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The Ravens
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The Ravens were an American R&B vocal group, formed in 1946 by Jimmy Ricks and Warren Suttles.[1] They were one of the most successful and most influential vocal quartets of the period, and had several hits on the R&B chart in the late 1940s and early 1950s.[2]
Key Information
Career
[edit]Jimmy "Ricky" Ricks was born in Adrian, Georgia. His mother was 14 when he was born. She went to Florida to find a better job. Jimmy lived with his aunt and uncle, Marnie and Luther Ricks until he was 13 and moved to Jacksonville, Florida to be with his mother.[3] During World War II, Jimmy moved to New York City, where he worked as a waiter in Harlem and met Warren "Birdland" Suttles from Fairfield, Alabama which is southwest of Birmingham, Alabama. In early 1946, they decided to form a vocal group and recruited Leonard "Zeke" Puzey, who had recently won a talent contest at the Apollo Theater, and Ollie Jones. They found a manager, Ben Bart, and an accompanist, Howard Biggs and made their first recordings for Bart's small Hub record label.[3] They called themselves the Ravens thus initiating a trend for vocal groups to name themselves after birds—groups who later followed included the Orioles, the Crows, the Larks, the Robins and the Penguins.
Although the group was strongly influenced by the Ink Spots, the Delta Rhythm Boys, and the Mills Brothers, they used Jimmy Ricks' bass voice, rather than a more conventional tenor, as the lead on many of their recordings.[4] It became their trademark style.[1] Their material was also more varied, including elements of pop, jazz, R&B, and gospel styles.
After their initial single, "Honey", Jones left the group and was replaced by Maithe Marshall.[4] The contrast between Ricks' bass voice and Marshall's tenor became integral to their success.[4] In 1947 the Ravens left the Hub label to join National Records, and had immediate hits on what was called at the time the "race records" chart with a version of "Ol' Man River" (from the musical Show Boat) and "Write Me A Letter", which rose to no. 5 on the "race" chart in 1948[4] and crossed over to the pop chart.[3][5] Their run of successes on what came to be known as the R&B chart continued through to early 1950, with the basic line-up of Ricks, Suttles, Puzey, and Marshall essentially remaining together for several years.[4] Their version of "Count Every Star" (1950) was later used in the film Revolutionary Road.[citation needed]
The Ravens primarily existed to showcase bass singer Ricks; they were very successful and Ricks' voice became the standard against which every rhythm and blues bass was measured for the next generation. Although the group had relatively few chart hits, they were popular in concert, commanding a fee of $2,000 a night.[1] The group recorded for Columbia Records and its subsidiary OKeh in 1950, before moving to the Mercury label. In 1951 Marshall and Puzey both left; Joe Van Loan became a long-term replacement for Marshall as lead tenor, and there were various other shorter-term group members.[3] The group had its final hit on the R&B chart in late 1952, when "Rock Me All Night Long" rose to no. 4,[4] the highest position the group reached in their career.[5]
In 1953 they moved to the Jubilee label, but with the rise of rock and roll their style became increasingly unfashionable.[1] After several earlier breaks from the group, Suttles left for the final time in 1954. Ricks left for a solo career in 1956. After his departure, the group was led by Joe Van Loan, who at one point brought his brothers Paul and James into the group; however, the group finally disbanded in 1958.[3]
Ricks recorded as a solo singer without notable success for a number of labels, including Atlantic where he also recorded with LaVern Baker and Little Esther. In 1971, he and Suttles temporarily revived the Ravens, with additional members Gregory Carroll and Jimmy Breedlove. At the time of his death from a heart attack, at the age of 49 in 1974,[6] he was the vocalist for the Count Basie orchestra.[1] Suttles, Puzey and Marshall also appeared together, with Evans, as the Ravens in 1974.[3] Another reunion was held by the United in Group Harmony Association (UGHA) in 1987. The reunion again featured Suttles, Puzey, and Marshall as well as Jones. As both Ricks and Evans had died (in 1974 and 1984), the lead on "Without A Song" was sung by Suttles.
