Someday” (a ballad led by Jimmy in a dramatic Dominoes style). In June, the first two titles were released as Paradise 101.
Once again, it was a matter of a Harptones record taking off in many local areas, but on a label that was unable to capitalize on it. While “Life Is But A Dream” was probably the Harptones biggest seller, it too failed to make the national charts. In truth, had they been with a company with coast-to-coast distribution, the Harptones could have been one of the supergroup chart-toppers of the day, right up there with the Clovers, the Drifters, the Dominoes, the 5 Keys, the Flamingos, the Moonglows, and the Midnighters.
While at Old Town, the Harptones did some backup work for some of their femme acts. There was “I Love You Baby” and “Dreaming Is No Good For You,” behind Peggy Farmer, and “School Boy” and “Dreaming Is No Good For You,” with Ruth McFadden out in front (“School Boy” was a female version of “Loving A Girl Like You,” a song which the Harptones had recorded for Bruce, but which wouldn't be released until 1961).
There was another session held in August, which saw four more tracks laid down: “I've Got A Notion” (led by Jimmy Beckum), “On Sunday Afternoon” (Willie, an unreleased version of the song that would be released on Rama the next year), “Mambo Boogie” (Jimmy, a reprise of the tune they'd done for Bruce), and “School Girl” (Willie, another attempt at “Loving A Girl Like You,” which was never released).
Labor Day saw the Harptones appearing with Alan Freed again at the Brooklyn Paramount. This time, the other acts were the Cardinals, the Moonglows, the Nutmegs, Chuck Berry, Lillian Briggs, Nappy Brown, and Tony Bennett.
In November, the second and final Paradise record by the Harptones was issued: “My Success (It All Depends On You)” and “I've Got A Notion.” Also in November (beginning on the 4th), the Harptones played another week at the Apollo. This time, as part of a Dr. Jive show, they shared the stage with Bo Diddley, Bill Doggett, the Jacks, the Flamingos, Dakota Staton, the Heartbeats, Howling Wolf, Etta James, and the Willis “Gator Tail” Jackson Orchestra.
By the end of the year, Leo Rogers had pulled the Harptones away from Old Town. He had just set up Andrea Records (with new partner Sid Arky), and the Harptones ended up having a single release, issued in March 1956: “What Is Your Decision” and “Gimmie Some” (both fronted by Willie). Additionally, another version of “My Memories Of You” and “High Flyin' Baby” were recorded. But who were the Harptones at this point? Both Nicky Clark and Billy Brown had departed, and Cita had picked up Bobby Spencer (who had sung, or would sing, formally or informally, with half the New York groups around at the time) for the session.
Cita, who liked to make as many voices blend as possible, also decided to have the Joytones (Vicki Burgess, Margaret Moore, and Lynn Daniels) join in on “What Is Your Decision.” As usual, the latest Harptones release had poor distribution.
Sometime in the spring, the Harptones were selected to record some songs for a movie. “Mambo Boogie,” “Ou Wee Baby,” and “High Flying Baby,” songs not typical of the Harptones' sound, thus became the only visual record of the group. When “Rockin' The Blues,” a primitively-produced and surrealistically pieced-together flick appeared later that year, audiences could see Willie Winfield, William Dempsey, Billy Brown, Freddy Taylor, and Raoul Cita, along with the Hurricanes, the Miller Sisters, and the Wanderers.Since Cita had used the Joytones, who recorded for George Goldner's Rama label, it was only fair that the Harptones reciprocate. In May 1956, a session was held, for Rama, which featured the “Royale Cita Chorus,” made up of the Joytones, the Harptones, and a few other assorted singers, such as old friends Curtis Cherebin and Freddy Taylor. William “Dicey” Galloway was there too, having just been discharged from the army. The Royale Cita Chorus did backup work to Mabel King on “Symbol Of Love.”
