1975 – Happiness Emporium

Tenor: Bob Dowma
Lead: Rod Johnson
Bass: Jim Foy
Bari: Bob Spong

The Happiness Emporium, 1975 International quartet champions, is living proof that experience pays off.

The “Emporium” members averaged 37 years of age when they won gold medals. Their collective experience, even before they came together for the first time in 1972, included participation in 24 international contests and with three district champion quartets, plus four USO tours to the Pacific.

So they decided to put it all together and go for the gold. As The Harmonizer reported in January 1976, “It was a hand-picked quartet. They picked each other…” All from the Twin Cities of the Land O’ Lakes District, they were Bob Dowma, tenor; Rod Johnson, lead; Bob Spong, baritone; and Jim Foy, bass.

They recognized, of course, that know-how alone would not do the job. They dedicated themselves to their goal as probably few other quartets, before or since, have done. They scheduled rehearsals or performances at least three times, and often four or five times, a week. One stopped smoking. They took up jogging, aerobics and dieting.

They continued voice lessons under Jeanne Traun, one of the top vocal teachers in the country, and began working with noted quartet coach Don Clause.

At the same time, they never gave up the fun. As audiences throughout the nation learned, the Happiness Emporium was one of the most aptly named quartets around, spreading laughter and happiness wherever they appeared.

Seven months after formation they placed 24th at the contest in Portland. The next year they were 9th, and in Indianapolis in 1975 they leaped to the gold.

When Bob Spong retired from the quartet in 1983, Dick Treptow sang with them until 1987, and then Rick Andersonreplaced Dick on bari.

They continue singing today and are one of the most active of our gold medals champs. They also perform as The Good News! Gospel Quartet, have released several popular CDs and host an outstanding Gospel Sing at every BHS International convention.

1974 – The Regents

Tenor: Harry Williamson
Lead: Joe Mazzone
Bass: Hal Kauffman
Bari: Ron Knickerbocker

When the Regents won the international quartet championship at Kansas City’s 1974 contest, it may have seemed to some that they had an easy road to the gold. It was their fifth international contest, and they had placed third on two previous tries, in 1972 and 1973.

But collectively tenor Harry Williamson, lead Joe Mazzone, bari Ron Knickerbocker and bass Hal Kauffman had logged 44 years of experience in nearly 25 different quartets. They lived in four different (albeit small and neighboring) states. And they comprised a quartet that had evolved through four editions since it was formed in the mid-1960s.

Harry was the only member who lasted through all four versions. In 1970 he teamed up with Ron (then a lead), Hal and Dave Reed as bari. When Joe left his previous quartet, the Exclusives, in 1971, to take the lead spot, Ron moved to bari.

Interestingly, Hal had been a tenor (and even, at one time, a boy soprano) until a few years before, when Harry persuaded him to switch to bass of a previous quartet so that he, Harry, could sing tenor.

The combination, complete with the various part switches, proved the winning one, as the Regents made their “rapid” climb to the gold.

 

1973 – Dealer's Choice

Tenor: Al Kvanli
Lead: Bill Thornton
Bass: Gary Parker
Bari: Brian Beck

In 1973 four dedicated, determined young men from Dallas, with two years of grueling, almost daily work behind them, “came out of nowhere” in Portland to win the international title on their first try.

The Dealer’s Choice thus became the first quartet in 21 years (since the Four Teens in 1952) to collect the gold in its first international competition (a feat also duplicated by Acoustixin 1990). They were (from top to bottom) Al Kvanli, Bill Thornton, Brian Beck, and Gary Parker.

The championship was the goal they had set for themselves in 1971, and with one change of personnel (Bill moved from bari to lead, replacing Louie Mullican, when Brian arrived), they made it in less than two years.

Ten weeks after Brian joined the quartet it placed fifth – out of the money – in the 1972 international prelims. It was the last contest the D.C. would fail to win. They passed up the international contest in Atlanta that year to attend a Society HEP (Harmony Education Program) school in Racine, WI.

