Biography
A lively debate erupts whenever the question arises: which vocal group from Cleveland first cut a record or scored a meaningful release? Many point to the Moonglows, whose debut single “I Just Can’t Tell No Lie” appeared on the city’s Champaign Records in 1952, well before their October 1953 session for Chicago’s Chance Records that produced “Whistle My Love.” The Coronets, however, entered the Chess Records studio in August 1953—two months earlier—cutting “Nadine.” Every member of the Coronets had attended Thomas Edison High School in Cleveland, whereas several Moonglows had grown up in Louisville, Kentucky, leading many observers to classify them as non-native. The Coronets, by contrast, were born and raised on the North Coast. Both acts benefited from the guidance of disc jockey Alan Freed, who steered them toward the Chicago labels. The original lineup consisted of Lester Russaw on first tenor, Samuel Griggs on second tenor, Willie Griggs on bass, and George Lewis on baritone.
Fellow students from Thomas Edison High School moved in and out of the group without recording, among them Greg Morris, Leonard Parker, and Cullen Maiden. Morris later portrayed Barney on Mission Impossible, Maiden performed baritone roles with a professional opera company, and Parker appeared on the television series Naked City.
Once classes ended, the singers drifted apart. Griggs married and tried his hand at boxing; Maiden boxed briefly as well. By 1953, however, Griggs felt the urge to sing again, prompting a reunion that added Charles Carruthers as lead. They worked amateur shows and landed their first professional engagement at the Ebony Club, sharing the bill with the Orioles, who promptly lifted the Coronets’ arrangement of “Don’t You Think I Ought to Know” for the B-side of “Crying in the Chapel” in July 1953. The theft stung, yet it confirmed the material’s commercial potential. The quintet headed to Snyder Recording Studios downtown and cut a demo of Carruthers’ “Nadine” backed with “I’m All Alone.” Armed with the acetate, the determined group marched into Freed’s office, aware he had already assisted the Moonglows and others. Freed forwarded the tape to Chess, and the Coronets soon signed. In gratitude for brokering the deal, Freed received songwriting credit for “Nadine,” while Carruthers received neither credit nor royalties. The track has since logged more than a million broadcast performances and appeared on numerous compilation albums. Chess reworked the arrangement so drastically that the group barely recognized the finished master, yet it reached number three on the R&B chart and held that position for nearly three months. Acting as manager, Freed booked the band on a year-long tour alongside other R&B acts. While they were on the road, Chess issued “It Would Be Heavenly” backed with “Baby’s Coming Home,” credited to Griggs and Charles Clark; the single failed to match “Nadine”’s success. Tension mounted when the singers grew weary of Freed’s steep cut—up to 80 percent—of their touring income. Matters worsened when Russaw and Carruthers were drafted during the Korean conflict. Charles Brown stepped in and fronted “Corbella” and “Beggin’ and Pleadin’,” both written by Griggs and Clark, but Chess never released the sides, effectively ending the group’s association with the label.
Undeterred, the remaining members recruited Bobby Ward after Brown departed and recorded “Don’t Deprive Me” backed with “The Little Boy” for Stirling Records in 1955; Samuel Griggs co-wrote the latter with Shelly Haims. Two additional singles followed, both licensed or sold by Stirling to Groove Records, an RCA subsidiary, and issued in 1955: “I Love You More” coupled with “Crime Doesn’t Pay,” and “Hush” paired with “The Bible Tells Me So.” Like every release since “Nadine,” none charted. Lack of success prompted another breakup until Carruthers returned from military service. The new roster included Samuel Griggs, Charles Carruthers, Desious Wille Brooks on first tenor, and Lucky Jordan on bass. Brooks had previously sung with Ben Iverson and the Hornets, a Cleveland group whose debut single “I Can’t Believe That You’re in Love With Me” backed with “Lonesome Baby” appeared in 1953. Under this lineup the Coronets cut “Footsteps” backed with “Long John Silver” for their own Job label in 1960; the record vanished without trace.