The Ravens were inducted into The Vocal Group Hall of Fame in 1998.[7] In 2006, Suttles accepted the Harlem Jazz & Music Festival 2006 Rhythm & Blues award on the group's behalf.[3]
Group members
[edit]Original members
[edit]- Jimmy "Ricky" Ricks (James Thomas Ricks, August 6, 1924 – July 2, 1974)[8] (member 1946–1956)
- Warren "Birdland" Suttles (February 20, 1925 – July 24, 2009)[9][10] (1946–1948, 1949–1950, 1952–1954, 1974, 1987)
- Leonard "Zeke" Puzey (August 20, 1926 – October 2, 2007)[11] (1946–1951, 1953, 1974, 1987)
- Henry Oliver "Ollie" Jones (December 9, 1923 – October 4, 1990)[12] (1946–1947, 1987)
Later members
[edit]
|
|
|
Piano
[edit]- Howard Biggs (1946–1949)
- Bill Sanford (1949–1957)
- Bill Chambers (1957–1958)[3]
Discography
[edit]Singles
[edit]| Year | Song | US R&B [2] |
|---|---|---|
| 1948 | "Be on Your Merry Way" | 13 |
| "Bye Bye Baby Blues" | 8 | |
| "It's Too Soon to Know" | 11 | |
| "Ol' Man River" | 10 | |
| "Send for Me If You Need Me" | 5 | |
| "Silent Night" | 8 | |
| "Write Me a Letter" | 5 | |
| 1949 | "Ricky's Blues" | 8 |
| "White Christmas" | 9 | |
| 1950 | "I Don't Have to Ride No More" | 9 |
| 1951 | "Honey I Don't Want You" | – |
| 1952 | "Rock Me All Night Long" | 4 |
References
[edit]- ^ a b c d e Eder, Bruce. "The Ravens | Biography, Albums, Streaming Links". AllMusic.
- ^ a b "The Ravens Top Songs / Chart Singles Discography". Music VF. Retrieved 16 April 2022.
- ^ a b c d e f g h "Marv Goldberg's R&B Notebooks – The Ravens – Part 1". Uncamarvy.com.
- ^ a b c d e f Colin Larkin, ed. (2002). The Virgin Encyclopedia of Fifties Music (Third ed.). Virgin Books. p. 349. ISBN 1-85227-937-0.
- ^ a b Whitburn, Joel (1996). Top R&B/Hip-Hop Singles: 1942–1995. Record Research. p. 364.
- ^ "Jimmy Ricks, Most Influential Bass Singer In Music History, Dead". Raresoul.com. July 2, 2012. Retrieved September 2, 2025.
- ^ "The Vocal Group Hall of Fame: The Ravens". Archived from the original on March 3, 2016.
- ^ a b "The Dead Rock Stars Club – The 1970s". Thedeadrockstarsclub.com.
- ^ "The Dead Rock Stars Club 2009 July to December". Thedeadrockstarsclub.com.
- ^ Hinckley, David. "As an era fades, another voice - Warren Suttles - is gone". New York Daily News. Archived from the original on March 22, 2016. Retrieved 16 April 2022.
- ^ "The Dead Rock Stars Club 2007 July To December". Thedeadrockstarsclub.com.
- ^ Talevski, Nick (April 7, 2010). Rock Obituaries: Knocking On Heaven's Door. Omnibus Press. p. 320. ISBN 9780857121172 – via Google Books.
- ^ "The Dead Rock Stars Club – The 1980s". Thedeadrockstarsclub.com.
- ^ Liner notes by Joel Dorn on Austin Cromer's LP (vinyl) Sings for Her Atlantic 8107.
External links
[edit]- The Ravens discography at Discogs
- Detailed history of group, by Billy Vera, 2003
- Detailed discography
- 'The Ravens' Vocal Group Hall of Fame Page
- Jimmy Ricks discography
| International | |
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| National | |
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The Ravens
View on Grokipediafrom Grokipedia
Early History
Formation
The Ravens were formed in early 1946 in New York City by bass singer Jimmy Ricks and baritone Warren Suttles, who met while working as waiters at the Four Hundred Tavern in Harlem.[3] There, the two bonded over their shared interest in vocal harmony, often singing along to recordings by established groups playing on the club's jukebox.[1] To complete the quartet, Ricks and Suttles recruited tenor Leonard "Zeke" Puzey, a recent winner of an amateur contest at the Apollo Theater, through agent Jimmy Edwards, and second tenor Ollie Jones, recommended by the Evans Booking Agency.[3] The group's sound was heavily influenced by pioneering vocal ensembles such as the Ink Spots, the Mills Brothers, and the Delta Rhythm Boys, whose smooth harmonies and rhythmic phrasing shaped the Ravens' approach to R&B arrangements.[1] Ricks, in particular, drew inspiration from the deep bass lines of Delta Rhythm Boys' Lee Gaines, adapting them to emphasize his own prominent low register within the ensemble.[3] During initial rehearsals, held informally in Harlem, the members worked under the guidance of arranger Howard Biggs to blend jazz, blues, and gospel elements, practicing standards like "Darktown Strutters' Ball" and "Darktown Poker Club" to refine their tight-knit vocal interplay.[1] Warren Suttles handled much of the arranging and piano accompaniment, solidifying their decision to pursue opportunities as a professional R&B vocal group.[3] To build a local following, the Ravens began performing in New York clubs shortly after forming, with their debut taking place in 1946 at the Club Baron on West 132nd Street and Lenox Avenue in Harlem.[1] They followed with appearances at venues like the Baby Grand and Club 845 in the Bronx, where audiences responded enthusiastically to their energetic harmonies and stage presence, helping to establish their reputation in the city's vibrant nightlife scene.[3] These early gigs honed their performance style and paved the way for their entry into the recording industry later that spring.[1]Initial Recordings and Breakthrough