They came back raving about the talents of Harlan Wilson, Don Clause and other faculty members, and with 54 hours of cassette tapes of their training sessions. Rehearsing over and over the HEP school techniques, they won the Southwestern District contest in October 1972 and the international prelims in March. Then the work intensified – a minimum of one rehearsal each day of the contest songs, each run-through timed by stopwatch. They lived with their contest material 24 hours a day.

In Portland they “followed the book” – bypassing the fun and late hours, rehearsing steadily, keeping their voices in shape (and drawing curious glances from other contestants) by speaking seldom and humming constantly into small hand towels.

It all paid off, as the retiring champs, the Golden Staters, hung gold medals around the necks of the “unknown” Dealer’s Choice.

 

1972 – Golden Staters

Tenor: Gary Harding
Lead: Milt Christensen
Bass: Mike Senter
Bari: Jack Harding

The long road to the gold by southern California’s Golden Staters, 1972 quartet champions, was marked by a number of “firsts”.

They were the first foursome ever to win all five medals (although the Boston Common later duplicated this feat), the only one to place in every position from seventh to first, and certainly the only quartet to compile this enviable record with three different leads: Jim Meehan,Ken Ludwick and finally Milt Christensen.

Organized in 1960, the original quartet consisted of tenor Jack Lang, lead Joe Rook, bari Buddy Yarnell and bass Mike Senter.

Through dozens of personnel changes over the next few years, Mike was the only member who remained, and all the others freely acknowledged him as the leader, composer-arranger, musical director and in-house coach of the Golden Staters.

The composition of the quartet stabilized somewhat in late 1961 with the return of brothers Gary and Jack Harding (their second “tour of duty”) as tenor and bari, respectively. But it was 1970 before Milt Christensen was transferred by his company from Salt Lake City to California, and he became the final GS lead. Milt had been lead of the Salt Flats, one of the nation’s most popular comedy quartets, which decided early in 1970 to retire the pitch pipe.

Milt was the lead in New Orleans in 1971 when the Golden Staters placed third (for the second time), and he was on hand the next year in Atlanta to help them win the gold.

 

1970 – Oriole Four

Tenor: Bob Welzenbach
Lead: Jim Grant
Bass: Don Stratton
Bari: Fred King

The real beginning of the Oriole Four, 1970 International champion quartet, was in 1951 outside a Baltimore high school – although no one, of course, knew it at the time. That’s when students Fred King and Jim Grant first met, discovered they had a mutual fondness for harmony and sang an impromptu duet. They joined the Society a couple of years later, found two other students who liked to harmonize and formed the Deacon Four, with Jim on lead and Fred on baritone.

The quartet, with occasional personnel changes, was still getting together now and then after its members had graduated, and in 1956 the name was changed to the Oriole Four. Bass Don Stratton came along in 1957; tenor Bob Welzenbach joined the others in 1958, and a winning combination was solidified.

All were members of the Dundalk, Maryland chapter, and three weeks after their first rehearsal they won the Dundalk Open and later the Chesapeake Bay Open. It was in 1958 also that they met Bob Loose, who was to become their permanent coach and close friend. After working with him for only three months, they won the Mid-Atlantic District championship.

But then the hills got steeper. Although they placed eighth in their first international competition in 1959, it would be 1965 before they again reached the finals and ’69, in St. Louis, before they won their first medal, a fourth-place bronze. But the next year, in Atlantic City, 12 years of work and dedication paid off, and the Oriole Four were the new champs.

 

1969 – Mark IV

Tenor: Franklin Spears
Lead: Al Koberstein
Bass: Morris “Mo” Rector
Bari: Dale Deiser

Luck and the US Government – combined, of course, with the well-known Rector talent – won Morris “Mo” Rector his second International gold quartet medal in 1969.

