Greetings audio explorers! Finnley the Dolphin here, ready to take a deep dive into another fascinating piece of music history. Today, we’re plunging into the career of the smooth and soulful Brook Benton, a singer-songwriter whose voice carried waves of emotion across gospel, rhythm and blues, and pop. But our journey doesn’t stop there! We’ll also explore the curious case of Brook Benton Sings, a budget-label release from Coronet Records, and the mysterious Charlie Francis. So, grab your sonic snorkel, and let’s swim through the tides of music preservation together!
Brook Benton was born Benjamin Franklin Peay on September 19, 1931, in Camden, South Carolina, Brook Benton grew up immersed in gospel music. Encouraged by his father, a Methodist minister, he sang in church and later performed with several notable gospel groups, including The Golden Gate Quartet and The Camden Jubilee Singers. In 1948, he moved to New York City, where he took on various jobs such as a dishwasher and truck driver while pursuing his musical dreams. During the mid-1950s, Benton transitioned from gospel to rhythm and blues, joining a group called The Sandmen. His early recordings were made under OKeh Records, but it was his songwriting partnership with Clyde Otis that set the stage for his future success. Their collaboration led to a recording contract with Mercury Records, where Otis worked as head of A&R.
Benton’s breakthrough came in 1958 when he and Otis co-wrote and produced hits for artists like Nat King Cole and Clyde McPhatter. That same year, Benton launched his own solo career, quickly establishing himself as a premier baritone vocalist. His signature blend of blues, gospel, and pop resulted in a string of hits, including It’s Just a Matter of Time and Endlessly in 1959. Throughout the early 1960s, he continued his success with songs like The Boll Weevil Song, a million-seller that showcased his versatility. He also recorded duets with Dinah Washington, producing hits despite their sometimes-contentious relationship. However, by the mid-1960s, Benton’s chart success began to wane. His attempt to maintain commercial relevance led him to explore different labels, including Stax and MGM.
In 1970, Benton made a remarkable comeback with Rainy Night in Georgia, a song written by Tony Joe White. The track became one of his most iconic recordings, returning him to mainstream success. Despite this achievement, the following years saw another decline in his career due to contractual issues. Unable to record for a time, Benton focused on performing in nightclubs, starring in commercials, and touring extensively in Europe. He was amazed at the level of admiration European fans had for both his work and Black American music in general. His time abroad helped sustain his career during what he described as a “cooling-off period.” Benton reunited with Clyde Otis in 1978, and together they produced the title track for his album Makin’ Love Is Good for You, which became a hit.
In the early 1980s, Benton experienced a personal transformation and became more involved in religious activities. He preached at a church in the Bronx while continuing to perform occasionally. During this time, he also took legal action against Mercury Records, seeking $750,000 in unpaid royalties. The lawsuit was settled in 1988, the same year he passed away. Benton’s health declined in the late 1980s, though the exact cause was initially undisclosed. Early reports suggested pneumonia and diabetes complications, but later findings revealed that he had succumbed to bacterial meningitis. He died on April 16, 1988, at Mary Immaculate Hospital in Queens, New York.
With a career spanning four decades, Benton left an enduring legacy as one of R&B’s most distinctive and versatile vocalists. His ability to blend smooth baritone vocals with heartfelt storytelling made him a standout artist, influencing generations of musicians.
The album Brook Benton Sings (CXS-210) was released by Coronet Records, a budget label under Premier Albums, Inc. Founded in 1959 under the leadership of Philip Landwehr, Coronet became known for inexpensive albums that frequently featured studio musicians covering popular songs. Rather than reissuing albums, Coronet often revised them, keeping the same cover art and catalog number while changing the track list. Coronet Records operated between roughly 1959 and 1968 as a division of Premier Albums, Inc., a New York-based company specializing in budget LPs. The label covered a wide range of music, including popular tunes, children’s songs, and rhythm and blues.
Labeled as Volume 2, it suggests a series of Brook Benton releases on Coronet. The front cover features a painted portrait of Benton, a cost-saving choice often used by budget labels instead of licensed photographs. The album includes tracks such as Steppin’ Out Tonight, Just Tell Me When, Won’t Cha Love, and Love’s That Way, along with additional songs featuring Charlie Frances. The back cover provides a brief biography of Benton, highlighting his South Carolina roots and early involvement in church choirs. It emphasizes his 1958 breakthrough with “It’s Just a Matter of Time”, a song that established his popularity. However, none of his major chart hits are included on this album, suggesting it consists of earlier recordings or budget-label reissues.