The Ravens signed with Hub Records in the spring of 1946, shortly after their formation, and released their debut single, "Honey" backed with "Lullaby," in July of that year.[1] This was followed by additional Hub releases, including "Bye Bye Baby Blues" coupled with "Once and For All" in October 1946, which garnered attention primarily through jukebox play despite modest initial sales.[3] Shortly after these releases, second tenor Ollie Jones departed the group and was replaced by falsetto tenor Maithe Marshall, whose high-range vocals became a signature element of their sound.[3] By April 1947, the group transitioned to National Records, a label owned by Al Green, where they recorded their first sessions that would propel them to wider recognition.[1] Their breakthrough came with the June 1947 release of "Ol' Man River" backed with "Would You Believe Me" on National 9035, an uptempo R&B reinterpretation of the 1927 Jerome Kern and Oscar Hammerstein II standard from Show Boat.[3] Featuring bass singer Jimmy Ricks on lead vocals, the track transformed the somber ballad into an energetic jump blues number, reaching No. 10 on the Billboard R&B chart and selling nearly 500,000 copies by late 1947.[1][4] This recording marked the group's emergence as R&B innovators, blending vocal harmony with rhythmic drive in a style that contrasted sharply with prior renditions.[3] The follow-up single, "Write Me a Letter" backed with "Summertime" on National 9038 in October 1947, solidified their success when it charted in early 1948, peaking at No. 5 on the Billboard R&B Juke Box chart and No. 10 on the Best Seller chart, while also crossing over to No. 24 on the Pop chart.[1] Composed and arranged by pianist Howard Biggs, who had joined as their accompanist and musical director from the Hub era, the song highlighted Ricks' bass-lead approach, establishing it as a signature element of the Ravens' sound and influencing subsequent R&B vocal groups.[3] Biggs' arrangements emphasized tight harmonies and swinging rhythms, contributing to the track's infectious appeal.[1] These early National hits fueled initial national tours along the chitlin' circuit, including appearances at Harlem's Apollo Theater in late 1946 and throughout 1947, alongside radio airplay on East Coast stations that boosted their regional popularity.[3] The group's exposure through broadcasts and live performances in venues like the Baby Grand further entrenched their status as East Coast R&B pioneers by 1948.[1]Career Peak and Evolution
Major Hits and Label Changes
In the late 1940s, The Ravens solidified their commercial presence with National Records, releasing several singles that capitalized on the post-war R&B boom. Their 1949 track "Ricky's Blues," backed with "The House I Live In," reached No. 8 on the R&B chart, marking one of their early breakthroughs and showcasing Jimmy Ricks' distinctive bass vocals alongside the group's tight harmonies.[5] The group had previously charted with holiday single "White Christmas" in 1949, peaking at No. 9 on the R&B chart and demonstrating their versatility in covering pop standards with R&B flair.[5] In 1950, "I Don't Have to Ride No More" climbed to No. 9 on the Best Sellers chart and No. 13 on the Juke Box chart.[1] These releases helped establish the group as a consistent chart presence, with National providing a platform for their evolving sound amid the rising popularity of vocal quartets. Over their career, The Ravens achieved approximately nine top-10 R&B hits, including several during this period.[5] Seeking greater exposure, The Ravens transitioned to Columbia Records in late 1950, a major label that offered enhanced production resources, including occasional orchestral backing to broaden their appeal. Their debut Columbia single, "Time Takes Care of Everything," was followed by other releases like "Count Every Star," which highlighted their emerging doo-wop style.[1] During this time, lead singer Jimmy Ricks collaborated with Benny Goodman's sextet on "Oh Babe!," a duet with Nancy Reed that reached No. 25 on the pop chart—a rare crossover for R&B talent.[1] However, the Columbia stint was brief, yielding modest R&B traction as the group experimented with lighter, more polished arrangements. By mid-1951, they shifted to OKeh, Columbia's R&B-focused subsidiary, for releases like "That Old Gang of Mine," which maintained their momentum but did not replicate the chart dominance of prior years.[1] The pivotal label change came in late 1951 when The Ravens signed with Mercury Records, a move that reignited their commercial fortunes during the early rock-influenced R&B era. Their 1952 single "Rock Me All Night Long," paired with "Write Me One Sweet Letter," surged to No. 4 on the R&B Juke Box chart and No. 8 on Best Sellers, capturing proto-rock energy through driving rhythms and Ricks' commanding delivery; it remains one of their signature tracks and an influential precursor to rock 'n' roll.[5][1] This hit exemplified Mercury's role in amplifying the group's sound, though subsequent singles like "Looking for My Baby" and "Green Door" saw diminishing returns as competition intensified. By 1953, following the expiration of their Mercury contract, the group joined Jubilee Records, where releases such as "On Chapel Hill" reflected a maturing style but struggled amid the shifting R&B landscape, signaling the onset of their peak period's fade.[1][6] Over this era, The Ravens' sustained impact was evident in their multiple chart entries, underscoring their role in pioneering vocal R&B.[5]Personnel Shifts
