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Brook Benton
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Key Information
Benjamin Franklin Peay (September 19, 1931 – April 9, 1988), known professionally as Brook Benton, was an American singer and songwriter whose music transcended rock and roll, rhythm and blues, and pop music genres in the 1950s and 1960s, with hits such as "It's Just a Matter of Time" and "Endlessly".
His last hit was the 1970 ballad "Rainy Night in Georgia". Benton scored more than 50 Billboard chart hits as a singer/songwriter and with hits he wrote for other performers.[1]
Early life and career
[edit]Benton began singing gospel music in a Methodist church choir in Lugoff, South Carolina, where his father was choir master.[2]
In 1948, Benton went to New York where he joined The Langfordaires and The Jerusalem Stars before joining The Sandmen. Epic Records signed The Sandmen in 1954, immediately sending the group to record at the Columbia studios in New York. Columbia placed The Sandmen on its Okeh Records. Upon a second recording session, Okeh decided to push Benton as a solo artist. Benton recorded his first solo, "The Kentuckian Song", the theme from a movie of the same name.[3]
Benton switched to RCA's Vik subsidiary in 1957, where he had a single chart appearance, 1958's "A Million Miles From Nowhere", which peaked at No. 82 on U.S. charts. He wrote two songs that charted for other performers, Clyde McPhatter's "A Lover's Question" and Nat King Cole's "Looking Back".[3]
In 1958, Benton signed with Mercury Records, where he recorded hits "It's Just A Matter Of Time", "Endlessly", "Thank You Pretty Baby", "So Many Ways", "Baby (You've Got What It Takes)", "A Rockin' Good Way" (both duets with Dinah Washington), "Kiddio", "The Boll Weevil Song", and "Hotel Happiness".[3]
One of Benton's sisters was the original artist to record "Baby (You've Got What It Takes)", in 1958, under the title "You've Got What It Takes", using the stage name Dorothy Pay,[4] as the B-side of her single "Strollin' with My Baby".[5][6] In August 1959 Benton partnered with Dinah Washington to record the song and their version, released in January 1960, was hugely successful on both the pop and R&B charts, reaching No. 5 on the Billboard Hot 100 and No. 1 on the Hot R&B sides chart for 10 weeks,[7] becoming one of the most successful R&B singles of the 1960s.
Success
[edit]In 1959, he finally made his breakthrough with hits like "It's Just a Matter of Time" and "Endlessly". "It's Just a Matter of Time" peaked at No. 3 on the United States Billboard Hot 100 chart, sold over one million copies and was awarded a gold disc by the RIAA.[8] "Endlessly" made it to No. 12. Both of the first two hits were written by Benton with Clyde Otis. They were originally offered to Nat King Cole, but when Otis became an A&R manager and producer at Mercury, he convinced Benton to sign with the label and record them himself, while asking Cole not to record the songs as planned.[9] Benton followed this success with a series of hits, including "So Many Ways" (No. 6), "Hotel Happiness" (No. 3), "Think Twice" (No. 11), "Kiddio" (No. 7), and "The Boll Weevil Song" (No. 2). In 1960, he had two top 10 hit duets with Dinah Washington: "Baby (You've Got What It Takes)" (No. 5) and "A Rockin' Good Way (to Mess Around and Fall in Love)" (No. 7).[10]
In the mid 1960s, Benton recorded for RCA Records and Reprise Records with minimal commercial success. Then, in 1968, he signed with Cotillion Records, a subsidiary of Atlantic Records, where, the following year, he enjoyed his last major hit with "Rainy Night in Georgia", written by Tony Joe White and produced and arranged by Arif Mardin, a million-seller which topped the Billboard R&B chart.[10] Cornell Dupree played guitar on the song.[11] Benton recorded a total of five albums with Mardin, including a gospel album, during his stay at Cotillion.[citation needed]
