Playing It Cool: The Spaniels' 50 Years of Harmony
As published in Goldmine magazine, 2011
By Todd Baptista
Having earned the respect of their peers, successors, and generations of group harmony fans, the Spaniels are recognized as true originals, one of the most revered 1950s vocal groups. With its subtle vibrato, the romantic tenor of lead singer Thornton James “Pookie” Hudson, born in Des Moines, Iowa on June 11, 1934, was the Spaniels' mainstay from their inception.
Although Hudson moved to Gary, Indiana at age 2, he summered in Iowa with his grandparents and other relatives. "I lived in Davenport off and on with my aunt," Hudson remembered. "When the Ink Spots, 'King' Cole, or any of those artists came through the Rock Island-Davenport area, they would stop at her house and rehearse. I used to watch all those artists that would come through."
Hudson carried these influences back to Gary where he sang in local church choirs. "I was noticed for my singing when I was about 11," Hudson recalled. "My teachers started hearing things in me and said my voice was exceptional. So I knew that I had something that people liked to listen to."
Before long, many of the churches in the city were selecting Hudson for their choirs. In one, he was befriended by Billy Shelton and Calvin Fossett. Calling themselves the Three Bees, the trio also sang while attending Roosevelt High in the early 1950s, harmonizing to pop and gospel tunes in school halls, churches, the glee club, and at talent shows. "Billy and Calvin graduated the year before I did.
So then I was singing by myself," Hudson explained. Hudson's vocalizing came to the attention of classmates Gerald Gregory and Willie C. Jackson, who asked if they could sing with him during the Christmas season in 1952. "There was a talent show at the school and Gerald and Willis C. approached me at my locker the night before. They wanted to sing with me, and I didn't want to sing. I didn't know them, but I didn't know how to say no. I said, 'We'll go ask the teacher and see what she says.' On the way back we picked up Ernest Warren and we ran through a tune by the Four Buddies called 'I Will Wait.' It sounded pretty good and we ended up doing it.”
Initially, the quartet was called Pookie Hudson and the Hudsonaires, a name Hudson detested, so the search for a new one commenced. "I had about five names," remembered Gregory. "I liked the name Hemlocks but I didn't know what it meant. I went and found out that hemlock was a poisonous plant and I didn't want the group to be named after a poisonous plant. So I asked my lady what she thought. She said she liked 'the Spaniels', that she thought it was catchy. She said it was fitting since we sounded like a bunch of dogs."
The Spaniels gained a full-time baritone when 16-year old Opal Courtney, Jr., a Roosevelt High junior, heard them rehearsing at the center where he had gone to play basketball and immediately joined in.
In the spring of 1953, Vivian Carter, a Gary record shop owner and WGRY disc jockey, and her boyfriend James Bracken, launched their own record company. "There was a girl," Hudson recalled, "(who) worked for Vivian at the record store. She told them about us." The Spaniels were the first artists signed to the new label. Their initial session took place on May 5, 1953 at Chicago’s Universal Recording.
With their debut, “Baby It’s You”, the basic sound of the Spaniels was in place. Hudson's smooth, romantic lead blended effectively with Gregory's booming bass phrasings and the three tenor/baritone voices, rounding the soulful harmony with plaintive 'ooohs' and a haunting call and answer pattern. Equally effective was Warren's high falsetto tenor at the top of the harmony, a pattern first utilized in R&B by the Orioles.
The flip, "Bounce", featured an alcohol-laden lyric and was the first of many Gregory-led songs. Gerald Davis Gregory was born in Madison, Illinois on June 10, 1934, a day before Hudson, and grew up in Gary. "I used to listen to the bass (Orlandus Wilson) in the Golden Gate Quartet," he recalled. "Then I started listening to Jimmy Ricks and Jimmy Jones and the Harmonizing Four. That's who I learned from."