Following the initial formation, The Ravens experienced several personnel adjustments in their early years that shaped their evolving sound. In January 1947, Maithe Marshall joined as first tenor, replacing Ollie Jones after his brief tenure, bringing a distinctive falsetto that stabilized the group's harmonies and facilitated their transition to National Records.[3] This addition proved pivotal, enabling the quintet—now featuring Jimmy Ricks on bass, Warren Suttles on baritone, Leonard Puzey on second tenor, and Marshall on first tenor—to achieve their first R&B chart success with "Ol' Man River," which peaked at number 10 in June 1947.[3] Leonard Puzey's involvement remained intermittent through the late 1940s and early 1950s due to personal commitments, including a draft into military service in late April 1951, necessitating temporary replacements such as Jimmie Steward on second tenor.[7] Puzey departed alongside Marshall and baritone Louis Heyward in March 1951 amid internal tensions, particularly frustrations with Ricks' leadership style, but briefly rejoined in April 1953 before leaving again after two months.[7] These gaps required the group to adapt their vocal arrangements, often relying on Steward's smoother tenor to fill the second position while maintaining their signature deep bass leads.[7] Warren Suttles, a founding baritone and key arranger, underwent multiple departures and returns that underscored the group's flux. He left in early 1950 during a Chicago engagement due to dissension, prompting the addition of Louis Heyward as a temporary baritone replacement, but Suttles rejoined in late 1952 or early 1953, ousting Frazier.[7] His final exit came in mid-1954, after which the group leaned heavily on Jimmy Ricks as the unwavering leader and bass anchor, with Suttles forming his own trio thereafter.[6] This pattern of Suttles' instability contributed to shifting dynamics, as the ensemble recalibrated baritone roles to preserve their rhythmic drive without his foundational contributions.[6] To bolster the lineup post-1951 departures, Joe Van Loan was introduced in October 1951 as top tenor lead, providing a high-range falsetto that integrated seamlessly and remained a fixture through the group's 1958 disbandment.[7] Van Loan's consistency contrasted with the turnover, allowing The Ravens to record steadily for labels like Mercury and Jubilee while adapting to a non-original configuration.[6] Meanwhile, short-term members filled critical voids: Tommy Evans joined as bass in spring 1954, replacing Ricks during his solo pursuits and learning the repertoire quickly to sustain performances, though he departed by early 1956 for the Drifters; Louis Frazier served as baritone from October 1951 until late 1952, then rejoined in mid-1954 to replace Suttles, exiting again around May 1956 amid dissolution.[7][6] Overall, these shifts from 1947 to 1958—driven by military obligations, personal conflicts, and career opportunities—challenged the group's cohesion but fostered resilience in their vocal style, as they frequently improvised harmonies without the full original quintet, ensuring continued relevance in the R&B scene.[7][6]Later Years and Legacy
Decline and Reunions
By the mid-1950s, the Ravens' popularity waned as the rise of rock 'n' roll shifted audience preferences away from their sophisticated R&B vocal style toward more energetic, youth-oriented sounds.[1] This transition was evident in their commercial struggles after leaving National Records, with subsequent label moves failing to recapture earlier chart success.[7] The group signed with Mercury Records in late 1951, producing several singles including the 1952 R&B hit "Rock Me All Night Long," which peaked at number 4.[7] However, by 1954–1955, their Mercury output consisted largely of reissues of older material, such as "Old Man River"/"Write Me a Letter" in January 1955, which did not chart and underscored their fading relevance.[6] In early 1955, they moved to Jubilee Records, releasing four singles like "Bye Bye Baby Blues"/"Happy Go Lucky Baby" (February 1955) and "(Take Me Back to My) Boots and Saddles"/"I'll Always Be in Love with You" (February 1956), none of which achieved commercial success amid the rock 'n' roll surge.[1] Brief stints followed with Chess's Argo subsidiary in 1956–1957, yielding tracks such as "Kneel and Pray"/"I Can't Believe" (July 1956, Argo) and "Long Lonely Nights"/"Let Me Know" (recorded July 1957 for Argo but released on Baton), but these also flopped, reflecting the group's exhaustion and lineup instability.[6][8] Jimmy Ricks, the group's bass anchor, increasingly pursued solo endeavors, leading to final singles credited as "Jimmy Ricks and the Ravens" or "Jimmy Ricks and the Rickateers" before he exited in 1956.[1] The Ravens officially disbanded in 1958, after a final Apollo Theater appearance in December, as members sought individual paths amid the era's musical shifts.