Biography
The Equadors, a Philadelphia-based R&B ensemble, came together in 1955. Marv Goldberg’s February 1999 Discoveries profile recounts that lead vocalist Al Turner, first tenor Oscar Drummond, second tenor Rilly Foreman, baritone Lynn Thomas, and bass Reginald Grant had all grown up as high-school classmates in one North Philly neighborhood. Initially known as the Chants, the four singers regularly shared stages with guitarist Mitchell Robinson and drummer Billy Davis, who later became permanent members. Local real-estate agent Larry Kerrin soon took over management and secured the group an opening slot in New Jersey for Ray Charles and Pigmeat Markham. That exposure proved insufficient to advance their career, so by mid-1956 the quartet had adopted the name Equadors and replaced Kerrin with WHAT disc jockey Lloyd “Fatman” Smith. After signing with the Jolly Joyce Booking Agency they obtained a contract from RCA Victor; early the following year the members journeyed to New York to cut four sides that appeared together on an EP one month later.
Because radio favored conventional singles over EPs, the release limited their airplay opportunities. Although the lead number “Sputnik Dance,” spotlighting King Curtis on saxophone, was later paired with the B-side “A Vision,” momentum had already stalled. Nevertheless the Equadors performed the single on American Bandstand and joined an East Coast package tour headlined by Frankie Lymon and Paul Anka. In early 1960 Jolly Joyce executives renamed the act the Modern Ink Spots to court the supper-club market, a strategy that yielded engagements at prestigious venues including the Peppermint Lounge. While their sets now emphasized standards and ballads, the group gradually reintroduced earlier R&B material.
Baritone/tenor Gary Evans entered the lineup in 1962 just as drummer Billy Davis departed; Claude Higgs took his place in time to record the sole Modern Ink Spots single, the Rust release “Spotlight Dance.” Before a 1963 engagement in Quebec the members learned that another troupe using the Modern Ink Spots name was already working Canada. They therefore performed the Canadian dates as the Cardinals and, under that name, cut “Why Don’t You Write Me” for the Rose label. For the remainder of their existence they again billed themselves as the Modern Ink Spots, finally disbanding in 1965 when Al Turner joined the Philadelphia Police Department.
Because radio favored conventional singles over EPs, the release limited their airplay opportunities. Although the lead number “Sputnik Dance,” spotlighting King Curtis on saxophone, was later paired with the B-side “A Vision,” momentum had already stalled. Nevertheless the Equadors performed the single on American Bandstand and joined an East Coast package tour headlined by Frankie Lymon and Paul Anka. In early 1960 Jolly Joyce executives renamed the act the Modern Ink Spots to court the supper-club market, a strategy that yielded engagements at prestigious venues including the Peppermint Lounge. While their sets now emphasized standards and ballads, the group gradually reintroduced earlier R&B material.
Baritone/tenor Gary Evans entered the lineup in 1962 just as drummer Billy Davis departed; Claude Higgs took his place in time to record the sole Modern Ink Spots single, the Rust release “Spotlight Dance.” Before a 1963 engagement in Quebec the members learned that another troupe using the Modern Ink Spots name was already working Canada. They therefore performed the Canadian dates as the Cardinals and, under that name, cut “Why Don’t You Write Me” for the Rose label. For the remainder of their existence they again billed themselves as the Modern Ink Spots, finally disbanding in 1965 when Al Turner joined the Philadelphia Police Department.