Benton eventually charted a total of 49 singles on the Billboard Hot 100, with other songs charting on Billboard's rhythm and blues, easy listening, and Christmas music charts.[12] The last album made by Benton was Fools Rush In, which was released posthumously in 2005. He also had records released on various other labels, including All-Platinum, Brut, Olde Worlde, Stax and Groove Records.[13]
Death
[edit]Weakened from spinal meningitis, Benton died of pneumonia in Queens, New York City, at the age of 56 on April 9, 1988.[14] He was survived by his wife, Mary Benton, and six children: Brook Jr., Vanessa, Roy, Is'real, Gerald, and Benjamin.[2]
Discography
[edit]
Albums
[edit]| Year | Album | Peak chart positions | |||
|---|---|---|---|---|---|
| US 200 [15] |
US R&B [15] | ||||
| 1959 | It's Just a Matter of Time | — | — | ||
| Endlessly | — | — | |||
| 1960 | I Love You in So Many Ways | — | — | ||
| The Two of Us (with Dinah Washington) | — | — | |||
| Songs I Love to Sing | — | — | |||
| 1961 | Golden Hits | 82 | — | ||
| The Boll Weevil Song and 11 Other Great Hits | 70 | — | |||
| 1962 | If You Believe | 77 | — | ||
| Singing the Blues – Lie to Me | 40 | — | |||
| 1963 | Golden Hits, Volume 2 | 82 | — | ||
| Best Ballads of Broadway | — | — | |||
| 1964 | Born to Sing the Blues | — | — | ||
| Laura (What's He Got That I Ain't Got) | 156 | — | |||
| 1969 | Do Your Own Thing | 189 | — | ||
| 1970 | Brook Benton Today | 27 | 4 | ||
| Brook Benton I Wanna Be With You | — | — | |||
| Homestyle | 199 | — | |||
| 1971 | The Gospel Truth | — | — | ||
| 1972 | Story Teller | — | — | ||
| 1973 | Something for Everyone | — | — | ||
| 1976 | This is Brook Benton (released in the UK as "Mister Bartender") |
— | — | ||
| 1977 | Makin' Love Is Good for You | — | — | ||
| The Incomparable Brook Benton – 20 Greatest Hits (Warwick) | — | — | |||
| 1979 | Ain't No Good | — | — | ||
| So Close | — | — | |||
| 1981 | Brook Benton Sings the Standards | — | — | ||
| 1983 | 20 Golden Pieces of Brook Benton | — | — | ||
| Beautiful memories of Christmas | — | — | |||
| 1984 | Soft | — | — | ||
| 1989 | Forty Greatest Hits (compilation) | — | — | ||
| 2002 | Rainy Night in Georgia (compilation, remastered) | — | — | ||
| 2021 | Just A Matter of Time (compilation) | — | — | ||
| "—" denotes releases that did not chart or were not released in that territory. | |||||
Singles
[edit]| Year | Title | Peak chart positions | Album | ||||||
|---|---|---|---|---|---|---|---|---|---|
| US Pop [15] |
CB Pop |
US R&B [15] |
US AC [15] |
Canada [16][17] |
UK [18] | ||||
| 1955 | "The Kentuckian Song" b/w "Ooh" (Non-album track) |
– | – | – | – | – | – | Brook Benton at His Best!!! | |
| "Some of My Best Friends" b/w "Bring Me Love" |
– | – | – | – | – | – | |||
| 1956 | "Love Made Me Your Fool" b/w "Give Me a Sign" |
– | – | – | – | – | – | ||
| 1957 | "The Wall" b/w "All My Love Belongs to You" (from The Soul of Brook Benton) |
– | – | – | – | – | – | ||
| "Come On, Be Nice" b/w "I Wanna Do Everything for You" (from Brook Benton) |
– | – | – | – | – | – | Non-album track | ||
| 1958 | "A Million Miles from Nowhere" b/w "Devoted" |
82 | – | – | – | – | – | Brook Benton | |
| 1959 | "It's Just a Matter of Time" | 3 | 2 | 1 | – | 6 | – | It's Just a Matter of Time | |
| "Hurtin' Inside" | 78 | – | 23 | – | – | – | Golden Hits | ||
| "Endlessly" | 12 | 11 | 3 | – | 11 | 28 | Endlessly | ||
| "So Close" | 38 | 60 | 5 | – | – | – | I Love You In So Many Ways | ||
| "Thank You Pretty Baby" | 16 | 10 | 1 | – | 19 | – | Golden Hits | ||
| "With All of My Heart" | 82 | 66 | – | – | – | – | |||
| "So Many Ways" | 6 | 3 | 1 | – | 18 | – | I Love You In So Many Ways | ||
| "I Want You Forever" | – | 103 | – | – | – | – | Non-album track | ||
| "This Time of the Year" b/w "Nothing In The World (Could Make Me Love You More Than I Do)" (first pressings) "How Many Times" (later pressings) |
66 | 65 | 12 | – | – | – | Non-album tracks | ||
| 1960 | "Baby (You've Got What It Takes)" b/w "I Do" (Both sides with Dinah Washington) |
5 | 2 | 1 | – | 14 | – | The Two of Us | |
| "The Ties That Bind" | 37 | 23 | 15 | – | 31 | – | Golden Hits | ||
| "Hither and Thither and Yon" | 58 | 49 | – | – | – | – | |||