[6] Post-disbandment, Ricks recorded solo material and collaborated with various artists through the 1960s, though with limited chart impact.[9] In 1971, Ricks reunited with original member Warren Suttles, adding Gregory Carroll and Jimmy Breedlove to reform the group for nostalgia-driven tours and recordings that evoked their classic sound.[1] These efforts were cut short by Ricks' sudden death from a heart attack on July 2, 1974, at age 49, while performing as a vocalist with Count Basie's orchestra.[9] A one-off reunion of surviving original members—Warren Suttles, Leonard Puzey, Ollie Jones, and Maithe Marshall—occurred in 1987 at an event organized by the United in Group Harmony Association (UGHA), celebrating their pioneering legacy through live performances.[10]Influence and Recognition
The Ravens played a pioneering role in bridging rhythm and blues with emerging rock 'n' roll through their innovative use of a prominent bass lead and uptempo arrangements of pop standards, influencing subsequent vocal groups and bass singers.[1] Their bass singer Jimmy Ricks, known for his profundo delivery, set a template for bass vocals in R&B, impacting artists like those who contributed to Johnny Cymbal's 1963 hit "Mr. Bass Man" and groups such as the Orioles, which adopted similar harmonic structures and performance styles.[3][11] By popularizing energetic, dance-oriented interpretations of standards like "Ol' Man River," they helped shift R&B toward a more rhythmic, youth-oriented sound that foreshadowed rock 'n' roll's crossover appeal.[12] The group's cultural impact extended to naming conventions in the vocal harmony scene, sparking the "bird group" trend that inspired acts like the Orioles and Cardinals, alongside their contributions to doo-wop revivals through key compilations.[1] Their inclusion in Rhino Records' 1993 anthology The Doo Wop Box, which featured tracks such as "Count Every Star," underscored their foundational status in the genre's history.[13] In 1998, The Ravens were inducted into the Vocal Group Hall of Fame for their enduring influence on two generations of performers.[1] Recognition has persisted into modern tributes and digital revivals, reflecting ongoing appreciation for their legacy. A 2024 YouTube documentary, A Pioneering Group In R&B History | The Untold Truth Of The Ravens, drew from TV One's Unsung series to highlight their innovations, while 1978 compilation reissues like The Ravens: The Greatest Group Of Them All have fueled renewed interest on streaming platforms such as Apple Music and Spotify.[14][15] In the 2020s, tracks like "Ol' Man River" have seen increased streams, indicating a resurgence among younger audiences exploring classic R&B.[16]Musical Style
Vocal Arrangements
The Ravens' vocal arrangements were characterized by a quartet structure that emphasized tight, blended harmonies, with Jimmy Ricks' deep bass voice serving as the primary lead, providing a resonant foundation that contrasted sharply with the soaring high tenor harmonies delivered by Leonard Puzey and Maithe Marshall.[1][3] This interplay created a dynamic range, often spanning multiple octaves, which became a hallmark of their sound and influenced subsequent R&B ensembles.[3] Their arrangements frequently incorporated call-and-response patterns, drawing from gospel traditions but adapted into secular R&B contexts to evoke emotional depth without religious overtones.[1][3] Ricks' church choir background infused these elements with rhythmic precision and fervor, as seen in their secularized reworkings of spirituals and standards.[3] Early recordings relied heavily on piano accompaniment for rhythmic drive, with Howard Biggs contributing arrangements that underscored the group's vocal interplay, such as in "Write Me a Letter," where his piano lines propelled the ensemble forward.[1][3] A signature feature was the inclusion of "shoo-be-doo-wop" scat elements in choruses, adding a playful, jazz-inflected layer to their harmonies and differentiating their upbeat style from more ballad-oriented contemporaries.[1] The group often adapted Tin Pan Alley standards to swinging, rhythmic tempos, transforming pieces like "Ol' Man River" into energetic R&B interpretations that highlighted Ricks' booming bass leads against the high-flying tenor responses.[1][3] By the 1950s, their arrangements evolved to incorporate fuller band backing, integrating instruments like vibraphones, clarinets, and saxophones while preserving the core vocal harmony focus, as evident in Columbia and Mercury sessions that added jazz textures without overwhelming the quartet's interplay.[7] This progression allowed for richer accompaniment that complemented the established bass-tenor contrast and call-and-response dynamics.[7]Innovations in R&B
