Biography
The Spaniels earned their greatest renown with the 1954 R&B smash “Goodnight, Sweetheart, Goodnight,” which climbed to number five on the national charts. Emerging from Gary, Indiana, and later operating out of Chicago, the vocal ensemble became the first Midwestern R&B act to achieve widespread success. James “Pookie” Hudson’s poised lead vocals left a lasting mark on subsequent singers, most prominently Aaron Neville. The group also helped pioneer the practice of placing the lead singer at one microphone while the others shared a second, and they helped popularize choreographed tap routines during live performances. Their frequent a cappella sides highlighted a distinctive purity of tone and approach. In addition, the Spaniels played a key role in launching Vee-Jay Records, which grew into one of the nation’s most prominent Black-owned labels.
Their ascent began in late 1952 when Hudson, then a student at Roosevelt High, accepted an invitation from four classmates—first tenor Ernest Warren, baritone Opal Courtney, Jr., second tenor Willie Jackson, and bass Gerald Gregory—to perform at a school talent contest. After debuting as Pookie Hudson and the Hudsonaires for the Christmas program and enjoying strong audience response, the quintet decided to stay together. To avoid associations with existing bird-named acts such as the Orioles and the Ravens, they chose the name Spaniels.
That spring the singers visited a neighborhood record store run by James and Vivian Brackens, who were then establishing Vee-Jay Records. The label soon relocated to a garage on Chicago’s 47th Street and later to permanent offices at 1449 South Michigan Avenue. The Spaniels became one of Vee-Jay’s first two signings, alongside blues guitarist Jimmy Reed. On 5 May 1953 they cut “Baby It’s You,” which appeared in July and reached number ten on the R&B best-seller list by 5 September.
A follow-up session yielded further singles, among them “Goodnight, Sweetheart, Goodnight,” which began gaining traction in March 1954 and eventually peaked at number five on the R&B charts. Its popularity inspired the McGuire Sisters’ cover, which reached number seven on the pop charts and captured much of the mainstream audience. Another Hudson composition, “Let’s Make Up,” later appeared as the B-side of the Top 20 hit “The Ballad of Davy Crockett” (number 14, 1955), generating additional royalties for its writer. On 11 June 1954 the Spaniels made their first of many appearances at the Apollo Theatre and commenced extensive touring throughout the Midwest. “You Painted Pictures” followed, climbing to number 13 on the R&B chart in October.
After Opal Courtney, Jr. entered military service, Vee-Jay A&R executive and Spaniels producer Calvin Carter filled in on the road for several months until James “Dimples” Cochran assumed the permanent role. Ernest Warren’s subsequent draft notice reduced the group to a quartet for further recordings. Two ensuing singles failed to chart, prompting both Pookie Hudson and Willie Jackson to depart. The remaining members—lead Carl Rainge, bass Gerald Gregory, baritone James Cochran, and second tenor Don Porter—continued briefly until Hudson returned.
Vee-Jay issued the group’s debut album, Goodnight, It’s Time to Go, in April 1957. By midsummer they were again releasing well-received singles. Around that period Hank Ballard offered them his rewrite of the Drifters’ 1955 hit “What’cha Gonna Do,” retitled “The Twist,” yet the Spaniels declined; the song later topped the charts for Ernest Evans, recording as Chubby Checker.
By 1960 the lineup consisted of Hudson, Ernest Warren, Gerald Gregory, Bill Carey, and Andy Magruder, formerly lead singer of the Five Blue Notes. Their final Vee-Jay single, “I Know,” appeared that year and reached number 23 on the R&B chart. Vee-Jay also released a second album during this time.
Magruder and Gregory exited in 1961, leading to a brief disbandment. Road manager Ricky Burden later took over the bass position for a Neptune session. Hudson recorded solo material for Jamie and, in 1962, teamed with the Imperials (minus Little Anthony) for Lloyd Price’s Double-L label. In the late 1960s he launched North American Records and issued “Fairytales,” which Calla Records (distributed by Roulette) picked up; the track became his final chart entry, reaching number 45 on the R&B list in fall 1970.
