Sometime in March 1950, the Ravens held another session for National. This time they recorded "I'm Gonna Paper My Walls With Your Love Letters," "Count Every Star," "Time Is Marching On," and "The Cadillac Song."

And National continued to turn them out. April 1950 saw the release of the classic "Count Every Star" (Louis) and "I'm Gonna Paper My Walls With Your Love Letters" (Ricky). Wait a minute! Louis? Who's Louis? Louis is Louis Heyward, who had replaced Warren Suttles. It seems that once again there was dissention in the Ravens, and, in early 1950, during an engagement in Chicago, Warren walked out for the second time. Leonard remembers that when they first met Louis, he was doing a comedy act. But his singing was no joke, and "Count Every Star" remains a favorite to this day.

This time Warren didn't return so quickly. He formed his own group, the Dreamers, which recorded for Jubilee and Mercury (see the sidebar on Warren Suttles and the Dreamers).

At the end of April, the Ravens played a two-week engagement at the Thunderbird in Las Vegas, before going on to Honolulu. In July, another press agent's dream article appeared. It seems that in "Don't Have To Ride No More", Ricks' woman decides not to throw him out because he just hit it big betting number 694. When the group played Atlanta, local bookies refused to take any bets on that number, since everyone wanted to play it. With articles like this in respectable papers, who needs tabloids? Also in July, the Ravens were poised to have their own radio show on WLIB (NY), wherein they would all be disk jockeys and chat between records. Did it ever happen? Not according to Leonard, who says he never even heard of the idea. They did, however, play the Piccadilly Club in Newark that month. Then it was on to Memphis, where they headlined a show to honor W.C. Handy ("The Father of the Blues" who had written "St. Louis Blues").

Sometime around August 1950, the Ravens held their last National session (although, because another eight songs were recorded, it might have taken place over two days). They went out with "Phantom Stage Coach," "Please Believe Me," "I'm Afraid Of You" (a second recording of a song that they'd done back in December 1947), "I'm Gonna Take To The Road," "Get Wise Baby" (another re-recording of a tune done around a year earlier), "Comin' Back Home," "Who's Sorry Now," and "I've Got The World On A String." All but "Phantom Stage Coach" and "I'm Gonna Take To The Road" remained in the can.

And then it was time to move on. In mid-September 1950, Ben Bart made a deal with Columbia, in which he brought four of his acts to them. Of course, one of them was the Ravens. The others were: Wini Brown (who had also recorded for National), Arnett Cobb (who had just returned from a two-year illness), and Herb Lance (who had recorded for Sittin' In With). Each of the acts was signed for one year, with two one-year options. The Ravens were reportedly guaranteed $15,000. Since there was no one currently in the position of a&r man for R&B at Columbia, Mitch Miller assumed that responsibility, along with his Pop chores. (This is ironic in light of the fact that later in the fifties, Miller was one of the most rabid of the anti-Rock 'n' Rollers.) That very same month, the Ravens appeared with Ruth Brown at the Howard Theater (D.C.), and with Dinah Washington, Eddie Vinson, and Arnett Cobb at the Earle in Philadelphia.

In November, Nat Margo was replaced by Chuck Darwyn as the Ravens' road manager. Darwyn was another Ben Bart employee and had been road manager for Eddie "Cleanhead" Vinson. National, although it had lost the Ravens, issued a few more sides by them. November saw "Phantom Stage Coach"/"I'm Gonna Take To The Road", both Ricks-led up-tempo sides. (Note that the 78 rpm label had the hilarious spelling "Phantom Stage Couch".)

The last National recordings were issued in February 1951. This was the way to go out! It was another 1939 Mitchell Parish/Peter De Rose song, the incredibly beautiful "Lilacs In The Rain" (Maithe). (Note that Parish had one more tune under his belt; he had also written the lyrics to "Stardust".) The flip was the jump tune "Time Is Marching On" (Ricky). The only other National recording to see the light of day back then came out on the Rendition label sometime in 1951. It was a re-release of "Write Me A Letter", backed with the formerly-unreleased "Marie" (Maithe and Ricky). I personally never liked this recording; Maithe is doing a fine job, but the rest of the group seem to be doing a parody.

