BIOGRAPHY AND DISCOGRAPHY

Rock’s first vocal group and the influential trendsetters for the next twenty or more years of group harmony vocals, as well as the first rock artists of any type to score an authentic hit on the Billboard charts, one of eleven they notched in a five year stretch at the dawn of rock ‘n’ roll.

The Ravens formed after World War Two in New York with leader Jimmy Ricks, the greatest bass singer in rock history. Whereas most groups, then and since, have a tenor lead with the bass singer only occasionally stepping outside of the group harmony bed, The Ravens – inspired in part by the pre-rock outfit The Delta Rhythm Boys with their profundo bass Lee Gaines – utilized Ricks warm, cavernous voice as their centerpiece and calling card.

Signed by talent agent Ben Bart whose Hub Records issued their first sides in 1946 which were largely unclassifiable to the standards of the era. Though the label didn’t have the power to promote them nationally they were very popular in New York and by December of that year they’d added Maithe Marshall whose high tenor would contrast well with Ricks’s unearthly bass, giving them another wrinkle to their signature sound.

By the spring of 1947 the foursome, also featuring Leonard “Zeke” Puzey and Warren Suttles, signed with the larger National Records cutting a revolutionary version of “Ol Man River” which defined their approach with Ricks bass sounding lecherous even singing something non-threatening while the others provided exquisite harmony.

When rock took hold in September they wasted no time in joining in since that was the style they were already leaning towards before it even existed and were clearly most at home in, bringing immeasurable soulfulness to everything they sung. Their first hits followed in rapid succession, forever altering the way vocal groups performed, even through numerous personnel changes but always anchored by the resonant bass voice of “Ricky”.

Over time they jumped from label to label, their popularity within their core audience keeping them commercially viable for years even with numerous defections among their members. Eventually an entirely new group of singers surrounded Ricks whose presence still ensured they had the distinctive sound that made them famous. When he finally left for an unsuccessful solo career in the mid-1950’s others carried on the Ravens name, but by this time the rock ‘n’ roll skies were full of “bird-groups” many of whom had chosen their names as an homage to the group that started it all.
 

THE RAVENS DISCOGRAPHY (Reviews To Date On Spontaneous Lunacy):
 
 
WRITE ME A LETTER
(National 9038; October, 1947)
The first rock hit sounds at least five years ahead of its time heralding a new day musically with Jimmy Ricks dominating the record, slyly imparting the lyrics with a hint of lecherous intent without toning anything down for an ill-fated attempt at crossover pop appeal. (8)

SUMMERTIME
(National 9038; October, 1947)
The Ravens play it close to the vest giving us their basic roll call of standard tricks, clearly built on the framework of their radical reinvention of “Ol’ Man River” without the inspired innovation of that earlier record, nor the personal investment to see it through. (5)

SEARCHING FOR LOVE
(National 9039; December 1947)
Not for the last time The Ravens take a stab at the broader pop market giving Maithe Marshall’s fragile tenor a spotlight to convey virginal desire but that mild approach won’t cut it in rock, especially when Ravens fans are already used to Jimmy Ricks’s earthy realism. (2)

BE I BUMBLE BEE OR NOT
(National 9040; January, 1948)
The Ravens change things up from their usual approach by having Leonard Puzey take the lead resulting in a near perfect record – beautifully sung, cleverly written and, for the most part exquisitely arranged; one of the strongest songs of rock’s first six months. (8)

TOGETHER
(National 9042; February, 1948)
An almost schizophrenic record with a modern group attempting to tackle a dated song and appeal to pop audiences while still trying to hold on to their rock fan-base with sadly predictable results. (3)

SEND FOR ME IF YOU NEED ME
(National 9045; June, 1948)
A big hit-sequel to “Write Me A Letter” that while sounding good makes no attempt at being creative, content instead to be merely serviceable, offering nothing more than a needless recap of past events from a better record. (5)

UNTIL THE REAL THING COMES ALONG
(National 9045; June, 1948)
Another standard re-done Ravens style, two-thirds of a great record done in by an out of place extended coda, yet still probably the best version of the song that had been done by 1948. (6)

ONCE IN AWHILE
(National 9053; July, 1948)
Another unfortunate attempt at pop respectability but thanks to Jimmy Ricks’s erotic delivery one with subtexts galore, making it sound as if this is a perverse form of seduction to win back a departed love rather than simply a mild plea to be recalled fondly. (4)

IT’S TOO SOON TO KNOW
(National 9056; September, 1948)
Hastily recorded cover version of The breaking hit by The Orioles fails to come close to the original, as The Ravens alter the melody slightly to avoid merely serving up a direct imitation but they also fail to deliver the sincerity that Sonny Til had embodied so perfectly on the first go-round. (3)

