Henry Stone

Feb 052016
King Coleman In The Miami Times Newspaper, 1958

King Coleman In The Miami Times Newspaper, 1958

“Milton “Butterball” Smith was the biggest DJ down here as far as I’m concerned, but King Coleman was very strong too. Y’know why he was so strong? He used to give the numbers on the air. Bolita. The numbers. When he broadcast on the radio, he used to give the numbers out, man, street lottery, for whoever ran it, the gangsters.

And then of course, I put him on a hit record, and after that he quit the radio and tried to make it as an artist.

Going into the 60s James Brown came down, man, with the whole band and got beat out of a date. So I says to James, “Come on in the studio. I saw a gig where you did somethin called Mashed Potatoes.”

I said, “I wanna record that.”

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Feb 042016
Henry Stone at Henry Stone Music Headquarters

Henry Stone at Henry Stone Music Headquarters, 2013 – Jake Katel

“Bob Austin was a writer for Billboard, then the editor of Cashbox Magazine, and later the owner of Record World Magazine.

All those magazines basically had charts and everything and went out to jukebox operators and record companies.

Bob Austin and I go way back to when he was a young guy working at Billboard Magazine, and I was a young guy workin’ with Tommy Tucker and his orchestra. I remember bringing them up some ad copy. I guess it was in 1937 or so, when I was about 16 or 17 years old.

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Feb 032016
Henry Stone portrait

Henry Stone, Grove Isle, 2013 – Jake Katel

“The cash always went into growing the business, my record distribution business; and with the inventories growing you neeeded cash all the time. You needed money to grow your business cause see the banks, whatever the reason was, the banks didn’t believe the record industry.

You couldnt go to the bank like you would to get a car or to get furniture and all that stuff. They didnt, whatever the reason, the banks down here and everywhere around the country want to get involved. You couldnt go to a bank and say, i’m talking in the beginning, and get credit for a record company. They’d say “What’s a record?”

They didnt know what a fuckin record was man…They never heard of a record.

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Jan 282016
george mccrae

George McCrae with a collector’s original George & Gwen “Three Hearts In A Tangle” on Alston Records – 2013 – Jacob Katel

“George McCrae’s life was gone when he called me sometime in the 80s. Nobody’d heard of George, didn’t care about him. Till I sent him to Europe. I made him go to Europe. I said pack your bags right now. Right now George I dont care what you do. If you need some flying money I’ll take care of it. Go to Europe, get the fuck out of this country, man!

I was that strong with him on the telephone. I says, “Europe, your record was so big.” I mean it was number one here but who gives a fuck about a number one record in this country. They’re waiting for the next one yaknow. They forget. They forget everything here. That’s one of the reasons I’m tryin to work so hard on this thing about Henry Stone and this Miami sound and how important it is cause they’ll forget about it man, if we don’t do something now, it’s gonna be gone, it’s gonna be gone man yknow. It’s here now. In another year or so it’ll be floating all over the world.

After TK went bankrupt I wasn’t as active as I was in the 70s. Sure, I had hits. I had Connie, Company B, Jamm On It, but I didn’t have as many hits cause I didn’t wanna work that hard anymore. I did my big bidness in the 70s, so let somebody else do their thing. Meanwhile, I didnt stop what I was doing, I just didn’t do so much, but now it’s important that we let the world know about this whole thing, this whole situation, how it all began.”


©Jacob Katel and Henry Stone Music Inc. All Rights Reserved

Jan 252016

henry stone

“In the days of big bands, sheet music was a big thing. Radio stations either had bands playing live, or if they wanted to play recordings, they played acetates. So when I was a kid in New York City I used to work as a song plugger with my buddy Lyge McKelvey. We used to take our sheet music to the big bands and try to get them to play the sheets live on the radio.

At that time I was connected with Tommy Tucker and Van Alexander, about 1938, 37′. I was a young guy about 15 or 16 years old workin with the Tommy Tucker Orchestra.

So one day I had an idea for a new gimmick. When Tommy Tucker had this song out “I Want To Set The World On Fire,” I had him press up records and I took em around to radio stations. The radio stations go “What is this?” cause nobody’d ever brought em’ a record to play before.

So I said, “Just play the fuckin thing.”

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Dec 222015


“Foxy were always around the studio at T.K. getting on as many sessions as they could as the rhythm section.

You wanna know why all those Blowfly records were so great? It’s cause Latimore, and Little Beaver and, Timmy Thomas, and everybody from TK, guys and girls, played and backed up all those records. That’s why they’re so great. Everybody loves those tracks along with Blowfly. You listen to those tracks, man, they’re fierce.

In fact one of the guys that was on a lot of those tracks was Ish from Foxy. He was always involved with a lot of the sessions. He loved TK. He was TK freak.

Ish played guitar, and did vocals. He’s a great writer. Great producer. How big was Foxy, man, shoooooo, God!

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