The Ravens had done some brilliant work on National. And there would be brilliant work to come. National could have released any number of masters that remained in the can. The "other" National sides, not released until the 70s and 80s, were:

• Sylvia (Maithe and Ricky)
     (by Clinton Scollard and Oley Speaks - 1914)
  

• Who's Sorry Now (Ricky and Maithe)
     (by Bert Kalmar, Harry Ruby and Ted Snyder - 1923)
  

• It's The Talk Of The Town (Maithe and Ricky)
     (by Marty Symes, Al Neiburg, and Jerry Livingston - 1933)
  

• Please Believe Me (Louis)
  

• Bless You (Leonard)
  

• Tea For Two (Leonard)
     (by Irving Caesar and Vincent Youmans - 1924)
  

• Comin' Back Home (Ricky)
  

• Without A Song (Ricky)
     (by Billy Rose, Edward Eliscu, Vincent Youmans - 1929)
  

• Moonglow (Ricky)
     (by Will Hudson, Eddie DeLange, Irving Mills - 1934)
  

• No More Kisses For Baby (Leonard and Ricky)
  

• I've Got The World On A String (Ricky and Maithe)
     (by Ted Koehler & Harold Arlen - 1932)
  

• The Cadillac Song (with successive verses by Louis, Ricky, Maithe, Leonard, and Ricky)
  

The true winner here is "It's The Talk Of The Town", which is as good as anything ever released on National. "No More Kisses For Baby" features dialog between Ricky and Zeke (Leonard). And "The Cadillac Song", as Jack Sbarbori wrote, "tells a tale of financial irresponsibility in a manner which can offend at least four different ethnic minorities". (It is kind of cute, though.) "Sylvia" was a song the Ravens did to honor the wife of National owner Al Green. "Who's Sorry Now" (a later 50s hit for Connie Francis), was a popular part of the Ravens' stage show, although National never released it. You can see that the Ravens were heavily into old standards. When possible, I'll give the genesis of their songs.

The first Raven to record for Columbia was Jimmy Ricks. On October 10, 1950, he joined a session being done by the Benny Goodman Sextet. This produced three masters: "Oh, Babe", "You're Gonna Lose Your Gal", and "Walkin' With The Blues". The first and third of these were paired as Columbia 39045, with vocal by "Rickey" ("Oh Babe" also featured white pop singer Nancy Reed). "Oh Babe" (written by Louis Prima) became a big hit for Goodman, entering the Pop charts in early December and rising to #25. On the 24th of October, Ricks performed the song on the DuMont TV network's "Startime" variety show (Tuesdays from 10 - 11 pm), which featured the Benny Goodman Sextet as regulars. (Anyone out there remember the DuMont network?) Since the show was broadcast only two weeks after the song was recorded, the TV exposure probably helped to launch sales. (It's possible the record had just been pressed.) Prima's original version (with Keely Smith, on the Robin Hood label) entered the charts in mid-November and rose to #12. This great rocking tune was also covered by Kay Starr (#7), the Ames Brothers (#20), and Ralph Flanagan (#27), as well as by R&B charters Larry Darnell, Roy Milton and Johnny Preston (all topping out at #5), and Wynonie Harris (#7).

Then someone at Columbia decided that if the Ricks/Goodman combination could sound that good, maybe the Ravens could do with that type of backing too. Thus, on the Ravens' first two sessions for Columbia (on October 19 and October 30), Goodman's vibes player, Terry Gibbs, is present, with Goodman-type clarinet work done by Mike "Peanuts" Hucko (a former member of Glenn Miller's Army Air Force Band and eventual lead, in 1974, of the Miller Orchestra). Listen to such tunes as "Don't Look Now", "My Baby's Gone" and "Midnight Blues" to hear this unusual backing to R&B artists. The sessions were expensive, but in my opinion, the results were well worth the cost.