BE ON YOUR MERRY WAY
(National 9056; September, 1948)
A song that reflects The Ravens style as well as any in their canon, written by group members and pulled off with understated class, as Jimmy Ricks’ weary mellifluous tones are carried away on a tranquil bed of harmony. (7)

I DON’T KNOW WHY I LOVE YOU LIKE I DO
(National 9059; October, 1948)
Another moldy standard done to try and court pop listeners, yet while they tone down Jimmy Ricks as best they can, dismissing the tastes of their rock audience in the process, it still isn’t genteel enough to placate pop tastes and thereby fails to attract either constituency. (3)

WHITE CHRISTMAS
(National 9062; November, 1948)
The first rock Christmas record daringly re-invents a modern classic. Whereas Bing Crosby’s solemn recent standard looked back wistfully finding comfort in the past’s idyllic purity, The Ravens look ahead convinced the best is yet to come. (7)

SILENT NIGHT
(National 9062; November, 1948)
Tackling a far older and even more venerated Christmas hymn The Ravens show they are more than up to the task for delivering a respectful, yet soulful, work of art topped by some of the most exquisite harmony singing found on record. (8)

ALWAYS
(National 9064; December, 1948)
The Ravens take yet another ill-advised stab at a standard but when they utilize their own strengths rather than conform to a pre-existing pop approach they were always capable of delivering more than expected, which for the most part they do here. (5)

ROOSTER
(National 9064; December, 1948)
Advertised as a ‘folk-novelty’ this has disaster written all over it, and critics at the time and in the years since have been harsh on it, but the group wrote it themselves as a lark and clearly enjoyed doing it and truth be told it’s even kinda funny, so what’s the harm? (5)

LEAVE MY GAL ALONE
(National 9065; February, 1949)
Compromised effort that has Jimmy Ricks wonderfully playing up a stereotypical rock image but the way they frame it intentionally undercuts that to assure pop audiences that they’re treating it in a lighthearted manner and thus is not to be taken seriously. (6)

RICKY’S BLUES
(National 9073; May, 1949)
A throwback sound reminiscent of their previous successes coming at a time when their divergent aims in trying to also reach a white pop audience were eroding their support within the black rock community, making this a welcome – but tenuous – return to what they did best. (6)

CARELESS LOVE
(National 9085; July, 1949)
Overly reliant on Jimmy Ricks to carry this, he does his usual stellar job by adding rays of optimism to the pessimistic outlook but the other Ravens are given little to add and the song itself is stripped down lyrically which divests it of deeper meaning. (6)

SOMEDAY
(National 9089; September, 1949)
Another misguided attempt to hop a cover song bandwagon, The Ravens manage to add some distinctive attributes of their own but pull their punches too much with their delivery in an effort to maintain pop appeal, thus making potentially alienating their fans hardly worth the risk. (4)

IF YOU DIDN’T MEAN IT
(National 9089; September, 1949)
An original composition meant to sound like a pop tune starts off with low expectations but Jimmy Ricks digs deep to convey the emotional undercurrents of the song and transforms it into something noteworthy, almost in spite of itself. (6)

I’VE BEEN A FOOL
(National 9101; January, 1950)
A cover version of a current hit by the novice recording group The Shadows ends with a knockout as The Ravens go down without throwing a punch, letting Maithe Marshall strip this of all emotional impact until their rendition is lying limp in the ring being counted out. (2)

I DON’T HAVE TO RIDE NO MORE
(National 9101; January, 1950)
Though essentially a sequel to two earlier hits utilizing the same basic components and theme, they do this type of song so well that you don’t mind the similarities, especially since this one takes things at a slightly faster pace and as a result sounds even more supercharged. (8)

COUNT EVERY STAR
(National 9111; April, 1950)
A re-tooled sound from rock’s first vocal group finds them emphasizing the harmonies while handing over the lead to newcomer Louis Heyward who turns in a stunning heartfelt performance while Jimmy Ricks adds the primary embellishments making this their most well-rounded effort to date. ★ 10 ★

I’M GONNA PAPER ALL MY WALLS WITH YOUR LOVE LETTERS
(National 9111; April, 1950)
Another song pulled from the pop universe has little chance to work because Jimmy Ricks has to embody a character he’s simply not suited for and with the others adding pop-slanted backing it only draws attention to how contrived the entire story is. (3)

GET WISE BABY
(National 9098; August, 1950)
A welcome return to form as Ricks gets to cut loose on a tough swinging song held over from last winter, but the de facto sequel to two of their earlier hits doesn’t have a story to match his delivery and so on closer inspection it doesn’t quite live up to how good it sounds. (6)

