Feb 032015
henry stone billboard 1954

Clip from a 1954 issue of Billboard Magazine discussing Henry Stone’s newest signing

One of the biggest genius maneuvers of Henry Stone was always keeping his name hot in the media. All the way back to when he first moved to Miami in 1948, magazines like BILLBOARD and Cashbox (the jukebox trade mag), would always check in with him in Florida to see what he was doing as a distributor and as a manufacturer.

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BILLBOARD wrote about Stone early and often and in the clip above, they discuss his signing of a group named the Three Harmonicaires to the DeLuxe record label he held a 50% share of as split with Syd Nathan of KING. In the short clip, he also highlights a pre-platinum Otis Williams and The Charms, with whom he would have a million selling crossover record called “Hearts Of Stone.”

Jan 262015
Joe and Sylvia Robinson

Joe and Sylvia Robinson of Sugar Hill Records, co-founded by Henry Stone

Sugar Hill Records is the pioneering early hip hop label responsible for Grandmaster Flash & The Furious Five, The Treacherous Three, and of course The Sugar Hill Gang and their “Hip hop a hibbit…” you know the rest.

But did you know that Henry Stone not only put the seed money up for the company, he also pressed a lot of those early records himself right at his plant in Hialeah.

Here’s what Stone had to say about how it all came about.


“I was involved with Sugar Hill Reocrds. I put the seed money up for the record company with Joe Robinson. I was Joe Robinson’s distributor at the time, and the record actually, that “Rapper’s Delight” broke right here in Florida. Wide open. And I ordered 10,000 records. Or 13,000 records ( laughs), and Joe got all excited and said, “I can’t press em’, man!” ‘ So I sez, well I have a pressing plant Joe. I will. He sez, “Will you help me out?” So I did. Course then the record started to fan out all over, a lot. Then it broke in New York and that started to get very hot too. But this was the first area outside of the New York area that rap broke. Florida. Through my distribution.

I put the seed money up and the pressing plant to press 100,000 “Rappers Delight” and some of the other things, “The Message” and some of the other things he put out.

I was involved with the company but I wasn’t too involved. Joe Robinson was one of those tough Harlem cats. Black mafia. He was married to Sylvia Robinson who had a very big record by the way too, “Pillow Talk.”

I had a very good relationship with them. I put the money up for all these rap records and got involved promoting them. And then one day I got a call from Morris Levy. He said, “Henry, I got news for you. I’m taking over the whole Joe Robinson operation. You don’t have to worry about it. Any more pressings or money is gonna go through me.” I sez ok Morris be my guest. I didn’t wanna get too involved with that at that time. Joe was a you know a good hoodlum from Harlem. Very nice guy, but yknow, I figurd, it was far enough. I put the money up enough initially to get the thing started and that was it. He was a tough guy. Joe was a tough guy”

Dec 312014

The Extra T’s were a Sunnyview Records studio project in which Henry Stone was a songwriter who came up with the classic 80s electronic dance cult favorite “I Like It (Corn Flakes).”

The track is sampled in the song “More Than U Know” by Prince Paul and De La Soul

Sunnyview was a hotbed of early electronic experimentations and dance records that set trends in electro, freestyle, pop, and dance.

Dec 302014


Henry Stone was so cool that Aretha Franklin used to play his piano at TK studios. And his friend Butterball was such a good cook, Aretha would eat his BBQ all day. Here’s what Henry had to say about one of these times in particular, and why he wishes he’d recorded it.

“Aretha used to love to come down to Miami. I remember one time in the 70s she came down here and she was goin’ through a hard time. I don’t know if it was some guy had broke her heart or what, but she had it bad. She came down to Miami and stayed down at the Hampton House on NW27th Ave in Brownsville, far away from everythin so she could cool her head.

When she was just a little kid performing as Little Aretha Franklin she’d play audtioriums in the inner city of Miami in a neighborhood called Overtown at Northwestern High School. Over the years as she traded gospel for pop and got big with Atlantic she’d come down for gigs, and in-stores, and radio promotion and she got to be real good friends with my budy Butterball.

She  loved him. And he loved cooking for her. He’d make her big old fried chickens and bbq ribs, his specialty. Milton “Butterball” Smith was a radio DJ, but in the 70s he came and joined the TK organization. Whenever she came into town she would usually stop by and I got to know her a little bit.