The Ravens contributed significantly to the evolution of rhythm and blues by incorporating proto-rock rhythms into their recordings as early as 1952, with tracks like "Rock Me All Night Long," which reached number 4 on the R&B Juke Box chart and anticipated the rhythmic drive of mainstream rock 'n' roll by several years.[1] This energetic uptempo style marked a departure from the slower balladry common in early R&B, infusing the genre with a danceable pulse that influenced subsequent artists. Similarly, the group innovated by fusing jazz standards with R&B vitality, most notably transforming Jerome Kern's "Ol' Man River" into a high-energy hit in 1947 that peaked at number 10 on the R&B chart, reinterpreting the somber show tune as an upbeat vocal showcase.[1][3] During the era of racial segregation in the United States, The Ravens helped promote African American vocal groups to mainstream audiences by achieving crossover success on pop charts, such as "Write Me a Letter" reaching number 24 on the Billboard Pop chart in 1947 while topping the R&B survey at number 5, thereby challenging barriers in the music industry.[3] Their emphasis on bass-led vocals, spearheaded by Jimmy Ricks' powerful low register, further shaped doo-wop's development by prioritizing deep, resonant leads over the falsetto-dominated styles that later became prevalent, setting a template emulated by groups like The Orioles and influencing bass singers across generations.[1] In their Columbia Records period from 1950 to 1951, The Ravens experimented with pop-R&B hybrids to enhance crossover appeal, blending sophisticated arrangements with R&B harmonies to target broader white audiences.[7] These efforts, including releases like "Time Takes Care of Everything," reflected label strategies to soften R&B edges for pop consumption while retaining the group's core vocal intensity.[7]Group Members
Original Lineup
The Ravens were founded in 1946 in New York City by bass singer Jimmy Ricks and baritone Warren Suttles, who met while working as waiters at the Four Hundred Tavern in Harlem; they soon recruited tenor Leonard Puzey and second tenor Ollie Jones through the Evans Booking Agency to complete the original quartet.[1][3] All four members hailed from the eastern United States, with roots in the South or Northeast, and connected through the vibrant club and talent scenes of post-World War II New York.[3][2] Jimmy Ricks (August 6, 1924 – July 2, 1974), born in Adrian, Georgia, relocated with his family to Jacksonville, Florida, before moving to New York during World War II, where he worked in Harlem clubs and developed his distinctive deep bass voice with a three-octave range.[17][18][19] As the group's bass lead and de facto leader, Ricks provided the foundational vocal power that defined The Ravens' sound, singing lead on many early recordings and influencing subsequent R&B bassists through his commanding presence and emotional delivery.[1][20] He remained central to the group's identity until departing in 1956.[6] Warren Suttles (February 20, 1925 – July 24, 2009), born in Fairfield, Alabama, near Birmingham, moved to New York after his Army discharge and joined Ricks at the Four Hundred Tavern, where their shared interest in vocal harmony sparked the group's formation.[3][21] As the baritone and co-founder, Suttles contributed essential harmonic depth and also arranged music while playing piano, though his involvement was intermittent due to personal and financial commitments, including a departure in 1948 and returns in 1949 and 1952.[1][3][6] Leonard Puzey (August 20, 1926 – October 2, 2007), a New York native nicknamed "Zeke" from his baseball days, joined after winning a talent contest at the Apollo Theater, bringing his skills as a second tenor to handle high harmonies and occasional leads, such as on "My Sugar Is So Refined."[22][3] His military service beginning in 1951 limited his early long-term involvement, but he rejoined in 1953 before later leaving.[7] Ollie Jones (December 9, 1923 – October 4, 1990), born Henry Oliver Jones in Philadelphia, served as the initial second tenor, providing foundational high-end support during the group's formation, though his tenure was brief from 1946 to early 1947 with minimal recorded output before being replaced by Maithe Marshall.[3] He also contributed as a songwriter, penning "Lullaby" for the group.[1]Subsequent Members
Maithe Marshall (1924–1989) joined The Ravens as second tenor in early 1947, replacing Ollie Jones and introducing a soaring falsetto lead that became a hallmark of the group's sound.[3] His contributions included lead vocals on early hits such as "It's Too Soon to Know" (National, 1948, #11 R&B) and "The House I Live In" (1949), enhancing the group's ballad style with his high-range delivery.[1] Marshall remained with the group until March 1951, when he departed alongside Leonard Puzey and Louis Heyward amid internal tensions, though he made occasional substitutions later in the decade without further recordings.[7] Joe Van Loan (1922–1976) became the group's primary tenor in October 1951, succeeding Maithe Marshall and providing the longest tenure among post-original members through the group's dissolution in 1958.[23] Known for his exceptional falsetto akin to Marshall's, Van Loan featured prominently on 1950s singles including "Don't Mention My Name" (Mercury, 1952) and "Kneel and Pray" (Argo, 1956), often leading during the Mercury and later label periods.[1] His versatility extended to side projects like recordings with the Du Droppers, but he consistently anchored The Ravens' lineup amid ongoing changes.