Possibly the smoothest, tightest R&B group New York ever produced was the Crickets. As usual, the disappointments were greater than the triumphs, but unlike many other singers, neither Dean Barlow nor Rodney Jackson was bitter, each looking back at his contribution with fondness.

The group that was to become the Crickets were from the Morrisania section of the Bronx. Harold Johnson (tenor and guitar), Eugene Stapleton (tenor), Leon Carter (baritone) and Rodney Jackson (bass) began singing at the Forest House Community Center around 1951.

Grover Barlow (the "Dean" would come later) was originally from Detroit, where he belonged to a group that entertained fellow classmates over the high school public address system before classes started. When he moved to the Bronx in 1951, new friends were made and stickball was the name of the game. Some of his new-found friends were already singing together and he was asked to join as lead.

Grover was the youngest (at about 16) and Harold the oldest (at about 21). Before recording, their appearances were limited to community centers, with one important exception: When the group had been together for a short while, Rodney Jackson was hospitalized for about six months. Every Sunday the rest of the group would come to the hospital, wheel Rodney around in his bed, and sing for the other patients. In this way, the group managed to stay intact and practice without having to recruit a new member. After a further six-month convalescence, Rodney rejoined on a full-time basis and they began to actively pursue a career.

To practice, the group sang both old standards and original songs written by Harold Johnson. Although they enjoyed the works of the Orioles, Swallows and 4 Buddies, their repertoire consisted mostly of standards like the Ravens made popular.

They had an agent named Cliff Martinez, who would, over the course of his career, manage the Crows, Sparks of Rhythm, Pretenders and Mello-Tones (Decca). He was the one who introduced the group to Joe Davis.

The legendary Joe Davis started out as a manager, publisher, and vocalist in the 1920s. His few vocal endeavors, for Harmony, Okeh, and Vocalion, were nothing to get excited over, but he soon made a name for himself as one of the first independent producers of what were then called "race" records. He wrote songs, published them himself, and then produced recordings of those songs (by various singers) for such labels as Edison, Ajax, and Perfect.

His first venture into a label of his own was Beacon, started in 1942. Then he entered into an arrangement with Gennett Records of Richmond, Indiana (which had been nearly dormant for around eight years). Davis got Gennett’s allotment of scarce, wartime-rationed shellac, in return for a sum of money to be used to refurbish the antiquated Gennett pressing plant. (This same obsolete equipment was reportedly purchased by National Records in 1947.) Davis actually got into the record business in order to service juke box operators, who were suffering mightily from the scarcity of new wax for their locations; he reserved 75% of his output for them, up until 1945 (National records was started for the same purpose).

Besides the Beacon label, Davis also used the Gennett, Joe Davis, and Davis logos interchangeably, for what devious purpose we may never know. Some of the material issued came from old Gennett masters dating to the late 1920s, but most was newly-recorded. Some masters were purchased from other sources, and the Davis labels were able to boast an artist line-up that included Harry James, Maxine Sullivan, Coleman Hawkins, Wingy Manone, and Savannah Churchill.

Yet another label, Celebrity, appeared in 1947, issuing recouplings of things that had appeared originally on all his other labels. In March of that year, Davis put over 800 masters up for sale and announced his intention of concentrating on the publishing end of the business once again. It isn’t known if all the masters were eventually sold, but a few did turn up in later years on M-G-M, a label that Davis was closely associated with up until the time he once again entered the record business with his own Jay-Dee, Davis, and Beacon operations.

Martinez told the group that if Davis liked them, there would be a recording contract with M-G-M. Actually, Davis himself didn’t even have a job with M-G-M. The company had told him that if he found acts worth recording, they’d hire him.

Before meeting Davis, the group had another name, now long forgotten. At the insistence of Davis, however, they thought up another one: the Crickets. Davis promptly had them sign the name over to his company, so even if they all walked out on him, he could still use it. (In fact, just before Buddy Holly died, Joe Davis supposedly won a large cash settlement from the Brunswick Crickets group for using the name that he owned.)

Drawing on his recording experience, Davis decided to cut the Crickets himself. On December 2, 1952 the Crickets recorded "You’re Mine," "Milk And Gin," "For You I Have Eyes," and "I’ll Cry No More." Davis promptly leased the masters to M-G-M. Therefore, the Crickets ended up not only getting a contract for themselves, but for Davis too! He did the same thing with another of his groups, the Blenders.