Well, I had an 8 track studio up above my office where I cut “Cleanup Woman,” “Funky Nassau,” “Rock Your Baby” and all that stuff. I sold millions of records off a little 8 track board. And right outside my office I had a piano.

Well this one time I was talking about, Aretha was coming over to TK from the Hampton House just about everyday. She used to come up around 11a.m. or noon cause it wasn’t too far a drive. Butterball would bring her over and she’d just sit at the piano I had outside my office and just fuckin’ groove.

I never recorded her because of Jerry Wexler.But if I had put down on tape what she was doing, I’d have ten million dollars in my pocket right now. She had a helluva voice.

Well one morning I didn’t show up at my usual hours cause I was out takin care of business and when i got there she was out in the parking lot screaming “Where is that motherfucker Henry Stone!?!” She was screaming, she was crying until I finally let her in and she sat down at the piano and just started pouring out her soul.

Gives me chills just thinking about it. I wanted to record her so bad, but I didn’t

And Butterball cooked for her all day long that day. And she could eat let me tell ya. She could eat about as well as she sang.”

Dec 292014


Henry Stone is known the world over for his prolific abilities as a CEO, distribution kingpin, and producer. But his lesser known talent was songwriting. Want proof? Stone wrote a hit that was covered by Frank Sinatra. The tune is called “Two Hearts, Two Kisses (Make One Love)” and it came out on DeLuxe Records in 1954 with co-writer Otis William’s group The Charms.

Here’s how Henry Stone described the song’s birth, “I gotta thank Amos Millburn for that one. He was on Aladdin Records. After “Hearts of Stone” I was in Memphis, which was a dry state, you hadda go to a private club to get a drink. We’re sittin there and Amos Millburn comes on the jukebox with “One Scotch, One Bourbon, One Beer,” and I said to myself, “Two Hearts, Two Kisses, make one love.” I stole that. Frank Sinatra covered that song.”

Now, it must be understood that in the music business, catching ideas for new songs from established hits is one of the basic principles upon which pop music was founded, so Stone used the creative inspiration from Millburn to his advantage and there’s nothing wrong with that.

In fact, the song spent 12 weeks on the Billboard R&B charts peaking at #8. Once it became a hit, it instantly began attracting admirers from the music business who wanted to ride its wave of popularity.

Here are some of the other covers that the tune received.




Dec 162014
DJ Milton Butterball Smith

DJ Milton Butterball Smith in Billboard Magazine 1965

DJ Milton “Butterball” Smith was a pioneering Miami radio DJ of such epic proportions that his effect on the music industry is still felt strongly to this day. In tribute to this great man, who was also a great business associate, friend, and practically family with Henry Stone, here are some of the essential facts that you must know about Milton “Butterball” Smith.

– Butterball was born in Richmond, VA, and received a B.S. from Tennessee State College, served in the Korean War for the U.S. Marines, and moved to Miami in 1952.

– He started out on WFEC, a South Florida based AM radio station which was one of the earliest regional stations to play rhythm & blues. They combined this format with gospel, news, jazz, and foreign language programming.

– He worked at WFEC under the name Fat Daddy.

Butterball Fat Daddy

Milton Smith in Billboard Magazine 1956

– He was hired away from WFEC by WMBM, a tiny AM station headquartered on an island between Miami Beach and the mainland.

– When he moved to WMBM he changed his name to Butterball because WFEC claimed ownership over the name Fat Daddy.

– He worked out of a street facing sub-station in the heart of Overtown in front of a big window. All the passersby could see and hear Butterball through the window and a speaker that was set up and he could see them too.

butrterball and king coleman

Article about Butterball in the Miami Times 1958

– Butterball broke all the hot independent records.

– Butterball was known for his signature catch phrases, slogans, and specific ways he started and ended show. He wuld say things like, “This is Mrs. Smith’s 300 pound boy.”

– Milton Smith was such a popular DJ that he would go to the Bahamas and play for 10,000 people. He was one of the world’s original superstar DJ’s.

– He was great friends with Steve Alimo and even appeared in a few locally shot films with him that are today considered cult classics such as “The Hooked Generation,” “Stanley,” and “Mako: Jaws of Death”

– Smith was well known for the community programs he participated in to give back to those who loved him. This included food giveaways, appearances, and cash donations.







Butterball at WMBM

– When he retired from the radio, he became a TK Records head of Community Outreach.

Blowfly on Butterball

Clarence Reid aka Blowfly tells VIBE Magazine about Butterball in a 1989 magazine feature


– He was the official TK Records bbq chef and was extremely well known for his special babyback ribs.


