Born: Earl B. Connelly, Jr. Nov. 19, 1929 - Philadelphia, PA
-- Died: Jan 11, 1996 (based on Public Record from Soc. Sec. Admin.) - Philadelphia, PA
"Liner Notes" from King 4889, "Big Blue Diamonds," DJ Copy 45-rpm record
Born in Philadelphia November 19, 1929, Earl King received his musical education from his mother who was lead soloist with the Mount Olive Church choir. Later Earl, himself, directed various small spiritual singing groups in and around Philadelphia. His childhood ambition to be an engineer was changed after his first taste of the music world.
(Corrections provided by Mrs. Mae Connelly.) Earl Connelly King was married on March 13, 1956 in Columbia SC. His first job was working as a clerk in his father's bakery store. With each succeeding release, Earl King becomes more popular with the public.
Commentary
The above liner notes (edited with corrections provided by Mrs. Mae Connelly) are from the special complimentary DJ copy of the said 45-rpm record. The artist name appears as EARL (CONNELLY) KING, but all text references are to the stage name Earl King. Unfortunately a stage name shared by Earl Silas Johnson IV of New Orleans. To this day, there remains confusion regarding these two artists sharing a similar stage name!
Update
The King 45s and 78s prior to "Big Blue Diamonds" have the artist listed as Earl King on the label. This led to a dispute with Earl Silas Johnson IV of New Orleans, as both artists were using the stage name and recording name as Earl King.
To avoid confusion, and to avoid the possibility of a legal dispute over the use of the stage name, Mr. Connelly continued to release his records with the artist name listed as Earl (Connelly) King (See De Luxe label at the end of this page), and later as simply Earl Connelly. "King" is not the surname of either Earl Silas Johnson IV, or Earl Connelly. It is a stage name very popular during the 1950s and 1960s.
Earl Silas Johnson IV (of New Orleans) continued to use the stage name "Earl King" throughout his long career as a soul artist.
Earl B. Connelly, Jr., aka Earl "Connelly" King, considered a New York based artist, recorded in New York (Alto Label), (King label),
(De Luxe label), (Everest label) and Philadelphia, PA (Maycon label), and (Master Sound Records). Earl Connelly's music was well respected and very popular in New Orleans during the 1950s, so a brief discography of his King R&B sides are included here.
- Last Updated 03/02/10
If you have discography corrections, please check both sides of the Maycon 45-rpm record to see the exact catalogue number on each side, and to see if there is an "A" and "B" side designation of the disc to validate your correction.
Click Here To Send Additions or Corrections to the Maycon label discography listed below.
The De Luxe record company placed New Orleans on the R&B national music map by recording several artists (including Roy Brown - Good Rockin' Tonight) during
1947 through 1949. Some information exchange may have taken place, so that Earl Connelly King's De Luxe records received heavy local air play on New Orleans AM radio.
Earl "Connelly" King recorded three of New Orleans' favorite "slow dance" songs during the 1950s: "Big Blue Diamonds," (King 4889) "Don't Take It So
Hard," (King 4780), lyrics by Singleton-McCoy,
and "Walking Slowly" (De Luxe K8828), lyrics by Singleton-McCoy.
Earl Connelly King was catapulted into the New Orleans music charts
then, by 1965, suddenly vanished from the R&B music landscape! It is unclear if any of these recordings were
part of the De Luxe archive acquired when the King label bought the De Luxe catalogue in 1949. King records continued
to release issues under the De Luxe label with "Distributed by King Records," on the label.
With a Vibraphone: Most songs listed have seductive vibraphone
parts. Earl Connelly King's early work was recorded in a style unique to the transition period
from jazz to soul. Earl Connelly King worked with Teddy Charles (vibraphonist)
and Rudy Traylor (vibraphonist) to incorporate a jazz style into his early works. Rudy Traylor was working with
Mr. Earl Hines (bandleader) who had earlier performed in Philadelphia and Pittsburgh, PA.
In 1948 Earl Hines joined the Louis Armstrong's All-Stars (New Orleans jazz band) and played with them for three years. In 1951, Earl Hines moved to California and formed a Hot Jazz band to cash in on the Dixieland revival that was going on at the time.
Apparently, Earl Hines introduced Earl Connelly to New Orleans, and also introduced New Orleans to the music of
Earl Connelly King.
Earl B. Connelly, aka Earl "Connelly" King (Born: Nov. 19, 1929, Died: 1996; Philadelphia, PA), is not the same artist as Earl King
(born Earl Silas Johnson IV) of New Orleans.
Earl Connelly (of Philadelphia, PA) recorded under his name Earl Connelly
and as Earl (Connelly) King (stage name).
And, in some contexts, his name credit is shown as Earl "Connelly" King.
There are some compilation CDs (bootleg?) that track list Earl King as artist for the song
"Don't Take It So Hard," when, in fact, the artist is Earl (Connelly) King.