San Antonio’s Mark IV was the champion that year, and C.O. Crawford had been the bass of the quartet from its beginning. He sang along side tenor Franklin Spears, lead Al Koberstein, and bari Dale Deiser when they placed third in Los Angeles in 1967. Although he barely made it, C.O. sang with the quartet when they won the Silver Medals in Cincinnati in 1968.

You see, C.O. was a U.S. State Department employee, subject to being sent on short notice to the Mideast or some other trouble spot for a few weeks or a few years. Mo, who had won his first medal with the 1958 champs, Gaynotes, usually filled in for C.O. on shows while he was gone.

In 1968 C.O. made it back from Jordan just one day before the Southwestern District prelims contest, qualified with the quartet, and went on to win a silver medal in Cincinnati. A week later Uncle Sam called again. The message this time: “Two years in Morocco!”

So Mo was the bass at the 1969 prelims and again when the Mark IV won the championship in St. Louis in July.

C.O. later returned, Mo left, and the quartet filled engagements for several years before disbanding. Most of the guys went on to sing in other quartets or to even greater accomplishments – especially Franklin Spears, who became Chief Justice of the Texas Supreme Court.

 

1968 – The Western Continentals

Tenor: Al Mau
Lead: Ted Bradshaw
Bass: Phil Foote
Bari: Paul Graham

A funny thing happened to the Western Continentals on their way to the 1968 International championship. In 1965, only a year after they first got together, Dr. Curt Kimball, Ted Bradshaw, Paul Graham and Terry Diedrich placed eighth in the International competition.

Shortly thereafter Curt, the tenor, was called to service in the Vietnam war, and was replaced by Al Mau. They dropped to 21st in 1966.

The quartet traveled to the Society’s Annual Convention in Los Angeles in 1967, not only with Al, but with a new bass, Phil Foote, replacing Terry. They won the 2nd place silver medals. The next year, in Cincinnati, they captured the GOLD.

If a native Arizonan still lived in Phoenix in the 1960’s, he certainly wasn’t a member of the Continentals. Al was from Wisconsin, Ted from Ohio, Paul from Michigan, and Phil from Detroit (by way of El Paso, thanks to the Air Force).

The quartet was “on again, off again” for a decade after winning the championship. Al moved to California in 1971 and was replaced by Frank Friedemann, but they disbanded in 1972. Phil had also left, but by 1973 both he and Al were back, and the Continentals resumed shows until a job transfer took Phil away once again. He returned a second time in 1977. The the quartet hung up the pitch pipe for good in 1979.

 

1967 – The Four Statesmen

Tenor: Frank Lanza
Lead: Dick Chacos
Bass: Don Beinema
Bari: Richard “Doc” Sause

It’s not unusual, with today’s modern highways and plane connections, for members of a quartet to live some distance apart. But in the mid-1960s, when the Four Statesmen were working their way toward the 1967 International championship, it was almost unbelievable that a quartet could live in four different states.

Yet such was the case for tenor Frank Lanza, Providence, Rhode Island; lead Dick Chacos, Nashua, New Hampshire; bari Richard “Doc” Sause, Meriden, Connecticut; and bass Don Beinema, Worcester, Massachusetts.

Twice weekly they drove a total of 800 miles to rehearse. What’s more, they continued the long distance harmonizing from the time the quartet was organized in 1963 until it disbanded at the end of 1978 – a total of more than 15 years.

The Statesmen were all “old pros” in the barbershopping world when they first got together. Frank had been a member for 17 years and had sung in four quartets from three chapters. Dick Chacos, a 14 year veteran, had made the International finals five straight years, 1959 through 1963 with his quartet, the Merry Notes. Doc Sause had been a member for 22 years and had sung in both chorus and quartet competition on the International stage – in the latter case with the Connecticut Yankees. And Don had been a member of three different quartets in his 12 years with the Society before joining the Statesmen.