– The radio DJ and personality King Coleman was also hired away from WFEC by WMBM and they became a very powerful duo for breaking records on a nationwide basis based on their clout in the southeast.

– Was great friends with Clarence “Blowfly” Reid, with whom he recorded the earliest version of “Rapp Dirty” in about 1962, making them the first innovators of hip hop.

– Butterball passed away in 1990. Milton “Butterball” Smith, rest in peace.


Butterball death notice in the Miami Times 1990

Butterball death notice in the Miami Times 1990

Nov 262014

Johnny Otis not only discovered Etta James, played on the original Big Momma Thornton song “Hound Dog” (made famous by Elvis), and produced early cuts by Little Richard; he also worked as a writer and arranger with Henry Stone for his 1950’s doo wop label, Chart Records.

The two first met around 1946 in Los Angeles in the thriving world of rhythm & blues clubs on Central Avenue.

Evidence of the two’s working relationship exists on their collaboration for the song “Guitar Player,” by The Evergreens, which they co-wrote (see above video starting at 2:38.

At the time, jukebox operators ruled the record industry not as manufacturers, but as consumers of the great commodity known as music. Jukeboxes were most prevalent in African-American and recent immigrant neighborhoods, and every week or two they were looking for the best new music being produced.

As a record distributor, nay, The record distributor of Florida, Stone was intimately familiar with what records the audience was looking for and why, before they even knew themselves. This was not a scientific formula, but rather a combination of gut instinct, knowledge of his market, experience, and trained musical ears that led him through life.

Stone formed Chart Records after a bitter fallout with Syd Nathan of King Records, over royalties due on a label partnership they formed for DeLuxe Records. As part of the eventual settlement, Nathan agreed to manufacture records at his own pressing plant for whatever Stone came up with.

Upon his return to Miami after dealing with lawyers in NYC, Stone founded Chart Records and got into the hottest genre on the market, doo wop.

Chart Records released a great variety of records by the likes of The Evergreens, The Champions, The Tru-Tones, and The Charms, some of which saw airplay as far away as New York City, with warm introductions by pioneering radio DJ Alan Freed, a close compadre of Stone’s since his days on regional radio in Cincinnati.

john lee hooker chart records

Chart produced a few nominal hits like “Mexico Bound” by The Champions. Additionally, it served as a launchpad for a guitar playing bluesman by the name of John Lee Hooker who recorded “Wobbling Baby,” and “Goin’ South” for the label in 1955.

Ultimately, Chart paved the way for Stone’s inimitable run of global independent domination in the 1970s. And it was with the help of amazing musicians like Johnny Otis that he had the wherewithal, knowledge, and experience to do so.

Otis died in 2012. He was inducted into the rock n roll hall of fame in 1994

Nov 182014

King Records was the Ohio based pioneering independent American record company who first signed James Brown. They also recorded and manufactured music by Earl Bostic, Bill Doggett, The 5 Royales, and Little Willie John, to name a few. And they were just as prolific and ahead of the pack in their “hillbilly records,” early country taht they wre just as excited by as rhythm and blues.

The incredible thing about King is that they did absolutely everything in-house. They didn’t just record in their own studio, they also had their own pressing plant for cranking out product, their own printing press to make labels, they even manufactured their own boxes and sleeves. Suffice to say, they also had their own distribuotrs and promotion men stationed in various markets throughout the country.

They didn’t need to go through independent distributors because they built their own network using their own people. Later, the overhead on doing business that way got to be too mich. But for a long time it worked extremely well.

The Miami branch of King Records was run by Marvin Novak, who became a close friend of Henry Stone.

here’s what Henry had to say about King Records in Miami:

Screen Shot 2014-11-18 at 11.28.55 AM

Via Billboard Magazine August 28, 1954

“Marvin Novak, Marvin Novak, Marvin Novak, hahaha, quite a character, man. I spent a lot of time with him. His nickname was Falsie.  That was a name I guess he picked up growing up with Syd Nathan and his clan. He was Syd Nathan’s boy.

The actual story is that Syd Nathan’s family sort of adopted him in Cinncinnatti, and he ended upp like working for Syd. I was associated with him because my De Luxe label was part of King Records.

The last time I saw him was about ten years ago at the track. I don’t know if he’s still alive.”


via Billboard Magazine January 16, 1954

via Billboard Magazine January 16, 1954


“We actually had our offices next door to each other when I was on SW 8th street and 12th Avenue. The King Records branch was right next door to me.