The first Columbia release was in November: "Time Takes Care Of Everything"/"Don't Look Now", both with leads by Louis and Ricky. "Time" shows that the Ravens would lose nothing by being associated with Columbia. It was a pretty ballad with somewhat bizarre lyrics. Louis and Ricky catalog all that was done for the woman in question: "I'm responsible for everything you've got." Our hero has fed her and clothed her: "bought you a mink coat/ 'stead of that gunny sack", and taken care of her medical bills: "I bought you some new teeth, baby/ Then I fixed your nose/ Uncrossed your eyes...". This is LOVE! And what does he get for all his trouble? "Then you turned around and marry'd my brother Lou". A great American tragedy!

This was followed in December by "My Baby's Gone" (Ricky), backed with Maithe doing an excellent job on a cover version of the Cap-Tans' "I'm So Crazy For Love". Also in December, the Ravens appeared at the 25th anniversary celebration of Small's Paradise in Harlem.

In January 1951, National Records sued Columbia for $100,000, claiming that Columbia induced the Ravens to breach their contract. Although the contract had expired in October 1950, National claimed that since the group failed to show up for certain recording sessions within 15 days of the scheduled dates (as required in their contract), there would be additional time added on to the contract. There was supposed to have been an August 1949 session, which the Ravens didn't do until five months later and an August 1950 session, which was never done at all. Therefore, claimed National, the Ravens owed at least ten more months on the contract. Aside from the money, National sought an injunction to stop Columbia from issuing Ravens records. They also claimed that the Ravens began recording in September, while still under contract (this doesn't seem to hold up looking at Columbia's files; the first session was in mid-October). Columbia's legal department, in a fine bit of weaseling worthy of today's lawyers, said that Columbia's contract with the group exempted it from any liability caused by the Ravens' prior deals.

Columbia continued issuing recordings in rapid succession. In addition to the November and December 1950 releases, there was a release in January 1951: "Midnight Blues" (Ricky)/"You Don't Have To Drop A Heart To Break It" (Maithe), followed by "You're Always In My Dreams" (Maithe and Louis)/"Gotta Find My Baby" (Ricky) in February.

Just to get some perspective, in February 1951, the Ravens received $2000 for a one-night performance at Middlebury College in Vermont. The Ravens seemed to be flying high. The only small problem was that they were about to disintegrate.

After a March 29, 1951 Columbia session (at which they did "You Foolish Thing", "Honey I Don't Want You", "Mam'selle", and "Calypso Song"), the Ravens (Maithe, Leonard and Louis) decided to quit Jimmy Ricks. As Leonard says, "He wasn't the easiest person to get along with; he was very egotistical." The three of them formed a trio, the Hi-Hatters, which only existed for a short time (their only appearances were at the Baby Grand). Then Leonard was drafted (in April) and Maithe and Louis returned to the Ravens. I couldn't find any mention of Ravens appearances between April and August, so it's possible that they didn't replace Puzey. However, given the popularity of the Ravens, they would have had engagements booked far in advance; either there was a lull in appearances, they worked as a trio, or there was a substitute singer who remains unknown.

The next Columbia issue was in May: "You Foolish Thing" (Maithe and Ricky)/"Honey I Don't Want You" (Ricky). Also in May, Columbia announced that it was reviving its Okeh label subsidiary, as of June 4, to be exclusively Rhythm 'n' Blues. There had been no Okeh records released since 1942 (when a shellac shortage had record companies cutting back on their output). There would now be 45s and 78s (both priced at 89˘), as well as LPs. All Columbia R&B acts would be shifted to Okeh.

Now it gets a bit complicated. The Ravens did only a single session for Okeh, on August 8, 1951 ("The Wiffenpoof Song", "I Get All My Lovin' On A Saturday Night", "That Old Gang Of Mine", and "Everything But You"). Leonard, on leave from the Army, was on the session. Then the group broke up permanently. Leonard stayed in the army until 1953; Louis had a single release on Coral in November 1951 (#65073: “With All My Heart”/“Love Me Or Leave Me”), joined the Chestnuts on Mercury in late 1954, and then became a DJ. We'll talk about Maithe separately (see the sidebar on Maithe Marshall).