His efforts with the Spaniels earned him a reputation as being the most powerful and one of the lowest basses among 1950s vocal groups, second only to Jimmy Ricks of the pioneering Ravens. "I think he was the greatest bass singer in the world," stated Hudson. Indeed, Gregory's contributions cannot be overstated. The unique sound and on-stage excitement generated by the Spaniels was a product of the interplay between the talents and personalities of Hudson and Gregory. Throughout his life, the colorful bass was known as "Bounce" to his friends.
"Baby It's You" brought the group instant attention. Less than a month after its release, orders outstripped Vee Jay's production capability, forcing Carter and Bracken to lease the disc to Chance. Late that summer, "Baby It's You" peaked at #10 on Billboard’s R&B chart. The follow-up, a pretty Hudson-penned and led ballad, "The Bells Ring Out", sold lightly.
Searching for an A-side for the group's third single, Vee Jay selected "Goodnite, Sweetheart, Goodnite", recorded on September 23, 1953. "That was only song that they (ever) made us do. We didn't want to do that," Hudson confessed. "I wrote 'Goodnite, Sweetheart' about 1951, '52. I was going with this girl named Bunny Jean Davis. I would go to her house and I’d stay until her mother got tired of that. She said, ‘Look, son, your mama might not care about you being out after 12 o’clock, but she didn’t mean for you to be here.’ So I had to leave. As I walked home from her house, I put 'Goodnite, Sweetheart' together. I took it to the group and they put it together, but we never thought it would be a song. We went into the studio at 9 o'clock one night and we didn't get out until the next morning 'cause we really didn't want to do it!"
"Speaking of 'Goodnite Sweetheart', five notes were given to me from God Himself," Gregory remarked of his trademark “do do do do doo” riff. "Simply because it didn't come through my head the way I knew it was coming, and what it would sound like, He just let it run all through me."
Issued in March of 1954, response to the record was immediate and nationwide. On May 1, it debuted on the R&B chart where it remained all summer, peaking at #5. "Goodnite" would go on to become an R&B standard, closing countless dances and record hops. No less than eight pop artists churned out cover versions that spring. The McGuire Sisters were most successful, hitting #7 on Billboard's pop chart while the original peaked at #24. "White radio stations didn't play black records then," Hudson explained. "They played white artists, and so we were limited to the black audience and black stations."
It is interesting to note that in Ohio's major markets, Cleveland and Cincinnati, where WJW’s Alan Freed had already developed a strong following, the McGuire Sisters version won out. According to Hudson, Freed approached him in 1954, wanting his name included as a songwriter. When Hudson refused, Freed barred the group's records from his program, played the McGuire Sisters' cover, and forbade the group from appearing on his stage shows.
On June 11, 1954, Hudson's 20th birthday, the Spaniels debuted at New York’s Apollo Theater with Joe Turner and Arnett Cobb's Orchestra. Although Turner had the #1 R&B hit with "Shake Rattle and Roll", Hudson proudly remembered the Spaniels stealing the show with "Goodnite, Sweetheart, Goodnite".
The group's fourth single, issued late that summer, was “Let’s Make Up”, a ballad Hudson wrote following a breakup with a girlfriend. The flip, "Play It Cool", was a roughhouse rap-style vocal led by Jackson.
On August 6, the Spaniels joined the second annual Biggest Rhythm and Blues Show, a five-week tour through 18 states and the District of Columbia, concluding in mid-September with five days of sellouts at the Brooklyn Paramount. The tour also boasted Roy Hamilton, Clyde McPhatter and the Drifters, Faye Adams, and LaVern Baker.
On this, their first national tour, the Spaniels drove a 1954 Buick station wagon with their name emblazoned on the sides. "It was us, and the Drifters and LaVern Baker and we all used to follow each other down south,” Hudson remembered. “We used to stop and buy cherry bombs. We'd get in front and drop our cherry bombs and see if they would explode under their car! Then they'd get down in Atlanta, they'd stop and they'd drop their cherry bombs and see if it'd explode under our car. We used to do things like that on the road.”