[6] Tommy Evans served as a temporary baritone from spring 1954 to mid-1956, initially replacing Jimmy Ricks during a brief absence and later filling in after Warren Suttles' departure.[6] Evans contributed to minor recordings during this period, including sessions for Checker Records, but his tenure was marked by personal challenges such as drinking issues, leading to his exit by May 1956.[6] His bass-leaning baritone helped maintain the group's harmonic depth during a transitional phase.[24] Louis Frazier joined as baritone in late 1951, providing stability during the early Mercury era alongside Van Loan and Jimmie Steward.[7] He departed in late 1952 with Suttles' return but rejoined in mid-1954, remaining until the group's 1956 dissolution and appearing on later tracks like those for Argo.[6] Frazier's role focused on mid-range support, though his involvement was limited by the era's declining fortunes.[25] The Ravens experienced significant turnover after 1947, driven by internal conflicts—particularly tensions with leader Jimmy Ricks—and the financial precarity common to R&B groups of the era, with members often prioritizing vocal compatibility over stardom.[7] No permanent lineup formed after 1958, though sporadic reunions occurred, such as the 1971 reformation by Ricks and Suttles with Gregory Carroll on bass and Jimmy Breedlove, focusing on live performances rather than new material.[1]Discography
Singles
The Ravens issued more than 60 singles from 1946 to 1959, predominantly in 78 rpm format initially, with a shift to 45 rpm by the early 1950s. These releases spanned multiple labels, reflecting the group's evolving lineup and stylistic shifts from smooth ballads to uptempo R&B numbers. Their chart success was concentrated in the late 1940s on National Records, where they notched several top R&B hits, though later output on other labels yielded fewer commercial peaks but included notable tracks demonstrating harmonic innovations and genre-blending influences.[26][5]Hub Records (1946)
The group's earliest singles appeared on the short-lived Hub label, capturing their initial doo-wop-inspired harmonies in postwar ballads. These non-charting releases laid the foundation for their vocal style, emphasizing close-knit arrangements and bass-led leads.[26]| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 3030 | ca. August 1946 | Lullaby / Honey |
| 3032 | ca. September 1946 | Out of a Dream / My Sugar Is So Refined |
| 3033 | ca. October 1946 | Once and for All / Bye Bye Baby Blues |
National Records (1947–1951)
National, where the Ravens spent their most prolific and successful period, released around 22 singles, many adapting standards and originals into R&B contexts. This era produced their biggest hits, including multiple R&B chart-toppers that highlighted Jimmy Ricks' deep bass and the group's tight ensemble work. Non-charting tracks like "Mahzel (Means Good Luck)" showcased Yiddish-inflected novelty elements, evolving their balladry toward rhythmic drive. "Bye Bye Baby Blues" reached No. 5 on the R&B chart in 1948, while reissues in the 1970s nostalgia wave, such as on Savoy, revived interest in these masters.[26][5]| Catalog | Release Date | A-Side / B-Side | Chart Peak (R&B) |
|---|---|---|---|
| 9034 | April 1947 | Mahzel (Means Good Luck) / For You | - |
| 9035 | June 1947 | Ol' Man River / Would You Believe Me | No. 10 |
| 9038 | October 1947 | Write Me a Letter / Summertime | No. 1 |
| 9039 | December 1947 | Searching for Love / For You | - |
| 9040 | December 1947 | Fool That I Am / Be I Bumble Bee or Not | - |
| 9042 | February 1948 | Together / There's No You | - |
| 9045 | May 1948 | Until the Real Thing Comes Along / Send for Me If You Need Me | No. 2 |
| 9053 | July 1948 | September Song / Once in a While | - |
| 9056 | September 1948 | It's Too Soon to Know / Be on Your Merry Way | No. 13 |
| 9059 | October 1948 | How Could I Know / I Don't Know Why I Love You Like I Do | - |
| 9062 | October 1948 | Silent Night / White Christmas | No. 4 / No. 9 (1949 re-chart) |
| 9064 | December 1948 | Always / Rooster | - |
| 9065 | January 1949 | Deep Purple / Leave My Gal Alone | - |
| 9073 | May 1949 | The House I Live In / Ricky's Blues | No. 8 |
| 9085 | July 1949 | There's Nothing Like a Woman in Love / Careless Love | - |
| 9089 | September 1949 | If You Didn't Mean It / Someday | - |
| 9098 | August 1950 | I'm Afraid of You / Get Wise Baby | - |
| 9101 | January 1950 | I've Been a Fool / I Don't Have to Ride No More | No. 9 (1950) |
| 9111 | April 1950 | Count Every Star / I'm Gonna Paper My Walls With Your Love Letters | - |
| 9131 | November 1950 | Phantom Stage Coach / I'm Gonna Take to the Road | - |
| 9148 | February 1951 | Lilacs in the Rain / Time Is Marching On | - |
King Records (1948–1949)
King acquired and reissued early Hub material, along with re-recordings, to capitalize on the group's rising popularity. These four releases, including the EP, did not chart but preserved their early sound amid label transitions.[26]| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 4234 | August 1948 | Once and for All / Bye Bye Baby Blues (reissue) |