Earl Connelly King recorded with Teddy Charles (born: Theodore Charles Cohen), vibraphonist, on the King record label.
King records was considered the premiere R&B label, which was based in New York City.
King Records Discography
Earl (Connelly) King (with the "King" at the end of artist name on the record label).
Earl (Connelly) King - vocalist; Teddy Charles (born: Theodore Charles Cohen) - vibraphonist
- (King 4780 1955) (78-rpm) Don't Take It So Hard (lyrics by Singleton-McCoy) / Gratefully (Popular in New Orleans)
- (King 4798 1955) (78-rpm) My House is Not a Home / Old Faithful and True Love
- (King 4824 1955) (78-rpm) Someone Who Cares / I Get So Happy
- (King 4862 1955) (78-rpm) Here I Stand / Time Will Tell
- (King 4889 1955) (78-rpm) Big Blue Diamonds / Dear One (Popular in New Orleans)
- (King 4920 1955) (78-rpm) That's All I Ask of You / Look Me in the Eye
- (King 4959 1956) (78-rpm) They Tell Me / I Call On You
- (King 5670 1962) (45-rpm) Big Blue Diamonds / Don't Take It So Hard (reissue of two prior hits)
Update
NOTE: This record, and those issued before it, King 4862, shows Earl King as artist, and may have been the spark that led to the feud between Earl Connelly and Earl Silas Johnson IV of New Orleans
over the use of the stage name Earl King.
Update
NOTE: This record label King 4889 shows Earl (Connelly) King as artist, and is the resolution to the feud between Earl Connelly and Earl Silas Johnson IV of New Orleans
We have no information regarding a vibraphonist on these:
- (King 4959 1956) (45-rpm) They Tell Me / I Call On You
- (King 5017 1957) (45-rpm) Something Money Can't Buy / Daddy Laddy
- (King 5102 1958) (45-rpm) Every Whicha Kinda Way / I Don't Want Your Love
- (King 5196 1959) (45-rpm) Keep On Loving You / No One To Love
Earl (Connelly) King - vocalist; Rudy Traylor - vibraphonist
- (De Luxe K8828 1951 78-rpm) Walking Slowly (lyrics by Singleton-McCoy) (reissue 45-rpm: King 5038 1957)
- (De Luxe K8829 1951 78-rpm) Nothin' (reissue 45-rpm: King 5038 1957)
The later King records have both De Luxe and King catalog numbers. Since the King label fully acquired the
De Luxe catalogue by 1951, and Rudy Traylor recorded from 1951 through 1959, the song
"Walking Slowly" must have been recorded by Earl (Connelly) King, for De Luxe, during
1951. It is unclear if the single was released by De Luxe on 78-rpm. It was later distributed by King with the
De Luxe label graphic, on 45-rpm, in 1957.
Who is Rudy Traylor? Rudy Traylor was a band/orchestra leader,
vibraphonist, drummer, and percussionist who recorded
in the New York area, from 1951 through 1959. Rudy Traylor performed and recorded with the
Earl Hines Orchestra during the 1940s. It is likey that somehow Earl Hines was involved with
Rudy Traylor in recording this song. Mr. Hines had earlier performed in Philadelphia and Pittsburgh, PA.
It may be noted that during the 1950s, blues and R&B singers and recording artists were adding
the name "King" to their name, as a fairly common practice.
This trend continued during the time blues singer B.B. King (stage name fashioned by the phrase Beale Street
Boys - given name Riley King) gained fame. Albert King, and Freddie King added the stage name "King" to their first name,
to place themselves in the same realm as the legendary singer and performer - B.B. King.
In New Orleans, Earl Silas Johnson IV had taken the stage name "Earl King," somewhat by accident when his
recording was released Specialty in 1954: (Specialty 495 1954) A Mother's Love. Earl had previously recorded
as Earl Johnson, and as lead singer with a group named The Kings.
Art Rupe (Specialty) intended to name him King Earl on the Specialty record, but the typesetter reversed the names
so it was released as Earl King.
During the late 1940s and early 1950s, Earl Connelly released impressive R&B singles on the De Luxe and King record
labels: (De Luxe K8828 1951) Walking Slowly
This record was very popular in New Orleans.
Earl Connelly (of Philadelphia, PA) recorded as both Earl Connelly and as Earl "Connelly" King (stage name).
Earl Connelly distinguished himself from the New Orleans' artist, Earl Silas Johnson IV who was using the stage name
Earl King, but unfortunately Earl "Connelly" King's recordings are sometime mistaken for those of the New Orleans R&B blues singer.
Earl Connelly drops the King part of his stage name after switching to Soul instead of R&B.,
In his Everest (another New York-based record label) release
in 1960, he attempts to cut ties to the past by using his real name, Earl Connelly. By 1961 R&B has fallen
out of favor. R&B is considered old fashioned. Black artists try to market themselves to
a hip soul audience.