The thought of the Spaniels and the Drifters exploding cherry bombs under each other's cars on the highway paints a surrealistic portrait of life on the road, in stark contrast to the hardships and racial prejudices the black artists experienced as they toured the south.
In a 1991 interview with the Gary Post-Tribune, Courtney spoke about the difficulties touring in the south. "We can laugh now, but it was hard. We were pulled over and arrested in little towns in the south and thrown in jails...just for being the wrong color. A couple of times we even had to sing for the state troopers."
"You could find a place to eat, go and pay for it inside and go stand outside and they'd slide your food down a chute and if you missed it, you were in trouble,” Hudson added. They wouldn't even let you use their rest rooms." On one occasion, the group was forced to empty their wallets on the ground and eat watermelon for the local police.
The Spaniels rode the tour bus on subsequent extended tours. Hudson recalled a particular incident. "We had a white bus driver. We started outside of Washington. Everybody in the bus was black but him. In Virginia he got off to get us food out of this restaurant. Somebody saw all of us were black on the bus and they chased him out of the restaurant with baseball bats, sticks, and chains.”
By the end of October, 1954, Courtney who had quit school just before graduation when the Spaniels were booked into the Apollo, left under pressure from his father. He completed school and joined the Air Force the following summer. During a brief stint with the Dells in 1963, he sang on their Argo single, "If It Ain't One Thing It's Another", and later became a hairdresser.
Only four voices were available for the July 1955 session that produced "You Painted Pictures", written by Barney Roth, a Gary grocer. "Barney Roth owned a supermarket," Hudson recalled. "His family was rich but he aspired to be a songwriter. His family didn't want him to. He wrote 'False Love', 'Dear Heart', 'Painted Pictures’, about four or five songs. 'Painted Pictures' almost did it for him." On October 15, it hit #13 on Billboard's R&B chart, the group's third charter in two years.
Calvin Carter tried unsuccessfully to fill the baritone vacancy. One 1955 promo photo of the Spaniels included Carter but according to Hudson, Carter "couldn't sing a note" and never participated in anything beyond the photo session.
During the summer and fall, the Spaniels endured a grueling schedule of personal appearances. In January 1956, the quartet waxed five new tracks with "False Love" and "Do You Really" being released by month’s end. In March, Warren was drafted, leaving just three members. A permanent replacement was soon found in James "Dimples" Cochran, a singer in another group that had hoped to sign with Vee Jay.
This quartet soon hit the road with the Cavalcade of Vee Jay Stars package tour for shows in the Midwest, South, and West Coast. By April, they had reached Seattle and Hudson and Jackson were disconsolate. "I had gotten married and had a baby," remembered Hudson. "We were getting $100 apiece a week and had to pay our own transportation, our own meals, and expenses. We were making no money. We ran out of money for food." Jackson, whose wife was pregnant and unable to work, quit the group when they returned home and took a job in a steel mill. Hudson also quit and began working at General American in East Chicago, building railroad boxcars.
Gregory and Cochran, who had recently added first tenor Carl Rainge, realized quick recruiting and rehearsal was necessary to honor their performance schedule. Donald "Duck" Porter, a Chicago native who had grown up in Gary singing with Cochran, joined as second tenor right after graduating from Roosevelt High that month. "Everybody was gone and I had to keep the group going by myself," recalled Gregory. "So I got Dimp, Carl, and Donald." Porter and Rainge were already familiar with the group's material and the new Spaniels hit the road with Rainge singing lead. Without Hudson, however, their fans' reaction was mixed.
While away, Hudson went through a difficult time. He and his wife broke up and by his own admission, he drank heavily. He took a night shift job building boxcars in a local factory. "While I was working at the boxcar company, I went out and looked up at the stars one night during my (dinner) break and wrote 'You Gave Me Peace of Mind'".