Early in the following decade a reconstituted Spaniels—Hudson, first tenor Charles Douglas, second tenor Alvin Wheeler, baritone Alvin Lloyd, and bassist Pete Simmons—issued two more singles. Simmons was eventually replaced by Andrew Lawyer of the Truetones for a Buddah remake of “Goodnight, Sweetheart, Goodnight.” Their last release appeared on Henry Farag’s Canterbury label in Gary, Indiana, in 1974. Until their final dissolution, Hudson and the Spaniels remained popular attractions on the oldies circuit.
Their ascent began in late 1952 when Hudson, then a student at Roosevelt High, accepted an invitation from four classmates—first tenor Ernest Warren, baritone Opal Courtney, Jr., second tenor Willie Jackson, and bass Gerald Gregory—to perform at a school talent contest. After debuting as Pookie Hudson and the Hudsonaires for the Christmas program and enjoying strong audience response, the quintet decided to stay together. To avoid associations with existing bird-named acts such as the Orioles and the Ravens, they chose the name Spaniels.
That spring the singers visited a neighborhood record store run by James and Vivian Brackens, who were then establishing Vee-Jay Records. The label soon relocated to a garage on Chicago’s 47th Street and later to permanent offices at 1449 South Michigan Avenue. The Spaniels became one of Vee-Jay’s first two signings, alongside blues guitarist Jimmy Reed. On 5 May 1953 they cut “Baby It’s You,” which appeared in July and reached number ten on the R&B best-seller list by 5 September.
A follow-up session yielded further singles, among them “Goodnight, Sweetheart, Goodnight,” which began gaining traction in March 1954 and eventually peaked at number five on the R&B charts. Its popularity inspired the McGuire Sisters’ cover, which reached number seven on the pop charts and captured much of the mainstream audience. Another Hudson composition, “Let’s Make Up,” later appeared as the B-side of the Top 20 hit “The Ballad of Davy Crockett” (number 14, 1955), generating additional royalties for its writer. On 11 June 1954 the Spaniels made their first of many appearances at the Apollo Theatre and commenced extensive touring throughout the Midwest. “You Painted Pictures” followed, climbing to number 13 on the R&B chart in October.
After Opal Courtney, Jr. entered military service, Vee-Jay A&R executive and Spaniels producer Calvin Carter filled in on the road for several months until James “Dimples” Cochran assumed the permanent role. Ernest Warren’s subsequent draft notice reduced the group to a quartet for further recordings. Two ensuing singles failed to chart, prompting both Pookie Hudson and Willie Jackson to depart. The remaining members—lead Carl Rainge, bass Gerald Gregory, baritone James Cochran, and second tenor Don Porter—continued briefly until Hudson returned.
Vee-Jay issued the group’s debut album, Goodnight, It’s Time to Go, in April 1957. By midsummer they were again releasing well-received singles. Around that period Hank Ballard offered them his rewrite of the Drifters’ 1955 hit “What’cha Gonna Do,” retitled “The Twist,” yet the Spaniels declined; the song later topped the charts for Ernest Evans, recording as Chubby Checker.
By 1960 the lineup consisted of Hudson, Ernest Warren, Gerald Gregory, Bill Carey, and Andy Magruder, formerly lead singer of the Five Blue Notes. Their final Vee-Jay single, “I Know,” appeared that year and reached number 23 on the R&B chart. Vee-Jay also released a second album during this time.
Magruder and Gregory exited in 1961, leading to a brief disbandment. Road manager Ricky Burden later took over the bass position for a Neptune session. Hudson recorded solo material for Jamie and, in 1962, teamed with the Imperials (minus Little Anthony) for Lloyd Price’s Double-L label. In the late 1960s he launched North American Records and issued “Fairytales,” which Calla Records (distributed by Roulette) picked up; the track became his final chart entry, reaching number 45 on the R&B list in fall 1970.
Early in the following decade a reconstituted Spaniels—Hudson, first tenor Charles Douglas, second tenor Alvin Wheeler, baritone Alvin Lloyd, and bassist Pete Simmons—issued two more singles. Simmons was eventually replaced by Andrew Lawyer of the Truetones for a Buddah remake of “Goodnight, Sweetheart, Goodnight.” Their last release appeared on Henry Farag’s Canterbury label in Gary, Indiana, in 1974. Until their final dissolution, Hudson and the Spaniels remained popular attractions on the oldies circuit.
Albums