| "A Rockin' Good Way (To Mess Around and Fall In Love)" b/w "I Believe" (Both sides with Dinah Washington) |
7 | 5 | 1 | – | 17 | – | The Two of Us | ||
| "Kiddio" | 7 | 3 | 1 | – | 16 | 41 | Golden Hits | ||
| "The Same One" | 16 | 16 | 21 | – | 16 | – | |||
| "Fools Rush In (Where Angels Fear to Tread)" | 24 | 15 | 5 | – | 18 | 50 | Songs I Love to Sing | ||
| "Someday You'll Want Me to Want You" | 93 | – | – | – | – | – | Non-album track | ||
| "This Time of the Year" b/w "Merry Christmas, Happy New Year" |
– | – | – | – | – | – | Non-album tracks | ||
| 1961 | "Think Twice" | 11 | 6 | – | – | 18 | – | Golden Hits Volume 2 | |
| "For My Baby" | 28 | 24 | 2 | – | 18 | – | Non-album track | ||
| "The Boll Weevil Song" | 2 | 2 | 2 | 1 | 12 | 30 | The Boll Weevil Song | ||
| "Your Eyes" | – | 115 | – | – | – | – | Non-album track | ||
| "Frankie and Johnny" | 20 | 16 | 14 | 6 | 13 | – | The Boll Weevil Song | ||
| "It's Just a House Without You" | 45 | 71 | – | 8 | 13 | – | Golden Hits Volume 2 | ||
| "Revenge" b/w "Really, Really" (Non-album track) |
15 | 16 | 12 | – | – | – | |||
| 1962 | "Shadrack" | 19 | 29 | – | – | 4 | – | If You Believe | |
| "The Lost Penny" | 77 | 94 | – | – | 4 | – | |||
| "Walk on the Wild Side" b/w "Somewhere in the Used to Be" (Non-album track) |
43 | 42 | – | – | 33 | – | Golden Hits Volume 2 | ||
| "Hit Record" | 45 | 36 | 19 | – | 34 | – | |||
| "Thanks to the Fool" | 106 | 86 | – | – | – | – | Non-album track | ||
| "Lie to Me" | 13 | 10 | 3 | – | 36 | – | Singing the Blues | ||
| "With the Touch of Your Hand" | 120 | 126 | – | – | – | – | Non-album track | ||
| "Still Waters Run Deep" | 89 | 81 | – | – | – | – | Golden Hits Volume 2 | ||
| 1963 | "Hotel Happiness" | 3 | 6 | 2 | – | – | – | ||
| "I Got What I Wanted" | 28 | 22 | 4 | 14 | 39 | – | Singing the Blues | ||
| "Dearer Than Life" | 59 | 72 | – | – | – | – | Non-album track | ||
| "My True Confession" | 22 | 29 | 7 | 8 | – | – | Singing The Blues | ||
| "Tender Years" | – | 87 | – | – | – | – | |||
| "Two Tickets to Paradise" b/w "Don't Hate Me" |
32 | 30 | 15 | 8 | – | – | Non-album tracks | ||
| "Baby, You've Got It Made" (w/ Damita Jo) | 111 | 133 | – | – | – | – | |||
| "Stop Foolin'" (w/ Damita Jo) | 108 | 87 | – | – | – | – | |||
| "You're All I Want for Christmas" b/w "This Time of the Year" |
– | 59 | – | – | – | – | |||
| 1964 | "Going Going Gone" b/w "After Midnight"(from Born to Sing the Blues) |
35 | 30 | 5 | 11 | – | – | On the Countryside | |
| "Another Cup of Coffee" | 47 | 40 | 4 | 13 | – | – | Non-album track | ||
| "Too Late to Turn Back Now" | 43 | 38 | 8 | 14 | – | – | This Bitter Earth | ||
| "A House Is Not a Home" b/w "Come On Back" |
75 | 50 | 6 | 13 | – | – | Non-album tracks | ||
| "Lumberjack" b/w "Don't Do What I Did (Do What I Say)" |
53 | 47 | 11 | 15 | – | – | This Bitter Earth | ||
| "Do It Right" | 67 | 58 | 33 | – | – | – | |||
| "Please, Please Make It Easy" | 119 | – | – | – | – | – | |||
| 1965 | "The Special Years" b/w "Where There's a Will (There's a Way") |
129 | 109 | – | – | – | – | Non-album tracks | |
| "Love Me Now" b/w "A Sleepin' at the Foot of the Bed" |
100 | 97 | – | 37 | – | – | |||
| "Mother Nature, Father Time" b/w "While There's Life (There's Still Hope)" |
53 | 43 | 26 | 9 | 27 | – | Mother Nature, Father Time | ||
| 1966 | "Only a Girl Like You" b/w "While There's Life (There's Still Hope)" |
122 | 102 | – | – | – | – | Non-album tracks | |
| "Too Much Good Lovin'" b/w "A Sailor Boy's Love Song" |
126 | – | – | – | – | – | |||
| "Break Her Heart" b/w "In the Evening by Moonlight" |
– | – | – | 37 | – | – | |||
| "If Only You Knew" b/w "So True in Life, So True in Love" |
– | – | – | – | – | – | |||
| "Our First Christmas Together" b/w "Silent Night" |
– | – | – | – | – | – | |||
| 1967 | "All My Love Belongs to You" b/w "Wake Up" |
– | – | – | – | – | – | ||
| "Keep the Faith, Baby" b/w "Going to Soulsville" |
– | – | – | – | – | – | |||
| "Laura (What's He Got That I Ain't Got)" b/w "You're the Reason I'm Living" |
78 | 88 | – | 37 | – | – | Laura, What's He Got That I Ain't Got | ||