This session gave the Harptones an introduction to George Goldner, and they ended up doing several sessions for his Rama label. The first of these, on August 7, 1956, produced at least three sides: “That's The Way It Goes” (Willie and ? in a duet or trio lead), “Three Wishes” (Willie), and “What Is Your Secret” (a song that would be recorded three times, but never released). The line-up of the Harptones had once again changed dramatically. Dicey was back, as was Billy Brown and Nicky Clark. Willie was there and Dempsey too. Another voice present is that of Harriet “Toni” Williams Brown, who had occasionally replaced William Dempsey, when he had to care for his ailing father. “Three Wishes” and “That's The Way It Goes” were released, on Rama, in August.
A few weeks later, the Harptones were part of Alan Freed's Labor Day show at the Brooklyn Paramount. Other acts included Mabel King, the Joytones, the Teenagers, the Cleftones, Fats Domino, the Penguins, and Joe Turner. On September 11, the Harptones had another session for Goldner. The three songs recorded were: “On Sunday Afternoon,” “The Shrine Of Saint Cecilia,” and “Ou Wee Baby” (all led by Willie). Before anything was released from this session, however, Leo Rogers issued second versions of “My Memories Of You” and “High Flying Baby,” (both of which had been recorded at the Andrea session). These tunes came out on Rogers and Arky's new Tip Top label in September.
There was another session held on October 26, at which Willie's “The Masquerade Is Over” was recorded. It was released in November, with “On Sunday Afternoon” on the flip. Later that month, the Harptones backed up young Carol Blades on “What Did I Do Wrong” and “When Will I Know,” which were released in February 1957. That same month, “The Shrine Of Saint Cecilia” and “Ou Wee Baby” were paired as the Harptones' third and final Rama release.
January 17, 1957 saw yet another session, from which nothing was ever released. The three songs recorded were: “So Good, So Fine, You're Mine,” “What Is Your Secret” (a second version), and the first version of “Until The Real Thing Comes Along.”
The group now consisted of Willie, Dicey, Dempsey, Cita, Harriet, and Billy. But tragedy was about to strike. In the spring of 1957, on the night before a recording session, Billy Brown died from a drug overdose. While the recording session was cancelled, they were contractually forced to make an appearance at Philadelphia's Uptown Theater, missing the funeral (only Harriet attended). Billy was ultimately replaced by Curtis Cherebin (who had recommended Billy for the job in the first place).
Curtis joined just in time for the Harptones to appear at the Apollo for the week beginning on April 5. This was a “Disc Jockey Favorites” show, which also had Annie Laurie, Nappy Brown, the Federals, Al Jackson, and the Willis Jackson Orchestra. Right after that, they appeared at Alan Freed's Easter show at the Brooklyn Paramount Theater. Other acts included the Pearls, G-Clefs, Solitaires, Del Vikings, Cellos, and Cleftones.
On June 13, Goldner had them record a second version of “Until The Real Thing Comes Along,” but he never released that one either. On August 30, they began a Labor Day week show at the Apollo with DJ Jocko Henderson. The other acts were: Fats Domino, Bo Diddley, Big Maybelle, Lee Andrews & Hearts, the Cookies, Little Joe & Thrillers, and the Reuben Phillips Orchestra.
On October 7, 1957 the Harptones returned to the studio to record “Cry Like I Cried” (Willie), “So Good, So Fine” (Willie & Harriet), and the third version of “What Is Your Secret” (which still wasn't felt to be worthy of release). This marked the first session where Cita wasn't singing with them. While he'd remain as their arranger, he wouldn't record or appear with them again until 1964. That same month, “Cry Like I Cried,” backed with “So Good, So Fine” was issued on the Gee label (Rama had suspended operations by this point). Although Goldner had originally started the Gee label, by this time he was gone, having sold his interests in Rama, Gee, Tico, and Roulette to Morris Levy.
Soon after this, William “Dicey” Galloway left the Harptones, to be temporarily replaced by Milton Love, lead of the Solitaires, at some appearances. But that didn't work out, and within a few months the Harptones had broken up.
For about a year New York existed without the Harptones. But in early 1959, Morty Craft, who had just started his Warwick label, convinced the group to get back together. This time out, the Harptones consisted of Willie Winfield, Nicky Clark, Curtis Cherebin, William Dempsey, and Raoul Cita; they were backed, once again, by the Joytones. Their first session for Warwick produced “Laughing On The Outside” (a song that Jimmy Beckum had done, with his group the Majors, back in 1951) and “I Remember,” which were released in March.