| 4260 | November 1948 | Out of a Dream (re-recording) / - |
| 4272 | January 1949 | Honey (re-recording) / - |
| 4293 | May 1949 | My Sugar Is So Refined (re-recording) / - |
| EP 310 | ca. late 1952 | Honey / Bye Bye Baby Blues // Out of a Dream / My Sugar Is So Refined (EP) |
Columbia and Okeh Records (1950–1952)
Shifting to Columbia and its Okeh subsidiary, the Ravens released 10 singles blending pop standards with R&B flair. None charted highly, but tracks like "That Old Gang of Mine" exemplified their interpretive vocal layering, influencing later harmony groups. Okeh issues marked a brief experimental phase with calypso-tinged elements in "Calypso Song."[26] Columbia:| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 39050 | November 1950 | Time Takes Care of Everything / Don't Look Now |
| 39070 | December 1950 | My Baby's Gone / I'm So Crazy for Love |
| 39112 | January 1951 | Midnight Blues / You Don't Have to Drop a Heart to Break It |
| 39194 | February 1951 | You're Always in My Dreams / Gotta Find My Baby |
| 39408 | May 1951 | You Foolish Thing / Honey I Don't Want You |
| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 6825 | August 1951 | The Whiffenpoof Song / I Get All My Lovin' on a Saturday Night |
| 6843 | November 1951 | That Old Gang of Mine / Everything But You |
| 6888 | June 1952 | Mam'selle / Calypso Song |
Rendition Records (1951)
A brief one-off on National's subsidiary Rendition included a reissue single and EP, recycling hits to sustain momentum without new chart action.[26]| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 5001 | ca. fall 1951 | Write Me a Letter / Marie |
| EP104 | early 1955? | Write Me a Letter / Ol' Man River // For You / Would You Believe Me (EP) |
Mercury Records (1951–1954)
Mercury yielded 14 singles, including the group's last major R&B hit. "Rock Me All Night Long" peaked at No. 4 in 1952, signaling a rock-leaning evolution with upbeat rhythms, while later non-charting releases like "Rough Ridin'" explored Western motifs. Holiday reissues from National masters appeared in 1954.[26][5]| Catalog | Release Date | A-Side / B-Side | Chart Peak (R&B) |
|---|---|---|---|
| 8257 | October 1951 | Out in the Cold Again / Hey Good Lookin' | - |
| 8259 | November 1951 | There's No Use Pretending / Wagon Wheels | - |
| 5800 | February 1952 | Begin the Beguine / Looking for My Baby | - |
| 5853 | April 1952 | Chloe-e / Why Did You Leave Me | - |
| 8291 | July 1952 | Write Me One Sweet Letter / Rock Me All Night Long | No. 4 |
| 8296 | August 1952 | Too Soon / Love Is the Thing | - |
| 70060 | December 1952 | Don't Mention My Name / I'll Be Back | - |
| 70119 | February 1953 | Come a Little Bit Closer / She's Got to Go | - |
| 70213 | August 1953 | Who'll Be the Fool / Rough Ridin' | - |
| 70240 | September 1953 | Without a Song / Walkin' My Blues Away | - |
| 70307 | January 1954 | September Song / Escortin' or Courtin' | - |
| 70330 | February 1954 | Going Home / The Lonesome Road | - |
| 70413 | June 1954 | I've Got You Under My Skin / Love Is No Dream | - |
| 70505 | November 1954 | White Christmas / Silent Night (reissue) | - |
| 70554 | January 1955 | Ol' Man River / Write Me a Letter (reissue) | - |
Jubilee Records (1955–1956)
Post-Mercury, Jubilee hosted four non-charting singles amid lineup changes, featuring sentimental ballads like "Green Eyes" that echoed earlier successes but failed to recapture chart momentum.[26]| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 5184 | February 1955 | Bye Bye Baby Blues / Happy Go Lucky Baby |
| 5203 | April 1955 | Green Eyes / The Bells of San Raquel |
| 5217 | September 1955 | On Chapel Hill / We'll Raise a Ruckus Tonight |
| 5237 | February 1956 | Boots and Saddles / I'll Always Be in Love With You |
Later Labels (1956–1959)
The group's final original singles appeared on Argo, Baton, Checker, and Top Rank, totaling ten releases with no chart entries. Tracks such as "Kneel and Pray" reflected a gospel-infused maturity, while "That'll Be the Day" (a cover) showed adaptation to rock influences. Some, like "Dear One," were reissued across labels. Baton credited them as "The Kings" due to contractual issues. Output dwindled after 1959 as Ricks pursued solo work, though reissues continued into the 1960s and 1970s. 1970s reissues on labels like Collectables further popularized tracks like "Write Me a Letter" in doo-wop revival compilations.[26] Argo:| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 5255 | July 1956 | Kneel and Pray / I Can't Believe |
| 5261 | December 1956 | A Simple Prayer / Water Boy |
| 5276 | July 1957 | Dear One / That'll Be the Day |
| 5284 | November 1957 | Here Is My Heart / Lazy Mule |
| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 245 | June 1957 | Long Lonely Nights / Let Me Know |
| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 871 | July 1957 | Dear One / That'll Be the Day (reissue) |
| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 1540 | October 1957 | White Christmas / Silent Night (reissue) |
| Catalog | Release Date | A-Side / B-Side |
|---|---|---|
| 2003 | May 1959 | Into The Shadows / The Rising Sun |
| 2016 | October 1959 | Solitude / Hole In The Middle Of The Moon |