I started working with King records in 1954. I had a huge hit record on the DeLuxe label through King. I don’t know if youre familiar with that, Hearts of Stone, well that was me, that was the first million selling record that crossed over into the pop charts from the r&b charts on Billboard.”

Nov 172014


Charles Brown is an incredible artist whose music has lasted since 1946 till today. “Merry Christmas Baby” may be his biggest hit, but his catalog is chock full of smooth American jazz and blues. Also known as “Good Time Charlie Brown” he recorded for labels like Aladdin, King, Imperial, Jewel, and many more.

And it all started for him with Aladdin Records. Here is how he ended up there:

Henry Stone served in WWII as a trumpet player in the army’s first racially integrated band at Camp Kilmer, New Jersey.

After the war ended he moved out to Los Angeles and joined the music business, working with the earliest pioneering labels in American independent records.

Stone said, “If you wanna go back to 1946 when I was in California when I got out of the army I ended up with Ben Pollack. He was an old bandleader. He hired me as a&r man, sweeping the floor, whatever had to be done. The first artist I worked with was Mel Torme. He was a little bit of a jazz artist, 17 years old, and I was setting the mic up for him to sing into. I liked his music and I worked with him til one day I was down at Central Ave in Los Angeles.

I heard Johnny Moore with a singer by the name of Charles Brown, which I though was fantastic

I brought him into Ben to record, but he was a real old, retired band leader that had this Jewel Label that I was working with him on. And when I brought Charles Brown in, he said to me, “Henry, I dont want any nigger in my label.” I said “Fine! Im leaving too,” and I brought him over to Aladdin Records. At the time the Messner boys had a Reccawd store.

And I brought him to them and they started recording and Charles Brown made hits.”

Nov 112014
Henry Stone, Dave Benjamin, and Milt Oshins at Ceasars Palace

Henry Stone, Dave Benjamin, and Milt Oshins at Ceasars Palace

Most music listeners don’t know how the music business actually works. It’s not complicated, but it’s a little bit tricky to understand the concepts of masters, writers, and publishing. Essentially, artists are usually advanced a sum of money by their label to pay for their own recording sessions. The record label is ostensibly paid back through the sale of the product they manufacture. If the artist writes the song, they are entitled to credit and royalties for doing so through a performing arts organization such as BMI. Obviously, many times in the history of the music business, unscrupulous parties have used artist’s lack of  knowledge on the subject to give themselves a business advantage. On the other hand, people ought to pay close attention to documents before they sign them.

Henry Stone was always known to drive a hard bargain, but when it came time to pay his artists, he always had cold cash, cars, and checks when it came time to pay the piper. Here are some of his memories about how the record business works:

“I wasnt basically that heavy in the manufacturing business until the 1970s.

I was a distributor and also making records because I dug em’, because that was my passion. I always loved to make records, yknow. Some people play golf, I made records.

But I wasn’t like Art Rupe from Specialty who that’s all he did. Lew Chudd from Imperial, that’s all he did. All they did was make records all day, and they paid the artists very little. Even Motown paid their artists not too much, whatever the deal was at the time. Half a cent on a million sold is $5,000, and then the artists wouldn’t get the money cause it took that money to record. Every artist until this day has gotta pay for their own recording. You advance them the money. And if you spend $10,000 on the recording, that was charged to the artist.

Otis Williams and The Charms, I think I had them on a 3 cent royalty or somethin like that. They worked too and did a lot of gigs. They had their gigs. If a group had a couple hit records, they went out and did gigs and had a lot of shows and thats how they really made their money. Cause most of the money that hit records would generate, the record companies recouped yaknow…

art rupe specialty

Art Rupe from Specialty Records, who founded his label in Los Angeles in 1944

Art Rupe from Specialty had a whole guide that he gave his people on how to find an artist in the street, sign em’ to a deal, and cut a record. In those papers, he’s offering a half cent royalty contract. For every record sold, he’s offering the artist half a cent royalty.

So if a guy had a million selling record and had could have $5,000 or $10,000 comin to him, whatever the deal was, a half a cent was very unusual, that was unusuallly low, it was usually 2 or 3 cents a record for an artist if I rememeber correctly. But half a cent? Art Rupe from Specialy was a real tough tough wheeler and dealer so he coulda had it, if he said so thats what he did.

But that’s not what I did. Ask any of my artists to this day. If anybody lost money, it was me, cause I was always putting it back into the company to make more records.”