 

1966 – The Auto Towners

Tenor: Al Rehkop
Lead: Glenn Van Tassel
Bass: Carl Dahlke
Bari: Clint Bostick

Several famous foursomes, and even a barbershop quartet among them have gone on to have distinguished professional careers (the Hi-Lo’s, Four Freshmen and Osmond Brothers, for example). The Auto Towners, 1966 International champions from the Detroit area, decided they would seek out at least one of their members from a professional singing group.

Baritone Clint Bostick in the early 1950s was with the “Spellbinders,” a mixed quintet that sang for two years on the Patty Paige television show, appeared for 13 weeks each on the Vic Damone and Tony Bennett shows and sang for 17 weeks with Judy Garland at the Palace Theater in New York City. Female soloist of the Spellbinders was Renee Craig. Clint introduced his wife, Bobbie to Renee and they soon formed the Cracker Jills, who would claim the 1957 Sweet Adelines quartet championship. Thus Clint and Bobbie became the first husband and wife team to win gold medals in both the men’s and women’s organizations.

Don Bagley became the second when Don’s quartet, the Chiefs of Staff, won in 1988. In 1985, Don’s wife, Carol Ann won her crown with the 1985 Sweet Adeline Queens, Jubilation.

It was two other members of the quartet, however – lead Glenn Van Tassel and tenor Al Rehkop who would go on to make further headlines in the barbershop world. Both won their second gold medals as members of the Gentlemen’s Agreement, 1971 champions.

Rounding out the Auto Towners was bass Carl Dahlke, an 11-year barbershopper who had sung in several quartets and directed the Chordomatic Chorus to the Pioneer District championship in 1965. The Auto Towners continued to thrill audiences throughout the nation until their retirement at the end of 1969.

 

1965 – The Four Renegades

Tenor: Warren ‘Buzz’ Haeger
Lead: Ben Williams
Bass: Tom Felgen
Bari: Jim Foley

Every gold medal quartet crowned by the Society in its 50-plus year history has been a great one. A handful – the Schmitt Brothers, Confederates, Suntones and a few others – went on to become legends. The Four Renegades, 1965 champions, was one of the legends.

Organized in 1957 for the Illinois District contest, the Renegades originally consisted of Jim Foley, bari; Joe Sullivan, lead; Warren “Buzz” Haeger, tenor; and Tom Felgen, bass. Joe left the quartet in 1963 and was replaced by Ben Williams. For the next 14 years, by personal appearances, radio, TV and records, they would bring pleasure literally to millions.

In their climb to the top they had paid their dues: Ninth in Dallas in 1960, seventh in ’61, third in ’62 and ’63, second in ’64. Finally, in 1965 in Boston, The Renegades heard the announcement they had worked so hard to earn – gold medalist.

1964 – The Sidewinders

Tenor: Jerry Fairchild
Lead: Joe Daniels
Bass: Jay Wright
Bari: Gene Boyd

Saturday, June 27, 1964, undoubtedly was the happiest day in the history of the Riverside, CA chapter. On that day the Riverside Citrus Belterschorus won 5th place bronze medals in its first International competition. And four chapter leaders, a group known as the Sidewinders, became the new International quartet champions.

Some championship quartets, by necessity or by choice, have not always been strong members of the chapters to which they belonged. Not the Sidewinders. Tenor Jerry Fairchild had long been the Chorus Director. Lead Joe Daniels had been Chapter President and was about to be named to that post again. Bass Jay Wright was three-term Chapter Secretary. Bari Gene Boyd was past Chapter Membership Vice President, Show Chairman, and perennial committee member.

The Sidewinders immediately became popular ambassadors of the Society. They made two major network appearances two days after winning the gold medals. A crowd of 2,000 greeted them at their first engagement as champions in California. For the next eight years they sang from coast to coast and from Maine to Mexico.

The Sidewinders stopped accepting engagements as of June 1969, but they emphasized they would continue to sing together from time to time “for our own amusement and amazement.”.