In February 1953, M-G-M released "You’re Mine"/"Milk And Gin." The record was reviewed on February 28 (both sides rated "good"). Other reviews that week were for the Clovers’ "Yes It’s You," Sonny Til’s "Lonely Wine," and Lavern Baker’s "Lost Child." While "You’re Mine" only made the national R&B charts for a single week (at #10), it sold well in local areas (as far away as Virginia and Georgia), making it to #8 on Cashbox’s New York R&B chart in March of 1953. On March 14, it was rated a Territorial Tip in New York. The next week found it a Pick of the Week, showing strong sales in Philadelphia, D.C., Baltimore, New York, and Chicago, with decent sales in Buffalo and Cincinnati.

Right after "You’re Mine" was released, the Crickets were off on a promotional tour, stopping only long enough to have some photos taken at Harold Johnson’s house. (It’s a trick of the lighting that makes the suits look like uniforms; actually the only things that matched were the ties! Look for Harold’s cat in the bottom left corner of one of the photos.) The Crickets did both one-nighters and package tours. They played the Apollo (on July 3, 1953) with Ruth Brown, Moms Mabley, Sonny Stitt and comic Spo-Dee-Odee. They played the Royal in Baltimore and slept on the floor in the home of the Orioles’ George Nelson. They appeared in a barn in Virginia. They were stranded in Petersburg, Virginia when Fats Domino walked out on the tour after a fight with his band. They played the Baby Grand when Nipsey Russell was the master of ceremonies there and also the Carnegie Club in Clevela (where they met the Spaniels). As you might expect, the only money the group ever received was for appearances, and mos t of that disappeared before it ever reached them.

In time, the Crickets became one of the best-dressed groups around. Whereas many groups had only one outfit, and the lucky ones had two or three, the Crickets had eight. This came in handy when they broke up: none of them had to buy clothes for a long time!

When the Crickets returned from their tour, Davis marched them back into the studio for a marathon session. Held on April 24, 1953, at least seven songs were recorded: "I’m Going To Live My Life Alone" (a song Davis had written), "The Man From The Moon" (Harold Johnson leading a street song that was also done by the 5 Crowns), "When I Met You," "Dreams And Wishes," "I’m Not The One You Love," "Fine As Wine," and "Be Faithful." These were done, once again, as an independent session, not for M-G-M.

In June 1953, M-G-M issued the second Crickets record: "For You I Have Eyes"/"I’ll Cry No More." "I’ll Cry No More" received an "excellent" rating on June 6 (with "Eyes" rated "good"). That week, reviews also went to Lloyd Price’s "Baby Don’t Turn Your Back On Me," the "Du Droppers’ "I Found Out," the Carols’ "Fifty Million Women," and the 4 Plaid Throats’ "My Inspiration." A couple of weeks later (on June 20), the disc became a Pick of the Week.

With the success the Crickets were having, Joe Davis left M-G-M, after only a few months, to start his own Jay-Dee label. He not only took the Crickets away from M-G-M, but the Blenders too.

The Crickets had the honor of having the first release on Jay-Dee: number 777, issued in July 1953, was "When I Met You"/"Dreams And Wishes." (Note that this was only a month after M-G-M had issued the second Crickets record. Obviously Davis had been planning this for a while.)

"When I Met You" was rated "excellent" on August 1 (with "Dreams" getting a "good"). Other reviews that week were for Mercy Dee’s "Rent Man Blues," the Treniers’ "This Is It," Mr. Sad Head’s "Black Diamond," and Floyd Dixon’s "Married Woman."

In September, Davis released "I’m Not The One You Love," coupled with "Fine As Wine." Both sides were rated "good" on October 3, the same week they reviewed the Orioles’ "In The Mission Of St. Augustine," the Ravens’ "Who’ll Be The Fool," the 4 Tunes’ "Marie," and Dinah Washington’s "TV Is The Thing."

Then it becomes complicated (or at least odd). Like many a record company owner, Joe Davis wanted the lead singer of his most successful group to record as a single, and convinced Grover to leave the Crickets in the fall of 1953. That should have been that for the Crickets, but....

Although Davis was the force behind breaking up the Crickets, he asked Grover to form a new group. (Since Davis owned the name, he probably didn't want it to go to waste.) A few neighborhood friends combined to make the second Crickets: Robert Bynum (first tenor), William Lindsay (second tenor), and Joe "Ditto" Dias (bass).