The group's second Warwick session yielded “Love Me Completely” and “Hep Teenager,” two tunes that were released in June. The next, and last, Warwick session was held around a year later, when “No Greater Miracle” and “What Kind Of Fool” were recorded; they were released in May 1960. By this time, Nicky Clark had departed again, to be replaced by one of his buddies from the old 5 Crowns, Wilbur “Yonkie” Paul (who does lead on “What Kind Of Fool). Soon after, Yonkie was replaced by Hank “Pompi” Jernigan.Songwriter Billy Dawn Smith next signed the Harptones to the Coed label. They had a single release here (in September 1960): “Rain Down Kisses” and “Answer Me My Love.” Smith was put in charge of Coed's Companion subsidiary, and that's where the Harptones' next session took place in January 1961.
The four songs recorded were “All In Your Mind” (an answer to Maxine Brown's smash hit “All In My Mind”), “The Last Dance” (led by Hank Jernigan), “What Will I Tell My Heart,” and “Foolish Me.” The first two were issued on Companion in February 1961. When these failed to take off, the other two were released in April.
As poor a showing as “What Will I Tell My Heart” made, it remains the only Harptones song that ever hit the national charts (peaking at #96). It was a venerable tune, having been written in 1937 by, among others, Jack Lawrence (who would go on to write “If I Didn't Care”).
Strangely, with their first chart hit under their collective belt, the Harptones left Companion for M-G-M's Cub subsidiary. On July 7, 1961 they recorded “Devil In Velvet” and “Your Love Is A Good Love” which were released the same month. By the time of this session, Jimmy Beckum had returned to the group, to replace Hank Jernigan.
In 1961, probably to celebrate their new-found success, Leo Rogers, who still owned the rights to the Bruce material, finally got around to releasing “Loving A Girl Like You,” recorded back in 1954. As its flip he once again chose “High Flying Baby” (from the Bruce EP).
Although the Harptones were being relegated to an “oldies” act by this time, there was one more original recording. In early 1964 they did “Sunset” and “I Gotta Have Your Love” for Warren Troob's KT label. This group consisted of Willie Winfield, Jimmy Beckum, William Dempsey, Nicky Clark, and Raoul Cita.
After this, Willie Winfield, mainstay of the Harptones, decided to quit the group. There were few bookings anymore, and it was just better to concentrate on a paying job.
The Harptones tried it one more time. Hank Jernigan returned, and, along with Nicky Clark, Curtis Cherebin, William Dempsey, Freddy Taylor, and Raoul Cita, recorded “The Little White Cloud That Cried” (led by Nicky) and “I Believe In You” (led by Hank). Possibly feeling that without Willie there was no Harptones, the group called themselves the “Soothers.” The disc was released, in July 1964, on the Port label (a subsidiary of Jubilee).
In the early 70s, Willie and Cita teamed up with Curtis Cherebin and Jimmy Beckum to do some performances. When those met with some success, Willie and Cita decided to make it a semi-permanent thing. To this end, they recruited Lowe Murray (formerly of the Fi-Tones) and Linda Champion, a lineup that would last for many years. This is the group that created the Love Needs A Heart LP for Ambient Sound in 1982. In 1983, through the efforts of their booking agent, they got to back up Paul Simon on a single track on his Hearts And Bones album: “Rene And Georgette Magritte With Their Dog After The War.” Cita couldn't remember how the deal was set up, but he thinks it's possible that Simon specifically asked for them.
It's now 2004 and the Harptones still occasionally appear. Willie's voice is still strong as he leads Lowe Murray, old pal William Dempsey, Raoul Cita, and Vickie Burgess (formerly of the Charmers and the Joytones) in the songs that have delighted Harptones fans for 45 years. Fill in whatever superlatives you choose (you don't need me to do it for you), the Harptones are worthy of them. In spite of the fact that they were only really known in a small area of the country, it's difficult to imagine R&B without the Harptones.