On November 5, 1956, the Spaniels entered the recording studio for the first time in 10 months, but Rainge was ill and unable to sing lead. The group went to Hudson, asking if he would lead "Please Don't Tease", a new Otis Blackwell song. Hudson consented. At session’s end, Hudson led the group through "You Gave Me Peace of Mind" which he had first sung for the group in the back of their station wagon.
A stunning, spiritually-flavored ballad, "Peace of Mind", issued shortly after Thanksgiving 1956, marked Hudson's return to the group. Rainge remained as first tenor.
Although Hudson had written the tune, it belonged to Vee Jay president Jimmy Bracken. "I was in one of those binds in Gary with my first wife and the man told me I had to give (her) X amount of dollars, which I didn't have," Hudson explained. "So I went to Chicago (and) stopped at Vee Jay and told them I needed $50. At the time, you could get a hotel room for $21 for the whole week. They hemmed and hawed and so I said, 'Well, I'll sell you 'Peace of Mind', which I did to Jimmy Bracken. So I sold him 'Peace of Mind' and he gave me $50." An alternate take issued in 1993 indicates Hudson had originally intended a more obvious spiritual lyric, as he sings "He gave me peace of mind."
Billboard raved and by year's end the disc was a top seller in Chicago. With "You Gave Me Peace of Mind" doing well, the Spaniels, minus Gregory, returned to the studio in March of 1957. "Gerald had gone to jail," Hudson recalled. "He had a non-support charge and they sent him up for it. He had to do six months and we ended up doing 'Everyone's Laughing', 'I Lost You', and 'I.O.U.', without Gerald." Filling in on bass was Lester “Doc” Williams, a Gary native and friend of Rainge.
Released in April, the infectious, upbeat "Everyone's Laughing” featured a creative, tightly-knit background which blended magically with Hudson's lead and Williams' bass riffs. One of the hooks in the tune was the sung laughter conceived by "Dimples" Cochran. It peaked at #13 R&B and #69 pop that summer.
Recordings such as "Everyone's Laughing" and "Peace of Mind" demonstrated the technical superiority of the second Spaniels group. "The second group was more technical," Hudson agreed. "The first group kind of went by feel, but these guys knew their notes."
Despite the fact that the group had scored four national chart hits, the Spaniels were, essentially, broke. "'Everyone's Laughing' went on the charts," Hudson remembered. "And they came to us and told us 'somebody's counterfeiting this and that's why it's on the chart.' I really think they were trying to keep us in the hole.” Over a dozen of the group's recordings were credited, in part or in full, to Calvin Carter who wrote none of their material. These were management edicts; there were no negotiations. Hudson was in no position to argue. "I was in the bottle real heavy. I didn't remember day one from day two half the time. I'm sorry that if I hadn't, my mind would have been a little clearer and maybe things would have been different." "At that time, it was wine, women and song," agreed Gregory, who returned for the Spaniels’ July 1957 session.
"You're Gonna Cry", another of Hudson's fine lost love tales, was issued in September. "I always stayed in love, and one of them girls quit me, and so I put that together. It was nothing but my pride, that's all." Opening with a powerful low bass line from Gregory, "You're Gonna Cry" showcased the group's fine harmony with Porter's sweet high tenor.
In November 1957, Vee Jay scheduled another session but only one song, the uptempo "Crazee Baby", was cut. "Carl took ill and he was not on the session," Hudson recalled. "The one song we did was with Verne (Allison) of the Dells. He sang the top part." On February 27, 1958, they cut a doo-wop reworking of the classic, “Stormy Weather”. "The Cadillacs were singing 'Stormy Weather' but their company would not let them record it," explained Hudson. "(Josie Records) felt that it was like a shrine and they would be killing it. So all they did was sing it for us, and we took the same arrangement they had."
Vee Jay left "Stormy Weather" on the shelf until summer, opting to release two other titles in April. "Great Googley Moo" an uptempo novelty written by Hudson and Cadillacs' tenor Charles "Buddy" Brooks, was backed with "Tina". "There was a young girl I met in Philadelphia," Hudson explained. "She was about 15 or 16. I was coming out of the theater and she just walked up to me and said, 'My name is Tina, would you write a song about me?' And for some reason that just stuck. When I got back to Gary, I wrote the song called 'Tina'. As far as I know, I never saw her again."