Sometime in November or December 1953, this second group recorded four songs: "Your Love," "Changing Partners," "My Little Baby’s Shoes," and "Just You." The first two were released in December, and were reviewed the week of January 9, 1954 (with "Partners" getting an "excellent"). Other reviews that week were for Wynonie Harris’ "Quiet Whiskey," Bill Robinson & the Quails’ "Lonely Star," and the Meadowlarks’ "Love Only You." On January 30, "Changing Partners" was a Pick of the Week.

For whatever reason, Davis released "Just You" (somewhat of a reprise of "You’re Mine") and "My Little Baby’s Shoes" almost immediately (in January 1954) after "Your Love."

However, the second Crickets group was a dismal failure. They did a few engagements but never wanted to practice. After their single session, Bynum and Dias left. Bill Lindsay stuck around, however, and was joined by Bobby Spencer (baritone) and Freddy Barksdale (bass) to complete the third Crickets group. Both Spencer and Barksdale had been in a non-recording group called the Velvetones, with tenors Dave McPhatter, and J.R. Bailey (Barksdale’s half-brother). Grover’s father had a fish store, and this Crickets group practiced in a room in the back of it. J.R. Bailey was an occasional member of the group.

The third Crickets also did a single session, in January 1954, which resulted in two songs: "Are You Looking For A Sweetheart" and "Never Give Up Hope." These tunes were released in early February, and reviewed on February 13 (with "Sweetheart" getting an "excellent"). Other reviews that week were for Lloyd Price’s "Let Me Come Home Baby," the Vocaleers’ "Will You Be True," and the Charmers’ "The Beating Of My Heart."

The second group’s "Just You" and "My Little Baby’s Shoes" (released in January) were finally reviewed on March 27 (with "Just You" rated as "good" and "Shoes" getting a "fair"). That week also saw reviews for the Spaniels’ "Goodnight, Sweetheart, Goodnight," the 5 Keys’ "Someday Sweetheart," the Tempo Toppers’ "Always," Zola Taylor’s "Make Love To Me," Little Willie Littlefield’s "Goofy Dust," and Leon D. Tarver & the Chordones’ "I’m A Young Rooster."

In November 1954, Joe Davis decided to reactivate his Beacon label (which he’d had in the 40s), and, once again, the first release was by the Crickets: "Be Faithful." Presumably there was nothing else in the can by them, because he dipped into his vaults and re-released the Deep River Boys’ December 1951 sentimental recording of "Sleepy Little Cowboy" as the flip. "Be Faithful" was rated "excellent" on December 4, along with Hazel McCollum & the El Dorados’ "Annie’s Answer," the Cashmeres’ "My Sentimental Heart," and Todd Rhodes’ "Chicken Strut."

The third Crickets group stayed together for about a year, until a February 1955 performance in either Baltimore or Washington D.C. After the Crickets did their numbers, Grover Barlow was finally introduced as "Dean Barlow" (Davis didn’t think that "Grover" was a salable name; Grover’s mother’s maiden name, "Dean," was selected, and it’s been that ever since). He announced and sang his new solo recording ("I’ll String Along With You"), which the group didn’t even know existed. In spite of this, they did a few more shows together before breaking up.

Freddy Barksdale then re-united with J.R. Bailey in a group called the New Yorkers 5, with Johnny Darren (2nd tenor), Shelly Dupont (baritone), and Rocky Smith (lead). They recorded "Gloria My Darling" for the Danice label later in 1955. After that, Freddy replaced original bass Pat Gaston in the Solitaires.

William Lindsay eventually re-joined Dean Barlow in the Bachelors on Earl. The other members were bass Billy Baines, tenor Ed "Sonny" Norton, and tenor Waldo Champen (also known as "Champ Rollow"), an original member of the Wrens; he’d also end up in the Chimes, the Starlings/Twilighters, the Supremes, and the Cadillacs, with William Lindsay, J.R. Bailey, and Bobby Spencer). When you were from the Bronx, you always hung out together!

In 1956, the Bachelors released two records on the tiny Earl label (owned by Tommy "Dr. Jive" Smalls and Sammy Lowe). The first was "I Want To Know About Love" (led by Dean)/"Dolores (fronted by Champ). The second was "Baby"/"Tell Me Now" (both led by Dean).

The Bachelors made no appearances at all, and eventually changed their name to the Montereys, recording four songs for Jerry Winston’s Onyx label in early 1957.