Nov 062014
Steve Alaimo and Henry Stone

Steve Alaimo and Henry Stone

Steve Alaimo and Henry Stone were trusted pals of James Brown. Stone met him when he first started recording, and Steve knew James as a sort of musical father figure. They all had many interactions over the years, both friendly and professional. In fact, James was even a fan of Alaimo’s music.


Here’s what Steve had to say about the time that Brown left an arena to check him out at a club.  “I went to work in Washington and stayed at the same hotel as James Brown did. He was playing a show at the arena of course, Ben Bartt was his manager then, and I was at this little club. And James came in to see me at this club and the people there just couldn’t believe it. Yknow it was downtown DC. I’m sittin’ there singin’ and it’s like a little neighborhood club, y’know like a small club. James Brown was at the Collisseum that same night and then came over to my place, everybody went apeshit, that he was in there to see me, watchin’ me.”

But when Brown was starting out in the 1950s he spent years as the hardest working man in show business coming up on the Chitlin Circuit.


Steve says, “He’d work the Million Dollar Palms, he’d work the Harlem Square, he’d work the old Miami Marlins baseball stadium, and he used to pack the joint. I opened a show for him there once with his band backing me. And I was so good that James got pissed. One of his cronies, Charles Bobbit came up and said, “Mr. Brown would like to see you.”

Steve continues, “James had thses special moves, like if one of the guys in the band fucked up a note or made a mistake, he’d do a turn like and point his hand and that meant you were fined a certain amount of money. SO I was messing around and doing that move cause I knew what he did. I knew everything about him.”


“So I walk in there to see him and James Brown said, “Steve I hear you were out there makin fun of me.”

I sez, “No Mr Brown, I was just having fun. I was singin’.”

And he’d say, in his raspy voice, “Oh, ha, that’s pretty good.” And he’d laugh. He was puttin’ me on. He got excited. He was appreciating that I was teasing him. But I was scared shitless. He was always Mr. Brown, but he called me Steve.”



Nov 052014

James Brown was a real Georgia guy, but he also spent a lot of time in Miami. It’s where he came to chill out, talk records with Henry Stone, and drink Cognac with his posse.

It’s also where he got to know a fella by the name of Steve Alaimo, who later became Vice President of TK Productions. Back in the 60s, he was still pursuing his solo music career when he got a call from his buddy Dick Clark to host a musical entertainment and variety show out in California.

Steve Alaimo’s “Where The Action Is,” aired nationally 5 days a week to a rabid audience of teenage music fans with disposable incomes for buying records.

Steve was a real clean cut pop-music looking guy, but he also had a deep love of rhythm and blues from gigging at clubs in Overtown, and generally coming of age around Henry Stone in Miami’s music scene.

So it’s no surprise that Alaimo, who had total control in booking musical acts for the show, would give many great r&b artists their first national tv exposure.

Steve says, “I was very very close with the black community. When I did “Where The Action Is” in California, I brought all the black talent on the show. And that’s where some of the first exposure for Smokey Robinson, and Wilson Pickett came from. The Temptations and Diana Ross got on Ed Sullivan. But you ain’t gonna see Sam and Dave on there. You aint gonna see James Brown on there. James Brown told people  till the day that he died that I was a big reason for his success, cause I put him on that show a bunch of time. And I also gave him a half hour special.”

It all started when Henry Stone says that he convinced James Brown to do it.

Henry remembers, “I said, James, you’re goin’ to California in about 2 weeks. You gotta call Steve cause Steve has got this show out there, and James sez “What does it pay, whats the scale, what does it pay?” I said, “It pays scale.”

He said, “Henry, you know I dont work for scale”

I sez, “James fuhgettaboutit man, it’s exposure, you’re gonna be in California would you do me a personal favor and go and see Steve and do it. ”

So he went out and did the show, and of course when he did that show it was also the first time that black kids got to see him. They had never seen James Brown cause he only worked the chitlin circuit and you had to be 18 or 21 to go into a black nightclub so the kids had never seen him. They might have heard a few songs through their parents but they never saw him do his whole act, and boy I could not give him off the show. He went California every two weeks to do that show yknow cause that show really busted James Brown wide open to the black and white kids. It’s one thing to hear him sing, but to see him perform it, forget it, he’s the greatest performer out there. Or one of the greatest. Ask Michael Jackson, he’ll tell ya. he copied his moonwalk from him.”