| 1968 | "Weakness in a Man" b/w "The Glory of Love" (from Laura, What's He Got That I Ain't Got) |
– | – | – | 36 | – | – | Non-album tracks | |
| "Lonely Street" b/w "Instead (of Loving You)" |
– | – | – | – | – | – | |||
| "Do Your Own Thing" b/w "I Just Don't Know What to Do with Myself" |
99 | 128 | – | 26 | – | – | |||
| 1969 | "Touch 'Em with Love" b/w "She Knows What to Do for Me" |
– | – | – | – | – | – | ||
| "Nothing Can Take the Place of You" b/w "Woman Without Love" |
74 | 67 | 11 | – | 68 | – | |||
| 1970 | "Rainy Night in Georgia" b/w "Where Do I Go from Here" |
4 | 2 | 1 | 2 | 2 | – | Brook Benton Today | |
| "My Way" b/w "A Little Bit of Soap" |
72 | 48 | 25 | 35 | 49 | – | |||
| "Don't It Make You Want to Go Home" b/w "I've Gotta Be Me" (from Brook Benton Today) |
45 | 48 | 31 | 4 | 41 | – | Home Style | ||
| 1971 | "Shoes" b/w "Let Me Fix It" (from Home Style) |
67 | 52 | 18 | 18 | 83 | – | Story Teller | |
| "Heaven Help Us All" b/w "Whoever Finds This (I Love You)" (from Home Style) |
– | 120 | – | – | – | – | The Gospel Truth | ||
| "Take a Look at Your Hands" b/w "If You Think God Is Dead" |
– | – | – | – | – | – | |||
| "Please Send Me Someone to Love" b/w "She Even Woke Me Up to Say Goodbye" |
– | – | – | – | – | – | Story Teller | ||
| "A Black Child Can't Smile" b/w "If You Think God Is Dead" (from The Gospel Truth) |
– | – | – | – | – | – | Non-album tracks | ||
| "Soul Santa" b/w "Let Us All Get Together with the Lord" (from The Gospel Truth) |
– | – | – | – | – | – | |||
| 1972 | "Movin' Day" b/w "Poor Make Believer" |
– | – | – | – | – | – | Story Teller | |
| "If You Got the Time" b/w "You Take Me Home Honey" |
104 | – | – | – | – | – | Something for Everyone | ||
| 1973 | "Lay Lady Lay" b/w "A Touch of Class" |
– | 107 | – | – | – | – | Non-album tracks | |
| 1974 | "South Carolina" b/w "All That Love Went to Waste" |
– | – | – | – | – | – | ||
| 1976 | "Can't Take My Eyes Off You" b/w "Weekend with Feathers" |
– | – | – | – | – | – | This Is Brook Benton | |
| 1978 | "Making Love Is Good for You" b/w "Better Times" |
– | – | 49 | – | – | – | Makin' Love Is Good for You | |
| "Soft" b/w "Glow Love" |
– | – | – | – | – | – | Soft | ||
| "–" denotes releases that did not chart or were not released in that territory. | |||||||||
References
[edit]- ^ Gradischnig, Herwig and Maitner, Hans (2015). Brook Benton: There Goes That Song Again. Music Mentor Books. ISBN 9780956267986.
{{cite book}}: CS1 maint: multiple names: authors list (link) - ^ a b French, Howard (April 10, 1988). "BROOK BENTON, SINGER OF HIT TUNES KNOWN FOR HIS BALLADS, DIES AT 56". The New York Times. Retrieved July 31, 2015.
- ^ a b c "Marv Goldberg's R&B Notebooks - THE SANDMEN". Uncamarvy.com. Retrieved August 17, 2015.
- ^ "Ebony". Johnson Publishing Company. May 4, 1963. pp. 44–50 – via Google Books.
- ^ "You've Got What It Takes", Secondhand Songs. Retrieved January 12, 2018
- ^ Singles Discography for Mercury Records - 71000 series, Global Dog Productions. Retrieved January 12, 2018
- ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 54.
- ^ Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London, UK: Barrie and Jenkins Ltd. pp. 110–1. ISBN 0-214-20512-6.
- ^ Colin Escott, "Clyde Otis: Looking Back". Goldmine, October 1, 1993, pp. 42–43.
- ^ a b Bill Dahl. "Brook Benton | Biography". AllMusic. Retrieved August 17, 2015.
- ^ The Quiet Man dallasobserver.com Retrieved March 14, 2024
- ^ Joel Whitburn, Top Pop Singles 1955–1999 (Menomonee Falls, Wisconsin: Record Research, 2000), 48–49.
- ^ Shaw, Arnold (1978). Honkers and Shouters. New York: Macmillan Publishing Company. p. 463. ISBN 0-02-061740-2.
- ^ Larkin, Colin (1993). The Guinness Who's Who of Soul Music (1st ed.). Guinness Publishing. p. 20. ISBN 0-85112-733-9.
- ^ a b c d e "Brook Benton - Awards". AllMusic. Archived from the original on October 13, 2013. Retrieved July 28, 2022.
- ^ "CHUM results". Archived from the original on July 18, 2006.
- ^ "RPM Magazine results". Library and Archives Canada. July 17, 2013.
- ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 54. ISBN 1-904994-10-5.