Coronet promoted the album as featuring “true stereo” sound, a common claim on budget releases of the era. Many of Coronet’s stereo albums were reprocessed from mono recordings rather than genuine stereo mixes. This release reflects Coronet’s broader strategy of capitalizing on well-known artists by repackaging lesser-known recordings or alternate takes. While the quality of these albums varied, they provided an affordable way for consumers to access popular artists’ music.
Premier Albums, Inc. controlled several other budget labels, including Award Records, Blue Ribbon, Celebrity Records, and Spin-O-Rama. It also operated a vinyl pressing plant in Clifton, New Jersey, from 1962 until the early 1970s. This facility pressed records for Coronet, its sublabels, and outside clients through a custom pressing service.
Coronet’s catalog spanned multiple genres, with notable releases including:
The Ink Spots by The Ink Spots (1959, with multiple reissues featuring different track lists)
Harry Belafonte Sings 5 Early Songs by Harry Belafonte (1962)
The Sensational Ray Charles by Ray Charles (1963), featuring early material
Nina Simone Live with Special Guest Vince Guaraldi by Nina Simone and Vince Guaraldi (1965)
In addition to artist-focused releases, Coronet produced thematic records covering military band music, polkas, flamenco, Broadway soundtracks, and movie scores.
By the late 1960s, Coronet Records faded from the market as the music industry evolved and consumer expectations shifted. Premier Albums, Inc. ceased operations in the early 1970s, bringing an end to Coronet and its affiliated labels. Though never known for high-quality recordings, Coronet remains a notable part of music history. It represents an era when budget-conscious consumers could access a variety of music at low prices, even if many releases featured re-recordings rather than original hits.
One of the more puzzling aspects of Brook Benton Sings (with Charlie Francis) is the identity of Charlie Francis himself. Unlike Benton, who had an established career, there’s little to no information on Francis, leading to speculation about whether he was a real artist or simply a pseudonym created by Coronet Records. Adding to the mystery, research suggests that at least some of the tracks credited to Francis were performed by other artists with two songs originally released as a 45 on the Goldie label.
Complicating matters further, there is no artist listing for Charlie Francis on Discogs, a major database for recorded music, which suggests he did not have a standalone discography. While it’s reasonable to assume that Coronet may have used the name to fill out the album with available material, there’s no definitive proof that he wasn’t an actual performer whose work was repurposed. Given Coronet’s history of reissuing songs under different names and disguising budget compilations as cohesive releases, it’s possible that Charlie Francis was an alias assigned to existing recordings rather than a distinct artist in his own right. Without further documentation, his identity remains uncertain, making him one of many forgotten names in the world of budget-label releases.
Brook Benton’s smooth, heartfelt voice left an undeniable mark on the world of rhythm and blues, and his resilience in the face of industry challenges is truly inspiring. Meanwhile, the mysterious Charlie Francis and Coronet Records remind us of the fascinating quirks of budget-label releases, where fact and fiction sometimes blur. As we continue exploring lost and forgotten sounds, remember, every recording has a story, and it’s up to us to preserve these echoes of the past. Until next time, keep your ears open and your spirit curious! 🎶🐬
Links
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Sources:
Books-
Simmonds, Jeremy. The Encyclopedia of Dead Rock Stars: Heroin, Handguns, and Ham Sandwiches. United States, Chicago Review Press, 2012. p. 234.
Talevski, Nick. Rock Obituaries – Knocking On Heaven’s Door. United Kingdom, Omnibus Press, 2010. p. 30.
Magazines-
Jet, Jan 5, 1978, p. 60-61.
Jet, Feb 28, 1963, p. 55.
Ebony, May 1963, p. 44-46, 48.
Websites-
Discogs – Coronet Records
Discogs. Coronet Records. Discogs, www.discogs.com/label/33507-Coronet-Records. Accessed 24 Feb. 2025.
Discogs – Premier Albums, Inc.
Discogs. Premier Albums, Inc. Discogs, www.discogs.com/label/383472-Premier-Albums-Inc. Accessed 24 Feb. 2025.
BSN Publications – Coronet Records Discography
Edwards, David, and Mike Callahan. Coronet Album Discography. BSN Publications, 13 Aug. 2023, www.bsnpubs.com/premier/coronet/coronet.html. Accessed 24 Feb. 2025.