The group then disbanded permanently. Although Chess issued only two Coronets sides and shelved a third, BMI’s database credits Samuel Griggs and Clark with four additional compositions published by Arc Publishing, the Chess-owned firm: “Don’t You Cry,” “G.I. Missing,” “Should I,” and “Woke Up This Morning.” It remains unclear whether any were ever recorded. Griggs is also listed as co-author, with Haims, of “Glory of Christmas” and “Yuletide Ball.” The later whereabouts of most original members are unknown, though most are presumed to have remained in northeast Ohio. Samuel Griggs worked for years at a downtown Cleveland bookstore, Russaw headed security at the Eastside Market, and Snyder operated Snyder Recording Studios. In March 1970 the Dells remade “Nadine” as the B-side of “Open Your Heart.”
Fellow students from Thomas Edison High School moved in and out of the group without recording, among them Greg Morris, Leonard Parker, and Cullen Maiden. Morris later portrayed Barney on Mission Impossible, Maiden performed baritone roles with a professional opera company, and Parker appeared on the television series Naked City.
Once classes ended, the singers drifted apart. Griggs married and tried his hand at boxing; Maiden boxed briefly as well. By 1953, however, Griggs felt the urge to sing again, prompting a reunion that added Charles Carruthers as lead. They worked amateur shows and landed their first professional engagement at the Ebony Club, sharing the bill with the Orioles, who promptly lifted the Coronets’ arrangement of “Don’t You Think I Ought to Know” for the B-side of “Crying in the Chapel” in July 1953. The theft stung, yet it confirmed the material’s commercial potential. The quintet headed to Snyder Recording Studios downtown and cut a demo of Carruthers’ “Nadine” backed with “I’m All Alone.” Armed with the acetate, the determined group marched into Freed’s office, aware he had already assisted the Moonglows and others. Freed forwarded the tape to Chess, and the Coronets soon signed. In gratitude for brokering the deal, Freed received songwriting credit for “Nadine,” while Carruthers received neither credit nor royalties. The track has since logged more than a million broadcast performances and appeared on numerous compilation albums. Chess reworked the arrangement so drastically that the group barely recognized the finished master, yet it reached number three on the R&B chart and held that position for nearly three months. Acting as manager, Freed booked the band on a year-long tour alongside other R&B acts. While they were on the road, Chess issued “It Would Be Heavenly” backed with “Baby’s Coming Home,” credited to Griggs and Charles Clark; the single failed to match “Nadine”’s success. Tension mounted when the singers grew weary of Freed’s steep cut—up to 80 percent—of their touring income. Matters worsened when Russaw and Carruthers were drafted during the Korean conflict. Charles Brown stepped in and fronted “Corbella” and “Beggin’ and Pleadin’,” both written by Griggs and Clark, but Chess never released the sides, effectively ending the group’s association with the label.
Undeterred, the remaining members recruited Bobby Ward after Brown departed and recorded “Don’t Deprive Me” backed with “The Little Boy” for Stirling Records in 1955; Samuel Griggs co-wrote the latter with Shelly Haims. Two additional singles followed, both licensed or sold by Stirling to Groove Records, an RCA subsidiary, and issued in 1955: “I Love You More” coupled with “Crime Doesn’t Pay,” and “Hush” paired with “The Bible Tells Me So.” Like every release since “Nadine,” none charted. Lack of success prompted another breakup until Carruthers returned from military service. The new roster included Samuel Griggs, Charles Carruthers, Desious Wille Brooks on first tenor, and Lucky Jordan on bass. Brooks had previously sung with Ben Iverson and the Hornets, a Cleveland group whose debut single “I Can’t Believe That You’re in Love With Me” backed with “Lonesome Baby” appeared in 1953. Under this lineup the Coronets cut “Footsteps” backed with “Long John Silver” for their own Job label in 1960; the record vanished without trace.
The group then disbanded permanently. Although Chess issued only two Coronets sides and shelved a third, BMI’s database credits Samuel Griggs and Clark with four additional compositions published by Arc Publishing, the Chess-owned firm: “Don’t You Cry,” “G.I. Missing,” “Should I,” and “Woke Up This Morning.” It remains unclear whether any were ever recorded. Griggs is also listed as co-author, with Haims, of “Glory of Christmas” and “Yuletide Ball.” The later whereabouts of most original members are unknown, though most are presumed to have remained in northeast Ohio. Samuel Griggs worked for years at a downtown Cleveland bookstore, Russaw headed security at the Eastside Market, and Snyder operated Snyder Recording Studios. In March 1970 the Dells remade “Nadine” as the B-side of “Open Your Heart.”
Albums