TIME TAKES CARE OF EVERYTHING
(Columbia 39050; November, 1950)
Landing at a major label has predictable results as the backing arrangement is tepid and there’s a definite intent on pulling them towards respectability, but thankfully The Ravens’ vocals retain their authenticity and the melody is strong enough to bolster their efforts. (5)

I’M GONNA TAKE TO THE ROAD
(National 9131; November, 1950)
There might not be anything really wrong with this record, their voices are as good as always and it’s got a modest rhythm to keep you from drifting off, but it comes across as insincere and that lack of authenticity in their performance makes it easily forgettable. (3)

MY BABY’S GONE
(Columbia 39070; December, 1950)
The group itself sounds fine here on an uptempo, but mournful, rocker written by Jimmy Ricks himself, yet the musical arrangement, while never clashing outright with what they’re doing, is too classy and proper for their style, making this an uneasy marriage. (5)

MIDNIGHT BLUES
(Columbia 39112; January, 1951)
With Ricky’s stellar lead and a lyrical framework that fits their needs this is one of their better Columbia efforts even though it’s the label’s outdated production ideas, including a clarinet rather than a sax as the main supporting instrument, which keeps it from greatness. (7)

TIME IS MARCHING ON
(National 9148; February, 1951)
The final release for The Ravens on National Records sent them out on top as this was the epitome of what made the group so beloved by rock fans, a rolling rhythm, a great Jimmy Ricks lead dripping with attitude and stellar group support. (7)

GOTTA FIND MY BABY
(Columbia 39194; February, 1951)
Another record which hits all of their stylistic benchmarks from the catchy rhythm to their soulful vocals and a story which presents them as somewhat questionable citizens… it might be nothing new but it’s nothing to complain about either. (7)

HONEY, I DON’T WANT YOU
(Columbia 39408; May, 1951)
A rolling groove, confident and dismissive vocals in the face of a romantic break-up and an arrangement that is serviceable in large part because it stays out of the way, this marks the group’s final venture on the major label, true to themselves to the end. (7)

I GET ALL MY LOVIN’ ON A SATURDAY NIGHT
(OKeh, 6825; August, 1951)
What should’ve been a racy masterpiece to keep the group’s fortunes looking up instead signals the beginning of the end for their relevancy as the others offset Ricky’s lechery with mild pop harmonies while the horn arrangement is glaringly out of date. (5)

EVERYTHING BUT YOU
(OKeh 6843; November, 1951)
Though a lot of this melancholy song is very well sung by Jimmy Ricks, there are too many concessions to pop mentality, including at times in the vocals but especially in the modest accompaniment which makes this stylistically out of place as a strict rocker. (3)

WAGON WHEELS
(Mercury 5764; November, 1951)
Not surprisingly The Ravens start off their association with major label Mercury by cutting a dreadful pop standard that may be sung with gusto by Jimmy Ricks but the content is insulting to the group and their fans and deserved its lackluster commercial fate. (1)

LOOKING FOR MY BABY
(Mercury 5800; March, 1952)
Though it’s sung reasonably well and features an interesting sax behind the vocals, the story of him beating the crap out of his ex-girlfriend because he’s mad she dumped him is repugnant and no amount of rhythmic bounce will negate that. (4)

CHLOE-E
(Mercury 5853; May, 1952)
A terrible song choice, one dating back to 1927, means it has no appeal to modern rock audiences, but the first minute is at least moody, atmospheric and intriguing before they actually start singing lyrics and it wastes your time from there on in. (3)

WHY DID YOU LEAVE ME
(Mercury 5853; May, 1952)
A very loose knit, almost demo-like, recording with the first half sounding almost intentionally sloppy which gives it added charm, while the second half pulls it together with an impressive emotional lead by Jimmy Ricks that makes it worth the time. (6)

MAM’SELLE
(OKeh 6888; June, 1952)
More questionable content that not even Jimmy Ricks can salvage as he sounds as bored as we are and it’s only a few stray touches – some piano and sax and a surprising Maithe Marshall lead section – that hints at their true identity. (2)

ROCK ME ALL NIGHT LONG
(Mercury 8291; August, 1952)
Their final national hit shows the group still has what it takes to compete, but ironically not what it takes to lead the pack anymore thanks to an outdated musical break, but the Jimmy Ricks written song still manages to hit all the right marks lyrically while the vocals are first rate. (8)

WRITE ME ONE SWEET LETTER
(Mercury 8291; August, 1952)
Altering the title of this Joe Liggins song to more closely match their own 1947 hit and using an outdated and listless arrangement, this is an exercise in manipulation by Mercury which reeks of desperation in trying to conjure up past glories. (3)