August saw the first Ravens sides issued on Okeh: "The Wiffenpoof Song" (Maithe)/"I Get All My Lovin' On A Saturday Night" (Ricky). "The Wiffenpoof Song"??? "To the tables down at Maury's/ To the house where Louie dwells"??? The Ravens??? Well, strangely enough, the old school song wasn't done badly by the group. (If you've never listened to it, it's about a bunch of college students who are getting to the overemotional stage in their drinking. The song contains one of the saddest thoughts ever to hit a student: "we'll pass and be forgotten with the rest". Heavy stuff.)

And then, in the week of October 13, 1951, after being with Columbia/Okeh for exactly a year, Ben Bart yanked them away and placed them with Mercury Records (Wini Brown also transferred over in the deal). In a way it was like old home week. Mercury's president was Irving Green, son of National owner Al Green.

However, who were the Ravens who went to Mercury? Well, Jimmy Ricks and his booming bass was still there. But now there were three new members: Jimmie Steward, Junior (second tenor), Louis Frazier (baritone) and Joe Van Loan (top tenor). When Joe Van Loan auditioned for the Ravens, he sang "Because Of You"; he got the job on the spot. Joe would be the high tenor lead for the rest of the Ravens' recording career. (Where did Joe come from? See the sidebar on Joe Van Loan's Early Career). The group's first engagement was in Yonkers, NY on October 12, 1951.

November saw another Okeh release: "That Old Gang Of Mine" (Ricky and Maithe)/"Everything But You" (Ricky). "Gang" was another old song, dating back to 1923, when it was written by Billy Rose, Mort Dixon, and Ray Henderson. Meanwhile, the new Ravens were working the Paradise Theater (Detroit) and the Apollo (with Ruth Brown and Willis "Gatortail" Jackson, soon to be man and wife).

Also in November, Mercury started releasing Ravens tunes. The first of these, issued as both #5764 (Pop) and #8259 (R&B) was "There's No Use Pretending" (Joe and Ricky)/"Wagon Wheels" (Ricky). "Wagon Wheels" was a 1934 classic, written by Peter De Rose and Billy Hill. The other November offering was a pairing of the Ravens with Dinah Washington. This produced "Out In The Cold Again"/"Hey Good Lookin'". Both feature Dinah and Ricky. "Hey Good Lookin'" is not the Hank Williams song popular at the time (although Williams got writer credit for some reason), but some repartee between Dinah and Ricky, in which she wants to know "does your money fold, or does it jingle?". Ricky also throws in a plug for Ben Bart, when Dinah asks "who's booking all your dates?", he answers "Universal". Note that Ricks' name is spelled "Hicks" on the label.

In December, they played the Cafe Society Downtown (NY) for an extended three-week engagement.

The Ravens started 1952 with a gig at the Earle (Philadelphia), along with Ida James. In February, Mercury released their rendition of Cole Porter's superb 1935 tune, "Begin The Beguine" (Ricky), backed with a typical Ricks-rocker, "Looking For My Baby".

In March, they went on a package tour with Wini Brown and Burnie Peacock's orchestra. They did the Howard Theater (D.C.) and then a six-week stint at Cincinnati's Cotton Club. April found them at New York's Club Birdland and in May, they played the Royal Scott Social Club in St. Louis. There was an annual softball game between Birdland musicians and Count Basie's band. The Birdland team got to wear yellow T-shirts with "Birdland" and a bird's picture on the front. Warren Suttles played for the team, and it was his habit of wearing the shirt whenever he played softball that was to earn him his "Birdland" nickname ten years in the future.

May also saw the Ravens' next Mercury release, "Chloe-e" (subtitled "The Song Of The Swamp"). The song dates back to 1927, and was written by Gus Kahn and Neil Moret. Although Ricks does a fine job on it, I find it difficult to take it seriously having grown up with Spike Jones' version. The flip was "Why Did You Leave Me" (Ricky).