1963 – The Town and Country Four

Tenor: Leo Sisk
Lead: Larry Autenreith
Bass: Ralph Anderson
Bari: Jack Elder

After winning the 1958 Johnny Appleseed District Quartet Championship and a third-place International bronze medal in 1959, the Town & Country Four distinguished itself as the first Barbershop Harmony Society-quartet to go on to win its gold medals after having won three consecutive silver (second-place) medals in the years 1960, ’61 and ‘62.

That means the quartet placed in the top three medalist positions five times; more than any other Society-quartet to date. The T&C4 was also the first champion to win “internationally,” since the 1963 convention was held in Toronto, Canada for the first time in the history of the Society. The Society’s first Champion-quartet was “crowned” in 1939, so the T&C4 coincidentally became the Society’s twenty-five-year Silver Anniversary Champions; serendipitous after having won three consecutive silver medals. One of the quartet-greats of the early 1960s, the Town and Country Four’s trademark Larry Autenreith arrangements gave the quartet its identity in competition with its contemporaries; other great quartets like the Suntones, Gala Lads, Sidewinders, and Four Renegades. In 2013, we celebrate the fiftieth anniversary of the quartet’s 1963 International Championship at the Society’s seventy-fifth International Convention in Toronto, Canada, the same city where the quartet won the gold.

After the original foursome disbanded at the end of 1964, they tried several different combinations – between Leo Sisk and Ralph Anderson, and between Larry Autenreith and Jack Elder – until the beginning of 1966, and then retired the T&C4 name altogether. However, the Society would see a continuation of various Johnny Appleseed District Quartet Champions and international representatives in succeeding years. Prior to the Town and Country Four, Leo and Jack had sung together in the early 1950s combinations of the Maestros and Gateway Four; both JAD quartets.

After the retirement of the Town and Country Four, tenor Leo Sisk went on to become a JAD Quartet Champion in the 1968 Point Four, 1975 Road Show, and 1983 Harmony Partners. Those quartets, along with the Golden Touch totaled eleven trips to international competition, including two top twenty finishes. In 1987, one of those included Leo’s son, Mike, lead of the Harmony Partners. Leo also sang in The Alumni; JAD Seniors Quartet Champs from 1991 through ’97, a three –time International Seniors Silver medalist. Leo passed away January 2nd of 2003.

Lead Larry Autentreith was credited as a genius-arranger, and he went on to become a JAD Quartet Champ in the 1967 Travelers and 1975 Road Show quartets. Both foursomes had finished in the top twenty, earning semi-finalist rank (Travelers 1967-68 and Road Show 1976), and Larry earned quarter-finalist rank in the Golden Touch. After moving out west in 1976, he directed the Tucson Sunshine Chorus, and sang in a competing quartet in the FWD. Larry passed away July 8th of 1992.

Baritone Jack Elder was first inspired by his father, Pete Elder, baritone of the prestigious medalist quartet from the 1940s, the Westinghouse Quartet, which had earned every one of the top five medals except gold. Jack was the spokesman for the T&C4, and was known for his joke-telling. He went on to sing with a later formation of the champion Pittsburghers, renamed “The Pittsburgh Four” from the late 1960s until the late 1970s. Jack passed away November 18th, 1986.

In the early 1950s, Bass Ralph Anderson began singing barbershop harmony after being introduced to the Pittsburgh Chapter by Bill Conway bass of the 1948 International Champion Pittsburghers. He was quickly approached by Leo, Larry and Jack to be their bass singer. Known for his huge, resonant, deep voice, Ralph was featured on several T&C4 solos, including Old Man River, Johnny Appleseed, Lucky Old Son, and Wanderin’. Once the Town and Country Four had officially retired the use of the name in 1966, Ralph retired from barbershop singing altogether. He passed away February 27, 1976.