While appearing at the Casbah Club in Washington, D.C. in early 1958, they were approached by Joseph Wallace of a gospel group called the Sensational Nightingales. Wallace had come up with a rocking variation of the Drifters' "What'cha Gonna Do" entitled "The Twist". Since they were strictly a spiritual group, the Nightingales never copyrighted the song and had no intention of recording it themselves. Wallace offered to sell it to the Spaniels. "The Nightingales gave it to us and we asked to come back to Chicago to cut the song," recalled Gregory. Vee Jay, however, felt it was too suggestive for the group and, instead, it wound up in the hands of Hank Ballard.
That summer, "Stormy Weather" became the Spaniels’ biggest seller since "Everyone's Laughing", racking up impressive regional sales and airplay despite missing the national charts. The group soon returned to the studio with a string of standards ready to record. "Those were tunes that we had wanted to do,” Hudson impressed. “Gerald wanted to do 'Heart and Soul'. 'Lovely Way To Spend an Evening' was Dimples Cochran's idea. 'People Will Say We're in Love' was Gerald's idea. He loved that song. These were tunes we wanted to do. Calvin Carter had nothing to do with them."
Gregory's bass-led "Heart and Soul”, the group’s next single, bore a strong resemblance to the Four Buddies' 1951 version and had been a part of the Spaniels’ stage repertoire since 1954.
After a string of southern club dates resulted in an extended recording hiatus, the Spaniels finally got back to the studio on August 27, 1959, cutting eight songs in a single-day session. The first two, "100 Years From Today" and "These Three Words", became the group's new single a month later. "While we were staying in Atlanta, a young man came to me with the tune - he had this arrangement," Hudson remembered of "100 Years From Today". "I've always liked it. I remember it from when I was a kid."
By mid-1959 the group's national tour bookings had ebbed, a result of diminished record sales. "Things got kind of slow," Hudson confessed. "We were doing some clubs and things around Chicago. In the summer of '59, we started going back to the Apollo, and we ended up in Washington through the Christmas season."
Gregory's version of Rodgers and Hammerstein's "People Will Say We're in Love" became the group's Christmas time release. In early 1960, the Spaniels began playing clubs in Washington, D.C. and Hudson decided to call the city home. Original first tenor Ernest Warren, eager to return, rejoined. "Ernest came out of the service and we had to find a place for him," stated Hudson. Rainge left shortly thereafter, soon followed by Porter and Cochran.
In turn, Hudson reorganized the group with three eager Washington vocalists. "They had been bugging me even when I had the group with me in Washington. These dudes were following me around. I guess they must have sensed something was happening. After we finished in one club, Dimp and Donald left. Carl had already gone. Gerald was there, and Ernest was there and myself. So I picked up Robert "Pete" Simmons, Billy Carey, and Andrew Magruder (former lead of the Five Blue Notes on Sabre). We ended up being the Spaniels and did 'I Know'."
"I Know", a catchy Latin-flavored calypso written by Luther Dixon broke onto Billboard's R&B chart on August 1, and peaked at #23 during a six-week stint.
Encouraged, Vee Jay issued the group’s second album, containing several previously unreleased tracks including "So Deep Within", a soulful ballad composed and led by Gregory and signed out by the bass as his favorite and finest effort. "It's my life," he stated. "It was the same feelings that keep coming back to me."
Despite recent successes, Vee Jay had run into financial difficulties and decided not to record the group again. In 1961, they shifted to Lloyd Price's Neptune label. By this point, Gregory had left the fold. He joined the Orioles and sang on the 1962 sides they cut for Charlie Parker Records. "Sonny Til called me and asked me if I could get a group together," recalled Gregory. "I told him to meet me in Philadelphia and he did." Gregory remained for a couple of years. In the late 1960s, he also spent some time bassing with an Ink Spots group.