External links
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Brook Benton
View on Grokipediafrom Grokipedia
Brook Benton (September 19, 1931 – April 9, 1988) was an American singer, songwriter, and record producer celebrated for his smooth baritone voice and crossover success bridging rhythm and blues, pop, and gospel genres in the late 1950s and early 1960s.[1] Born Benjamin Franklin Peay in Camden, South Carolina, he rose from gospel roots to achieve 49 singles on the Billboard Hot 100, including 24 Top 40 hits and eight Top 10 entries, with his emotive ballads like "It's Just a Matter of Time" and "Rainy Night in Georgia" defining an era of soulful R&B-pop fusion.[2] Over his three-decade career, Benton co-wrote numerous songs including hits for other artists such as Nat King Cole's "Looking Back", collaborated with artists such as Dinah Washington on chart-topping duets, and earned 18 gold records, leaving a lasting legacy as a versatile performer whose humanitarian efforts complemented his musical influence.[2][3]
The youngest of seven children in a musical family, Benton grew up singing in his father's church choir in Lugoff, South Carolina, and with local gospel groups like the Camden Jubilee Singers, fostering his early passion for harmony and composition.[2] At age 17, he relocated to New York City in 1948 to pursue songwriting, taking odd jobs while performing with gospel ensembles such as the Langfordaires and the Golden Gate Quartet.[3] His professional breakthrough came in the mid-1950s when he joined the vocal group the Sandmen, recording his first single "The Wall" in 1956, though it achieved only modest success; soon after, he adopted the stage name Brook Benton and signed with Mercury Records in 1958 under producer Clyde Otis, who helped craft his signature sound.[2]
Benton's commercial peak arrived in 1959 with the release of "It's Just a Matter of Time," co-written with Otis, which peaked at No. 3 on the Billboard Hot 100 and No. 1 on the R&B chart, launching a string of hits including "Endlessly" (No. 12 pop, No. 1 R&B), "Thank You Pretty Baby" (No. 16 pop, No. 1 R&B), and "So Many Ways" (No. 6 pop).[2][3] His duets with Dinah Washington, such as "Baby (You've Got What It Takes)" (No. 5 pop, 1960) and "A Rockin' Good Way (To Mess Around and Fall in Love)" (No. 7 pop, 1960), further solidified his stardom, while novelty tracks like "The Boll Weevil Song" (No. 2 pop, 1962) showcased his range.[4] After a career lull in the mid-1960s, Benton revitalized his chart presence with "Rainy Night in Georgia" in 1970, reaching No. 4 on the Hot 100 and earning a Grammy nomination for Best Contemporary Vocal Performance, Male; he continued touring extensively in the U.S. and Europe into the 1980s.[5][2]
In addition to his recording achievements, Benton contributed as a songwriter for artists including Nat King Cole and was recognized for his philanthropy, often aiding fellow musicians and community causes.[3] He received South Carolina's highest civilian honor, the Order of the Palmetto, in 1985, and posthumous inductions into halls of fame such as the Hit Parade Hall of Fame (2009), Goldmine Hall of Fame (2013), and BBC Radio 2 Singer's Hall of Fame (2015).[2] Benton died of pneumonia in Queens, New York, on April 9, 1988, at age 56, after being weakened by spinal meningitis, survived by his wife Mary and five children.[6] His enduring appeal lies in his warm, velvety timbre and ability to convey deep emotion, influencing generations of R&B and soul artists.[2]
These albums highlight Benton's versatility, with early Mercury efforts like Endlessly prioritizing emotional ballads and the duet project emphasizing harmonious vocal interplay, contrasting the soul-infused introspection of Cotillion-era works such as Brook Benton Today, which blended covers and originals amid his label shift from Mercury. Later releases like Sings a Love Story further embraced 1970s soul sensibilities before his passing, while the 2005 posthumous effort assembled previously released hits to capture his enduring stylistic depth.
Benton's mid-career singles continued to chart modestly, such as "Do Your Own Thing" in 1968, which reached No. 99 on the Hot 100 and No. 26 adult contemporary.[43] He secured multiple R&B No. 1 hits, including "So Many Ways" (1959), "Kiddio" (1960), and "Rainy Night in Georgia" (1970).[44] Later efforts like "Love Me Now" (1965, No. 100 Hot 100) and "My Way" (1970, No. 72 Hot 100, No. 25 R&B) exemplified his persistence amid fluctuating commercial success.[43]
For completeness, Benton released several non-charting singles and B-sides, such as "So Close" (No. 38 Hot 100 in 1959, but with lesser follow-ups) and "The Special Years" (1965, bubbling under at No. 129), alongside tracks that appeared on albums like Today (1970).[43] His discography also encompasses duets with Dinah Washington, such as "A Rockin' Good Way (To Mess Around and Fall in Love)" (1960, No. 7 Hot 100, No. 1 R&B), and later collaborations like "Baby, You've Got It Made" with Damita Jo (1968).[43]
Early life and education
Childhood and family
Brook Benton was born Benjamin Franklin Peay on September 19, 1931, in Camden, South Carolina. He was the youngest of seven children—two boys and five girls—born to Mattie Lee Hollis and Willie L. Peay, a bricklayer who also served as choir director at the Ephesus African Methodist Episcopal Church in the area. The Peay family lived a modest life in rural Kershaw County, where economic opportunities were limited for African American families during the Great Depression and beyond. As a child in the segregated South, Peay contributed to the household by delivering milk for a local dairy in Camden, learning the value of hard work from his parents' example. His early exposure to music was deeply rooted in the church, where he sang in his father's choir alongside family members, fostering a love for gospel singing that shaped his vocal style. He also performed with the Camden Jubilee Singers, a group affiliated with Jackson High School, the local segregated school for Black students. Benton attended Jackson High School and graduated in 1948.[2] In 1948, at age 17, Peay left South Carolina for New York City to pursue songwriting ambitions, initially staying with an older sister while taking odd jobs to support himself.Musical beginnings