The final Okeh release was issued in June of 1952: "Mam'selle" (Ricky and Maithe)/"Calypso Song" (Leonard). The only Columbia song in the can was "If I Love Again" (which Leonard doesn't recall, but says it sounds like something Maithe would have led; he's right - it finally saw the light of day in 1998, and features Maithe and Ricks). Also in June, the inactive National Records sued the Ravens. The Ravens ("Ricks Enterprises, Inc.", which was the assignee corporation of the original "Ravens Singers, Inc.") countersued, for $7615 in royalties. National also brought a second $100,000 suit against Columbia for inducing a breach of contract (even though the Ravens were no longer even at Columbia!). Presumably this whole mess was settled out of court.

June appearances included Philadelphia's Earle Theater, this time with Dinah Washington, Arnett Cobb, Harold "Mr. Rhythm" King, and the stage debut of Leslie Uggams (all of nine years old at the time). In July, they were at Chicago's Regal, with Count Basie. July also saw their next Mercury release: "Write Me One Sweet Letter" (which had originally been released by Joe Liggins, as “One Sweet Letter,” around March 1951; anyone want to guess which song this was trying to capitalize on?), backed with "Rock Me All Night Long". Ricky led both sides. "Rock" was a smash hit, rising to #4 on the R&B charts.

In August, Mercury released a double-sided Ricks solo effort, a pretty ballad called "Love Is The Thing", backed with "Too Soon". There would be other occasional Ricks solos forthcoming.

A Mercury announcement in late September said that the company was going to stop its various numbering series (5000 for Pop, 6000 for Country, and 8000 for R&B), consolidating all further releases into a single 70000 run. This was done to allow easier "crossover" hits between the three types of music (the feeling was that now dealers could see a full list of new releases, instead of just a portion).

November found the Ravens at New York's Paramount Theater, along with Duke Ellington, who was celebrating his 25th year in show business. The Ravens were certainly keeping good company! From there it was on to the Club Alabam in Los Angeles.

In December, Mercury issued the Ravens' first release on the new 70000 series: "Don't Mention My Name", a beautiful ballad featuring Joe Van Loan. Its flip was the bouncy "I'll Be Back" (Ricky). What's going on in the bridge to "Don't Mention My Name" is quite similar to the Chris Powell "Johnny Echo" sides. That's Ben Webster's sax "singing lead", with the group (featuring Joe's floating tenor) backing it up.

And old friends returned. Sometime in late 1952 or early 1953, Nat Margo returned as road manager, replacing Chuck Darwyn. Also, in late 1952, Warren Suttles came back, after his stint with the Dreamers. This, of course, forced out Louis Frazier.

The next Mercury release was in February 1953. One side, "Come A Little Bit Closer" was a typical Ricks-led rocker. The flip, a kind of torch song, was a Jimmy Ricks solo effort: "She's Got To Go" ("She's my baby and I love her so,/ But she's got to go"). Why does she have to go? Simply because she can't be counted on to do the things that matter: "She won't wash, she won't iron/ She won't cook, she won't sew/ Oh no, she won't even, won't even scrub the floor." Who'd want a woman like that around? Listen for bongos and a muted trumpet in the background.

When Leonard Puzey was discharged from the Army, around April, he rejoined the Ravens, causing Jimmie Steward to leave. Therefore, for a while, the group was almost vintage Ravens: Joe Van Loan, Leonard Puzey, Warren Suttles, and Jimmy Ricks. This only lasted a few months, however, and Leonard left again (without having recorded). Jimmie Steward was then re-hired. Puzey certainly didn't sit home doing nothing, however; he was a member of the Dappers, the Cues (doing background session work, which was more lucrative than being in a group), and some Ink Spots groups (including Deek Watson's), into the 60s.

In May, the Pittsburgh Courier released the results of its eighth Annual Theatrical Poll. In the category of Vocal Quartets, the Ravens placed first, beating out the Clovers and the Dominoes. That same month the Ravens played the Chicago Theater.