The Spaniels' Neptune single, "For Sentimental Reasons"/"Meek Man", was issued in July of 1961. "Turn Out The Lights", also recorded for Price, appeared on Parkway the following April. Discouraged by a lack of success, the group dissolved and Hudson moved to Philadelphia. By the end of 1962, Price had decided to start another label and Hudson became one of the first artists signed.
That December, without an appointment, Hudson headed for New York to launch his solo career on Price and his manager Harold Logan’s Double-L imprint. "I was destitute then," Hudson admitted. "I was going to record so I caught the bus out of Philadelphia and when I got to New York, I had seven dollars. I called Lloyd and they had gone on Christmas vacation! So here I am in New York with seven dollars and I didn't know anybody. It was the week before Christmas, and I slept in Central Park. A paper kept me warm. I slept on benches. I'd walk to Union Station and change clothes. I'd go in the lockers down there and you could wash up in the place and it would cost me a quarter for the locker and things. I'd walk from there to 125th Street to see if I could run into anybody I knew. I truly had better times. But I had the faith that it was going to work out so I held onto it."
Intended as a solo recording, the session became a group effort. "Lloyd hired Richard Barrett to do the session," Hudson remembered. "Richard was managing the Imperials and he had them do the background. We ended up doing 'I Know, I Know' which Sammy Strain wrote. At that time, the Imperials, who had split from Little Anthony in 1961, consisted of tenors George Kerr and Sammy Strain, second tenor Ernest Wright and baritone-bass Clarence Collins.
"I Know, I Know" was issued by Double-L in the spring of 1963 credited to "Pookie Hudson and the Spaniels". The Imperials' tight, soulful harmony provided the perfect backdrop for Hudson's stirring lead. On May 25, it reached #96 during a one-week stay on Billboard's Hot 100.
"The killer part about that (was) after we did 'I Know, I Know', Lloyd Price and them sent me to Pittsburgh to do a hop for some disc jockey," remembered Hudson. "They don't give me any money. They put me on a plane. They think the disc jockey was going to give me money. The disc jockey thought they gave me money. Now they got this hotel they put me up in downtown. I never could understand why they got it for the week. They got me in this hotel and it's got a kitchen, it's got pots and pans and dishes and everything and I had no money. I didn't know the disc jockey so I couldn't call him. Lloyd Price had gone on vacation again. And here I am in Pittsburgh and I didn't know a soul. I just walked the street and I drank water for a whole week until they came back and sent me some money."
Down on his luck, Hudson ran into the Coasters while they were appearing at the Apollo in 1964. As old friendships were renewed, the group brought Hudson to Chase Records on West 144th Street where Hudson and the Coasters, Carl Gardner, Billy Guy, Earl Carroll, and Dub Jones, recorded as the Individuals. The unison-led "Wedding Bells", was backed with "Pillow Wet With Tears", featuring Hudson. Returning to Philadelphia, Pookie also cut a solo record for Jamie, "All The Places I've Been”.
In 1969, rekindled interest in the music of the 1950s led to the Spaniels re-emergence. Hudson, Simmons, Sonny West, Alvin Wheeler, and Charles Douglas re-recorded "Goodnight, Sweetheart, Goodnight" with strings, and “Maybe”, an unjustly overlooked soul gem, for Buddah Records. On November 29, 1969, they were featured at Madison Square Garden along with Bill Haley, Gary U.S. Bonds, the Five Satins, and Shep and the Limelites.
In 1970, Hudson, Simmons, and John Prowse launched their own North American label, issuing "Fairy Tales" which had been recorded at the "I Know, I Know" session in 1963. That fall, it hit #45 R&B, the Spaniels' sixth chart hit, a full ten years after "I Know".