Brook Benton, born Benjamin Franklin Peay, began his musical journey in the Methodist church choirs of Lugoff and Camden, South Carolina, where he sang from childhood under the direction of his father, Willie Peay, who served as choir master.[7] This early immersion in gospel music profoundly shaped his vocal style, fostering a rich, emotive delivery rooted in spiritual traditions that emphasized harmony and fervor.[8] Alongside church performances, Benton contributed to local ensembles like the Camden Jubilee Singers, honing his skills in group singing and gospel arrangements.[7] As a teenager, Benton supplemented his gospel foundation with exposure to secular music broadcast on the radio, sparking an interest in broader vocal styles beyond the church.[9] This blend of influences helped cultivate his distinctive smooth baritone, which drew inspiration from the polished phrasing of Nat King Cole and the velvety timbre of Billy Eckstine.[10] In 1948, at age 17, Benton relocated to New York City, where he supported himself with odd jobs while immersing in the city's vibrant music scene.[8] There, he joined several amateur gospel groups, including The Sandmen, an ensemble of former gospel singers transitioning toward rhythm and blues.[11] These experiences refined his ensemble dynamics and vocal technique, bridging his sacred roots with emerging secular opportunities in the late 1940s and early 1950s.[10]Professional career
Songwriting and early recordings
In the mid-1950s, Brook Benton established himself as a professional songwriter in New York City, collaborating with figures like Clyde Otis to craft material for established artists. One of his early successes came in 1958 when he co-wrote "A Lover's Question" with Jimmy T. Williams, which became a major R&B and pop hit for Clyde McPhatter, reaching number six on the Billboard Hot 100.[12] That same year, Benton and Otis penned "Looking Back," a smooth ballad that Nat King Cole recorded and took to number five on the pop chart, marking Benton's growing reputation as a composer of emotive, crossover material.[13] These songs highlighted Benton's talent for blending gospel influences with pop sensibilities, drawing from his prior experiences in vocal groups.[10] Benton's own recording career began modestly in 1955 after his gospel quartet, the Sandmen, secured an audition at Okeh Records, a Columbia subsidiary, where talent scout Danny Kessler recognized his solo potential.[14] He debuted as a solo artist that August with "The Kentuckian Song," the theme from the Burt Lancaster film, backed with "Ooh" on Okeh 4-7058; the single received limited airplay but failed to chart significantly.[15] Follow-up releases on Okeh and its sister label Epic, such as "Bring Me Love" b/w "Some of My Best Friends" in early 1956, similarly garnered modest attention without breaking through commercially.[16] By 1957, Benton had moved to Vik Records, an RCA Victor subsidiary, where he issued singles like "Love Made Me Your Fool" and "A Million Miles from Nowhere." The latter became his first entry on the Billboard pop chart in spring 1958, peaking at number 82, though it did little to elevate his profile beyond niche audiences.[17] Despite persistent efforts, including additional label auditions, Benton faced rejections that underscored the challenges for emerging R&B talents in a competitive market.[2] His persistence paid off later that year when a demo he co-wrote, "The Stroll," hit big for the Diamonds on Mercury Records, prompting the label to sign Benton as both an artist and songwriter under A&R executive Clyde Otis.[13]Rise to fame
In 1959, Brook Benton signed with Mercury Records, marking a pivotal shift in his career as he transitioned from behind-the-scenes songwriting to front-and-center performing. His debut single for the label, "It's Just a Matter of Time," co-written with Clyde Otis, became an immediate breakthrough, peaking at No. 3 on the Billboard Hot 100 and No. 1 on the Hot R&B Sides chart. The track sold over one million copies, earning a gold disc from the RIAA and establishing Benton as a rising star in the pop-R&B crossover scene.[4][18] Building on this momentum, Benton's follow-up single, "Endlessly"—also co-authored with Otis—reached No. 12 on the Billboard Hot 100 in 1959, while topping the Hot R&B Sides chart for three weeks. These early hits showcased Benton's signature smooth baritone and emotive ballad style, blending R&B influences with broad pop accessibility that appealed to diverse audiences. From this point, Benton amassed 49 entries on the Billboard Hot 100 over his career, solidifying his trajectory as a prolific chart artist.[18] That same year, Mercury released Benton's debut album, It's Just a Matter of Time, which featured the title track alongside standards and originals that highlighted his velvety vocal delivery. The album played a key role in cultivating Benton's persona as a sophisticated crooner, bridging gospel roots with mainstream appeal and setting the stage for his enduring popularity in the late 1950s music landscape.[19][20]Peak success and collaborations