Their only Onyx release was "Dearest One" (a duet lead by Dean and Bill Lindsay), backed with "Through The Years" (fronted by Sonny Jordan) in August 1957. The disc was reviewed on September 9 (both sides "good"), along with Little Richard’s "Keep A-Knockin’," the Del Vikings’ "When I Come Home," Ray Charles’ "Swanee River Rock," the Mello-Tones’ "Ca-Sandra," Jackie Wilson’s "Reet Petite," and the Travelers’ "Lenora." I remember "Dearest One" being given a lot of airplay in New York; it became a regional hit.

"Dearest One" did so well, in fact, that Joe Davis reissued "I’m Going To Live My Life Alone" and "Man From The Moon" in September.

There was supposed to be a second Montereys record: "Angel" (led by Bill), backed with "Tell Me Why" (led by Dean). It was slated to be released as Onyx 517, but for some reason was never issued. These were Dean’s last group records.

In 1959, Joe Davis released some old Dean Barlow sides on his Beacon label, possibly to compete with Dean’s current solo remake of "You’re Mine" (on the U.T. label; on it he’s backed up by Arthur Crier’s Halos). Dean thinks this was the finest record he ever did, although the heavily-stringed arrangement was such that it was hard to dance to and teens didn’t like it. Joe Davis, who owned the publishing rights, got an injunction against it and there are very few copies around today. More successful in terms of airplay was "Third Window From The Right" on Lescay. There were also solo releases on 7 Arts and Rust.

Joe Davis released the last Crickets record in 1963: musically overdubbed versions of "Be Faithful" and "I’m Not The One You Love."

In 1967, Drifters’ manager George Treadwell formed a group which included Dean and Vocaleers’ lead Joe Duncan. The group was practicing in a Drifters’ vein, since Treadwell was tiring of the real Drifters. However, he died before anything could be done with the group.

The various members of the Crickets went on to do a lot of great New York R&B singing. Harold Johnson sang with the Mellows and Halos; Bobby Spencer was with the 5 Chimes, Cadillacs, Harptones, Pearls, Chords and Crystals (on Gone); Freddy Barksdale was with the New Yorkers 5, Solitaires, Cadillacs and Crystals (on Gone); William Lindsay was with the Cadillacs, Starlings and Twilighters (on MGM); and "Ditto" Dias was with the Chords.

Grover "Dean" Barlow, at the time I interviewed him in 1975, was the Director of Community Relations for Western Union, a position from which he has since retired. Rodney Jackson died in the late ‘70s; Harold Jackson has also passed away.

In the 90s, Dean Barlow hooked up with former Morrisania singers Lillian Leach, Waldo "Champ" Champen, Bobby Mansfield, Arthur Crier, Sammy Fain, and Eugene Tompkins, to form the "Morrisania Revue." In 1994, they released a CD called "Voices." Finally, in 1999, the Crickets were inducted into the UGHA Hall Of Fame.

The Crickets were probably the finest group that emerged from the Morrisania section of the Bronx (and the others weren’t slouches either). Although their output is relatively small, their ballads rank among the best in R&B.

Special thanks to Johnny Ramsey and Beverly Lindsay-Johnson. Discography courtesy of Ferdie Gonzalez.

M-G-M
11428 You’re Mine/Milk And Gin — 2/53
11507 For You I Have Eyes/I’ll Cry No More — 6/53

JAY-DEE
777 Dreams and Wishes/When I Met You — 7/53
781 I’m Not the One You Love/Fine As Wine — 9/53
795 I’m Going to Live My Life Alone/Man from the Moon (lead: Harold Johnson) — 10/54

BEACON
104 Be Faithful/[Sleepy Little Cowboy – Deep River Boys] — 11/54

DAVIS
459 I’m Going To Live My Life Alone/Man From The Moon — 9/57

BEACON
555 Be Faithful/I’m Not the One You Love — 1963
            (original tracks with overdubbed music)

JAY-DEE
785 Changing Partners/Your Love — 12/53
786 Just You/My Little Baby's Shoes — 1/54

JAY-DEE
789 Are You Looking for a Sweetheart/Never Give Up Hope — 2/54

EARL
101 I Want to Know About Love (DB)/Dolores (WC) — 1956
102 Baby (DB)/Tell Me Now (DB) — 1956

ONYX
513 Dearest One (DB/WL)/Through The Years (EJ) — 8/57
517 Angel (WL)/Tell Me Why (DB)
            Scheduled for release as Onyx 517, but never issued


LEADS:
      DB = Dean Barlow; WL = William Lindsay; EJ = Ed "Sonny" Jordan; WC = Waldo Champen.