In early 1974, Hudson reunited with Rainge, Porter, and Lester Williams to record "She Sang To Me", a contemporary soul remake of "Peace of Mind" and an acappella rendition of "Danny Boy", which were released on an extended play single by the Gary-based Canterbury Records. During the remainder of the 1970s and ‘80s, Hudson bounced between Gary and Washington, dividing his time between the Gary-based Rainge, Porter, Cochran, and Gregory group and his Washington-based Spaniels. In 1987, Hudson recorded a solo single, "Love Songs (On The Radio)", on his own Tacamtra label.
Over the years, the Spaniels went to court on several occasions in an effort to collect owed royalties. "I never lost the rights to 'Goodnite, Sweetheart'," Hudson explained. "They tried not to pay me for it. When the lawyers really started getting into these things, they came out with papers that said I sold all my songs for $50. They put all of my songs under 'Peace of Mind' saying I sold all of them for $50. I finally got a lawyer that killed that.” Until his death, Hudson still received songwriting royalties from his other songs, including "Goodnite, Sweetheart, Goodnite". In recent years, the Spaniels and their families have received performance royalties through Sound Exchange.
Despite the wrongs of the past, Hudson made his peace with Vivian Carter. "I was angry for a while. They had been having the hog and I was on
welfare, and they were living off my talent. But when she went into the nursing home and, as I got older, I realized when you hold grudges you only hurt yourself. You take away your life trying to hope that something happens to somebody else. So I went to the nursing home and we talked. She forgave me and I forgave her. I never looked back." Carter and Bracken divorced after Vee Jay went bankrupt in 1966. He died in 1972. She returned to WWCA as a disc jockey in the early 1970s and died of diabetic complications in 1989. Vivian, and her brother Calvin, who passed away in 1986, died without any of the riches that Vee Jay had reaped.
In February of 1991, the Rhythm and Blues Foundation honored the original Spaniels with its' Pioneer Award. Along with a plaque, they received a check for $20,000. Hudson, Warren, Courtney, Jackson, and Gregory reunited for the first time since 1955 for the ceremony although they did not perform. Still, the honor motivated four of the original members to regroup. Ernest Warren, who had been serving as a preacher for 15 years, declined. With a vacancy to fill, Hudson selected his boyhood friend from the Three Bees, Billy Shelton.
The reorganized Spaniels traveled to England in 1991. That August, they recorded two acappella songs for the Street Gold Entertainment Christmas CD, Street Carols. "Santa's Lullabye", arranged by Shelton and written by Hudson in tribute to his asthmatic daughter, was a superb showcase for the sweet harmonies of the new group. Hudson also co-wrote "Little Red Shoes" which former label mate Jerry Butler cut for the album. In 1992, they returned to England for another week of appearances with LaVern Baker.
"I'm always complaining about somebody putting out stuff behind my back," Hudson stated. "I said, 'Hell, it isn't fair, I need to join them.' They're making money, why can't I make money with what's mine? It tells you in the Bible that if you let people steal your talent, people will steal what's yours. And that's what happened. These people have taken our blessings and used them for their own." In November, 1992, the Spaniels recorded a full-length CD at the Chicago Music Complex. Released in June 1993 on the JLJ label, "The Spaniels 40th Anniversary 1953-1993", was a celebration of the group's history and a declaration of their enthusiasm and ability. Battling his lifelong addiction to alcohol, Gregory was away from the group at the time, subsequently returning in the spring of 1993.
When Hudson returned East in 1993, the Spaniels again regrouped. Hudson and Gregory teamed up with a Washington-based group, Sonny West, Moe Warren and Sonny Pate to sing as the Spaniels. Later, West was replaced by George Spann.
In 1994, former New York Daily News columnist Richard G. Carter authored a 200-plus page book on the group, Goodnight, Sweetheart, Goodnight Hudson recorded on two occasions in 1995, joining Jimmy Beaumont of the Skyliners, Drifters' bass Bill Pinckney, and Hank Ballard to record Beaumont and Joe Rock's "Christmas Isn't Christmas (Without You)" for the Street Carols II CD. The Washington-based lineup also recorded "Sloppy Drunk", originally recorded in 1953 but never issued, and "All The Places I've Been", first cut in 1964 as a Hudson solo for Jamie, for Classic Artists.