In the early 1960s, Brook Benton achieved his greatest commercial success as a solo artist and collaborator, dominating both the pop and R&B charts with a string of hits produced under his partnership with Clyde Otis at Mercury Records. His smooth baritone delivery, often backed by lush orchestral arrangements, appealed to a broad audience, blending R&B, pop, and easy listening styles. Notable solo releases included "Thank You Pretty Baby" in 1959, which peaked at No. 16 on the Billboard Hot 100 and No. 1 on the R&B chart for four weeks, co-written and produced by Otis. This was followed by "Kiddio" in 1960, another R&B No. 1 that crossed over to No. 7 on the pop chart. By 1961, Benton's novelty adaptation of the traditional folk tune "The Boll Weevil Song" became his highest-charting single, reaching No. 2 on the Hot 100 and No. 1 on the R&B chart for five weeks, showcasing his versatility in transforming blues roots into mainstream appeal.[2][21][22] Benton's peak era was further elevated by his acclaimed duets with Dinah Washington, which expanded his reach and highlighted his chemistry with one of R&B's leading vocalists. Their collaboration "Baby (You've Got What It Takes)," released in 1960, climbed to No. 5 on the Hot 100 and held the No. 1 R&B position for ten weeks, earning widespread radio play and sales success. The follow-up, "A Rockin' Good Way (To Mess Around and Fall in Love)," also from 1960, peaked at No. 7 on the Hot 100 and No. 1 on the R&B chart, solidifying their partnership as a commercial powerhouse. These tracks, produced by Otis with Washington's Mercury label affiliation facilitating the pairing, demonstrated Benton's ability to harmonize effectively in duet format while maintaining his signature warmth. Building on his 1959 breakthrough singles like "It's Just a Matter of Time," these efforts helped Benton amass over a dozen Top 40 pop hits by mid-decade.[23] The duo's joint album The Two of Us, released in 1960 on Mercury, captured their synergy with a collection of standards and originals, including the hit singles, and contributed to Benton's chart dominance in both genres during this period. Otis's production role was pivotal, as he not only co-wrote many of Benton's successes but also shaped the artist's sound through innovative arrangements that bridged racial and stylistic divides in American music. By 1961, with releases like The Boll Weevil Song and 11 Other Great Hits entering the Billboard 200 at No. 70, Benton's output reflected sustained popularity, though he would soon transition labels amid evolving industry trends.[24][17]Later career and challenges
In 1965, Benton signed with RCA Victor, reuniting with longtime producer and collaborator Clyde Otis, which led to the release of the single "Mother Nature, Father Time," peaking at No. 53 on the Billboard Hot 100. This modest success reflected the shifting musical landscape, as Benton's smooth baritone style struggled to compete with the rising dominance of rock and harder-edged soul acts. Despite the label move, his pop chart presence began to wane, with subsequent RCA singles failing to recapture his early 1960s momentum. By the late 1960s, Benton shifted labels again to Reprise Records, where he recorded the title track from his album Do Your Own Thing (1968), which briefly charted at No. 99 on the Billboard Hot 100. A significant resurgence came in 1970 after signing with Cotillion Records, a subsidiary of Atlantic, when he covered Tony Joe White's "Rainy Night in Georgia." The languid ballad reached No. 4 on the Billboard Hot 100 and No. 1 on the R&B chart, serving as the lead single from the album Brook Benton Today. Produced by Arif Mardin, the track showcased Benton's enduring interpretive depth amid a more contemporary soul arrangement. The 1970s brought ongoing challenges for Benton, including multiple label transitions and a broader industry evolution toward funk, disco, and rock-infused soul that diminished his crossover appeal. Remaining with Cotillion, he released albums such as Home Style (1970) and The Gospel Truth (1971), exploring personal and spiritual themes, but these efforts yielded no major hits and received limited commercial attention.[25] His pop relevance faded as younger artists dominated the charts, though he continued performing live and occasionally recording. In the 1980s, Benton's recording output slowed considerably due to deteriorating health, including complications from spinal meningitis and pneumonia. A compilation of his earlier recordings, Fools Rush In, was released posthumously in 2005.[26][27]Personal life
Marriage and family
Brook Benton married Mary Vanessa Askew in 1954, and their union lasted until his death in 1988.[28][20] The couple raised five children—Brook Jr., Vanessa, Roy, Gerald, and Benjamin—in Queens, New York, where they established a stable family home amid Benton's demanding performance schedule.[6][20] Benton was survived by his wife, Mary, who passed away in 2010, and their children.[28][6]Health issues
In the 1980s, Brook Benton developed spinal meningitis, a serious infection that marked the beginning of his progressive health decline. Diagnosed in 1986, the condition severely weakened his immune system and overall physical condition over the subsequent years.[29] This illness increased his susceptibility to respiratory infections, including pneumonia, which became a recurring threat due to his compromised health.[1] The meningitis and related complications limited his mobility and energy levels, impacting his ability to maintain a regular routine and necessitating periods of rest and medical care.[14] Benton's health struggles in this period also placed additional strain on his family, as his wife Mary and children provided support during his hospitalizations and recovery attempts.[1] These ongoing issues contributed to a scaled-back schedule of public appearances in his later career.[6]Death and legacy