August saw the next Mercury record, both sides led by Ricky: "Who'll Be The Fool"/"Rough Ridin'". The top side is a different tune from the Marshall Brothers' "Who'll Be The Fool From Now On". Almost immediately, in September, Mercury issued two more with Ricky in the lead: the Billy Rose/Edward Eliscu/Vincent Youmans 1929 standard, "Without A Song" backed with "Walkin' My Blues Away". Both feature bongos and a muted trumpet. Note that "Walkin' My Blues Away" was the same song that Warren had done with the Dreamers back in 1952; it was his own composition.

Remember that poll in the Pittsburgh Courier that the Ravens won (you should, it was only two paragraphs ago)? On September 23, they appeared, along with other winners (the Clara Ward Singers, Ruth Brown, Buddy Johnson, Dorothy Dandridge, and Arthur Prysock), in a swing concert at Philadelphia's Academy Of Music.

October found the Ravens replacing the Dominoes for an engagement at New York's Band Box, with the Sugar Ray Robinson revue. The Dominoes did, however, go on the road with the show. Note that the baritone of the Dominoes at this time was James Van Loan, Joe's brother.

In December, the Ravens were once again on the West Coast, appearing with Marie Adams in Johnny Otis' "Jazz-O-Rama", at the Carlton Theater.

Another new year, another new Ravens record. January 1954 saw the re-make of "September Song" (the original had been on National), this time with Joe in the lead. Some of the notes he hits defy belief; it's one of the Ravens' best efforts. The flip was a fun Jimmy Ricks solo, "Escortin' Or Courtin'" in which he asks a very large man "Are you escortin' or courtin'/ 'Cause she sure looks good to me", and finds out the hard way that he should have kept his mouth shut.

The Ravens were still in Los Angeles, having made separate appearances with Percy Mayfield and bandleader Cee Pee Johnson (on New Year's Eve). They were back in New York in time to do a late-January week at the Apollo Theater.

February saw another Mercury release: "Goin' Home" (Ricky and Joe), a pretty song about being calm in the face of impending death. It was backed with another old standard, the 1928 Gene Austin/Nathaniel Shilkret composition, "The Lonesome Road" (Ricky). Both of these are in a quasi-religious vein, which the Orioles were also into at the time. Oddly, both sides were credited only to "Jimmy Ricks" (although the full group is present).

But there was trouble brewing in the Ravens; big trouble. Sometime in the Spring of 1954, the Ravens played an engagement in Detroit and stopped by the Frolic Show Bar to hear a local group called the Carols. Their lead, Tommy Evans, had a voice that was almost a carbon copy of Ricky's. Ricks walked out. After the show, Nat Margo told Tommy that the Ravens were having trouble with Ricky, who was talking about leaving. Naturally, Margo was desperate to line up a replacement. Imagine being told that you were being considered to replace the most famous R&B bass in America! To find out about him, see the sidebar on Tommy Evans).

About three weeks later Margo sent Tommy Evans the fare to get to New York to join the Ravens; Ricks had walked out. In New York, he was given a week to learn the arrangements to 27 Ravens songs. At the time he joined, the other Ravens were Joe Van Loan, Jimmie Steward, and Warren Suttles.

And Mercury saved the best for last. In June, they issued the last Ravens record containing original material (these were old masters from 1952 and 1953). The top side was Cole Porter's "I've Got You Under My Skin", featuring a lead by Ricky, Joe's floating tenor, the voice of Jimmie Steward (singing "and deep in the heart of me" at the very beginning), a duet bridge with Jimmie Steward and Louis Frazier, and chiming by the entire group. I am in awe of this recording! The flip is the beautiful "Love Is No Dream", led by Joe. What a way to go!

As stated in "Joe Van Loan's Early Career," Joe felt that income from two groups was better than income from one. (Admittedly, this may be an unfair statement, he may have just loved to sing.) Since it now gets somewhat complicated, see the sidebar on Joe Van Loan's Extracurricular Activities

In October, the Ravens were back on the West Coast, playing several dates with Hal "Cornbread" Singer's orchestra.