Despite the number of personnel changes over the years, the key to the Spaniels successful sound, the dynamic interplay between Hudson and Gregory amidst a strong harmonic background, remained intact for 45 years. During live performances, the colorful bass was the group's heart and soul. In 1997, the Spaniels appeared at a Maryland High School to entertain and answer questions. One teenage girl asked, "Is the bass singer married?"
In 1998, Gregory suffered a stroke and was diagnosed with a brain tumor. He and Pookie last worked together in New Jersey that November. On February 12, 1999, Gregory died at the age of 64. The Spaniels served as honorary pallbearers. Rev. Warren delivered one of the eulogies. "It's no secret that we had our differences over the years," Hudson told the crowd of about 200 at St. Paul Missionary Baptist Church in Gary, Indiana. "We didn't always see eye to eye, and we even parted ways for a while. But, I always considered Gerald my brother, and it hurts me real bad to see him lying here beside me."
Hudson, Courtney, Jackson, Shelton, Rainge, and guitarist Wilton Crump gathered in front of the casket to sing "Danny Boy" and "You Gave Me Peace Of Mind". Standing in front of Gerald's coffin, Pookie made several brief statements, finally admitting "I guess I'm prolonging this, but I just can't bear to see Gerald go." Crump played Gerald's familiar five-note intro to "Goodnite Sweetheart", and the group broke out into song. "Goodnight, my friend, it's time to go", they all sang. Reaching the "3 o'clock in the morning" verse, Pookie sang, "It's just about that last hour, and Gerald we hate to see you go, but we know the joy that you've found. Oh- you know I miss you so." Donations from the Rhythm and Blues Foundation and the member-supported United In Group Harmony Association helped defray funeral costs.
After Gregory’s death, Hudson worked tirelessly to keep the Spaniels’ name in the limelight. In 1999-2000, he made several appearances in Indiana with Courtney, Jackson, Shelton, and Crump. On most occasions, he worked with a Washington-based quartet, Steven Wade, Preston Monroe, Dexter Combs, and Wellington Robinson. They appeared in PBS’ 1999 blockbuster, Doo Wop 50 and a 2005 follow-up, Doo Wop Vocal Group Greats Live. In 2002, Hudson joined Bobby Lewis and Lewis Lymon on the Mad Hands CD, American Masters Sing The Blues.
Diagnosed with thymus gland cancer in 2004, Hudson never stopped looking toward the future. "I ain't gonna slow down until they start throwing the dirt in my face and say, 'you're through'," he declared. In 2006, Hudson and the group recorded three songs for Bill Carpenter’s Uncloudy Christmas, a 12-track various artists CD.
By fall 2006, Hudson’s cancer had progressed. Declining further treatment, he passed away at his Capital Heights, Maryland home on January 16, 2007 at age 72. His funeral was held at the Metropolitan African Methodist Episcopal Church in Washington where guests listened to Pookie’s last recording, “The Angels Watching Over Me”. The Washington-based Spaniels sang “Take My Hand, Precious Lord”. The Indiana Spaniels offered “You Gave Me Peace Of Mind”.
Opal Courtney died of a heart attack in 2008 and Carl Rainge passed away after a long illness in 2011. Reverend Ernest Warren left us in 2012. Today, Willie C. Jackson and Billy Shelton keep the sound of the Original Spaniels alive with new members.
Summing his career in the 1990s, Hudson was honest in his reflections. "I wrote most of the songs the Spaniels sang but it was not because I decided to become a songwriter 'cause I didn't know there was such a thing. We just needed material. I never recorded on that (commercial appeal) basis. I never thought about it again until it was out. If it reached Billboard or something they'd show it to me but I never thought about them that way. All I wanted to do was sing."