Final years and passing
In early 1988, Brook Benton developed pneumonia that complicated his prior spinal meningitis, leading to his hospitalization.[2][29] Benton died on April 9, 1988, at the age of 56, at Mary Immaculate Hospital in Queens, New York, from the pneumonia.[6][1] His body was returned to South Carolina for burial the following Saturday, April 16, at Unity Family Life Center Cemetery in Lugoff. He was survived by his wife Mary and their five children—Brook Jr., Vanessa, Roy, Gerald, and Benjamin.[1][28][6] Benton's passing drew immediate coverage in major outlets, with obituaries praising his velvet baritone and enduring ballads like "It's Just a Matter of Time," reflecting the public's fond remembrance of his contributions to R&B and pop music.[6][1]Influence and recognition
Brook Benton's smooth baritone voice and emotive delivery established him as a trailblazer in soul and R&B, influencing subsequent artists who emulated his ability to infuse deep emotion into performances.[30] This vocal approach also resonated in later smooth jazz circles, where vocalists adopted similar lush, relaxed interpretations of standards, extending Benton's legacy into more instrumental-oriented genres.[10] Benton's music exemplified genre transcendence, seamlessly bridging gospel roots with R&B, pop, and early rock elements to achieve widespread crossover appeal.[7] Tracks like "It's Just a Matter of Time" and duets with Dinah Washington, such as "Baby (You've Got What It Takes)," blended rhythmic drive with polished orchestration, appealing across racial and stylistic divides during the late 1950s and 1960s.[7] His versatility extended to folk-tinged numbers like "The Boll Weevil Song" and even country covers, underscoring his role in popularizing hybrid sounds that anticipated soul's mainstream evolution.[7] Posthumously, Benton's contributions have been recognized through several honors affirming his enduring impact. He was inducted into the Hit Parade Hall of Fame in 2009 and the Goldmine Hall of Fame in 2013.[2] Further acclaim came with his 2015 induction into the BBC 2 Singer's Hall of Fame.[2] His chart legacy includes 24 Top 40 hits and 18 gold records, reflecting overall sales exceeding 18 million units.[2] Songs like "Rainy Night in Georgia" continue to inspire covers by prominent artists, including Rod Stewart's 2009 rendition, which highlighted the track's timeless melancholy.[31] Renewed interest is evident in releases like the 2005 compilation album Fools Rush In, which gathered his hits and demonstrated ongoing appreciation for his catalog.[26]Discography
Studio albums
Brook Benton's studio albums chronicle his career trajectory from intimate balladry to deeper soul explorations, beginning with lush, romantic arrangements on Mercury Records and evolving into more rhythmic, contemporary sounds amid label transitions to Cotillion and others. His early works often featured standards and original compositions with orchestral backing, showcasing his velvety baritone in themes of love and longing, while later releases incorporated gospel influences and modern R&B production to reflect personal and musical maturation. A posthumous compilation of hits rounded out his catalog decades after his death. The following table lists his original studio albums chronologically, including key duet and thematic releases:| Title | Year | Label |
|---|---|---|
| It's Just a Matter of Time | 1959 | Mercury |
| Endlessly | 1960 | Mercury |
| The Two of Us (with Dinah Washington) | 1960 | Mercury |
| The Boll Weevil Song and 11 Other Great Hits | 1961 | Mercury |
| Singing the Blues | 1962 | Mercury |
| Lie to Me | 1962 | Mercury |
| This Bitter Earth | 1963 | Mercury |
| Brook Benton Today | 1970 | Cotillion |
| Home Style | 1971 | Cotillion |
| The Gospel Truth | 1971 | Cotillion |
| Do Your Own Thing | 1969 | Cotillion |
| Sings a Love Story | 1975 | Sussex |
| Fools Rush In (posthumous compilation) | 2005 | Varèse Sarabande |
Singles
Brook Benton amassed 49 appearances on the Billboard Hot 100 chart between 1958 and 1972, alongside numerous entries on the R&B and adult contemporary charts, reflecting his enduring popularity in pop and rhythm and blues markets.[3] His singles often featured smooth ballads and uptempo tracks, many backed by Mercury Records early in his career before shifting to RCA and Cotillion. Key early successes included "It's Just a Matter of Time," which reached No. 3 on the Hot 100 and No. 1 on the R&B chart in 1959, with "Hurtin' Inside" as its B-side that charted at No. 78 Hot 100 and No. 23 R&B.[43] That same year, "So Many Ways" peaked at No. 6 Hot 100 and No. 1 R&B, while "Endlessly" hit No. 12 Hot 100 and No. 3 R&B, and "Thank You Pretty Baby" attained No. 16 Hot 100 and No. 4 R&B.[43] In 1960, the duet "Baby (You've Got What It Takes)" with Dinah Washington climbed to No. 5 Hot 100 and No. 1 R&B.[43] Other notable 1960 releases were "Kiddio" (No. 7 Hot 100, No. 1 R&B) and "The Same One" (No. 16 Hot 100, No. 21 R&B).[43]| Year | Single | Hot 100 Peak | R&B Peak | Notes |
|---|---|---|---|---|
| 1959 | It's Just a Matter of Time | 3 | 1 | B-side: Hurtin' Inside |
| 1959 | So Many Ways | 6 | 1 | - |
| 1959 | Endlessly | 12 | 3 | - |
| 1960 | Baby (You've Got What It Takes) (with Dinah Washington) | 5 | 1 | Duet |
| 1961 | The Boll Weevil Song | 2 | 2 | B-side: Your Eyes |
| 1961 | Think Twice | 11 | 6 | - |
| 1962 | Hotel Happiness | 3 | 2 | - |
| 1962 | Lie to Me | 13 | 3 | - |
| 1963 | My True Confession | 22 | 7 | - |
| 1970 | Rainy Night in Georgia | 4 | 1 | B-side: Where Do I Go from Here |