Alto Records Discography
- Earl Connelly (Alto 2003 1961) (45-rpm) Just to Hold My Hand / I Know I Know
- Earl Connelly (Alto 2005 1961) (45-rpm) Since You've Been Gone / The Trust
Alto Records
1697 Broadway, Suite 203
New York, N.Y.
The Alto label was part of the Atlas, Angletone record family.
Label Genre: Jazz
New York's Atlas label was founded in 1951 by jazz trumpeter and booking agent Tommy Robinson, a native of Detroit.
After his jazz recording failed to sell, he expanded to include the subsidiary labels Angeltone and Alto.
Everest Records Discography
Earl Connelly King (Everest 19430 1962) (45-rpm) How Can I Let You Go / Don't Take It So Hard
verified - PROMO Copy
Everest - New York, NY - USA
Label Genre: Soul
Master Sound Records Discography
Master Sound Records, Philadelphia, Penna shown on label.
(recorded using a Klemt "Echolette M100" Amplifier (w/4 Telefunken tubes!! -early 60's) It is not clear
if this label was produced by Earl Connelly. Anyone with additional information about the Master Sound Records
label from Pennsylvania, please let us know.
- Earl Connelly (Master Sound A-12 1962) (45-rpm) This Girl / Let Me Be Your Friend
Maycon Records
The following Earl Connelly recordings (without the "King" at the end on the artist name)
are believed to have been recorded between 1963 and 1980. The 45-rpm records manufactured up to Maycon 117
are not dated. Given that "Maycon 118 A" is printed 1975 on the label, while "Maycon 118B" (same disc) is
printed 1974, the dates are not the date of the production or issue date.
Regardless, the Maycon 100 through Maycon 106 are earlier works likely produced between 1963 and 1971.
The Maycon label, was produced by the artist himself, sometimes with collaboration from others.
Date of Issue
Prior to the early 1970s the issue date was seldom printed on a record label. It is obvious from listening to
the records that some were recorded during the 1960s, before the disco stylings and before the echolette reverb
found favor in the studio.
Value to Collectors
Many record collectors and guide books will tell you that rare (scarce) does not mean valuable. The value of these records is based first and foremost
on what people will pay for them, followed by vinyl condition and label condition. All records below the vg+
grade, or with less than perfect condition labels, are usually worth just a few dollars unless the record is extremely rare.
History
There are about twenty of these 45-rpm records, documented in the Maycon catalogue for 45-rpm records - catalogue numbers 100 - 121.
The numbering scheme sometimes uses an internal tracking number resulting in a single disc with two different catalogue numbers designating the so-called
A and B sides of a 45-rpm record. In addition, some discs have an A or B side with the catalogue number, presumbably to
suggest the A side is to be played by DJs, or to appear more mainstream for distribution channels. The use
of different numbers for two sides of the same disk is unusual. Most commercial discs have a single catalogue number
with a designated A and B side when issued by major record labels, which
is NOT the case for Maycon.
The name, Maycon, is believed to have been derived from, and is also an amalgmation of the names "Mae" (Earl's wife, and lyricist) and family name
"Connelly". The result is the name Maycon!
Many of the recordings in the Maycon catalogue contain different versions (arrangements)
of previously released material issued on different 45-rpm disks. Strikingly, the Maycon records (45-rpm) use different
colors on the label artwork for various releases, as new material is
issued and older songs are reissued in a different arrangement, or style.
A few tracks (Maycon 119A and 119B) refer to an album, named "Alpha & Omega," catalogue no. Maycon 0100.
If anyone has the album, or the cover art, please let us know. Also, there is a change from numbering the discs with a
different number for the A and B sides, to using the standard "A" and "B" designation for the A and B sides in mid-stream
during release of these records. No apparent reason is known for this unusual scheme, so if you know, please tell us.
Maycon Records Discography
If you have discography corrections, please check both sides of the 45 record to see the exact catalogue number on each side
(the numbers may not be the same on a single disc) and to see if there is an "A" or "B" side printed on the label to validate your correction.
Click Here To Send Additions or Corrections to this Maycon label discography.
Maycon 45-rpm and 33-1/3 rpm Record Label Years
We need your help if you own these records! Diffferent catalogue numbers for each side of the disc verified: Catalogue numbers for each side of the following discs have "A" and "B" sides: Catalogue numbers for each side are 109. Does NOT have "A" and "B" sides designated: Diffferent catalogue numbers for each side of the disc verified: Catalogue numbers for each side of the following discs have "A" and "B" sides: "He Will Stand By," tracks: He Will Stand By, This Little Light Of Mine, Show Me the Way, Take Thee Well MAYCON Records Address Stamp for Maycon Records |