 

1961 – Suntones

Tenor: Gene Cokeroft
Lead: Bob Franklin
Bass: Bill Cain
Bari: Harlan Wilson

A young Florida quartet crowned as International champion in Philadelphia in 1961 was destined to become one of the most popular, active and long-lived in the Society’s history: the Suntones. Formed less than three years earlier, the quartet sang for over 25 years, averaging 40 annual shows – more than 1,000 performances. It produced ten record albums and pioneered such show-business touches as individual microphones and a tall stool for each singer. 

Original members of the quartet were Gene Cokeroft, tenor; Bob Franklin, lead; Bill Wyatt, bari; and Bill Cain, bass. Harlan Wilson replaced Wyatt before they won the championship, and that foursome stayed together until Drayton Justus, former lead of the Gentlemen’s Agreement, took over the lead slot when Bob retired in 1980. 

Next to the Buffalo Bills of The Music Man fame, the Suntones probably were the Society’s best-known quartet, thanks mainly to their long run on Jackie Gleason’s television show of the ’60s. The quartet made numerous appearances and worked behind the scenes, providing background music and other services, for as long as the show originated from Miami.

1940 – The Flat Foot Four

Tenor: Johnny Whalen
Lead: Britt Stegal
Bass: Sam Barnes
Bari: Red Elliott

The Flat Foot Four was organized in the Oklahoma City Police Department by the Mayor, O. A. Cargill, in 1923. The quartet’s personnel changed many times over the years, but Johnny Whalen was always the tenor.

The original foursome was Whalen, lead Frank Sheppard, Roland Cargill, the mayor’s brother, on baritone, and bass Bill Parrish. The quartet made their first public appearance at a meeting of the Oklahoma City Chamber of Commerce.

Losing and replacing an average of one man per year, the quartet was still functioning in 1939 when Whalen, with Britt Stegal, lead, baritone Granville Scanland, and bass Sam Barnes competed against some 20 quartets at the first SPEBSQSA national contest in Tulsa and came in third.

In the summer of 1940 at the New York World’s Fair, with Red Elliott in the baritone spot, the Flat Foot Four copped the championship from a field of 200 entrants.

 

1939 – Bartlesville Barflies

Tenor: George McCaslin
Lead: Harry Hall
Bass: Herman Kaiser
Bari: Bob Durand

In 1937 the American Legion in Bartlesville, Oklahoma decided to put on a minstrel show. New in town, a wiry little man by the name of Harry Hall who was born and raised in England, had produced a minstrel show in Pawhuska, OK so he got the job of putting this show together.

All the men in town were invited to participate and sing. Having some experience with singing close harmony, George McCaslin was appointed as committee of one to come up with a quartet. Just like that – abracadabra.

McCaslin listened around and discovered that one of the minstrel end men, Herman Kaiser, was doing a good job of putting the bass to the choral songs. Harry Hall volunteered to sing tenor but as chairman of the quartet committee, McCaslin made Hall sing the lead part and took the tenor for himself. Someone suggested that there was a young, just-out-of-college baritone down at the First National Bank.

With the usual skepticism of a quartet man searching for a good baritone, McCaslin dropped in to have a look at Bob Durand and invited him to a quartet rehearsal. Their first session sounded good; the resulting Bartlesville American Legion Minstrel Quartet was the hit of the show.

The following year, O. C. Cash was looking for a quartet to sing at the state teacher’s convention in Tulsa and asked McCaslin if his quartet was available. They were willing to sing and O. C. informed the local newspaper. Cash told a reporter covering the story that the quartet was called the Bartlesville Barflies.

Owen Cash not only founded the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America, but he named what would turn out to be its first championship quartet.

 

1960 – The Evans Quartet

Tenor: Turk Evans
Lead: Pres Evans
Bass: Jack Evans
Bari: Gene Smith

Trivia question: What quartet sang Lindy, Lucky Lindy for Charles A. Lindbergh in 1927 and, with a couple of personnel changes, was still singing as an International champion 50 years later? Answer: the Evans Quartet of Salt Lake City, the 1960 gold medal winners.

The song was delivered to Lindberg as he was making a triumphal tour of the country flying his “Spirit of St. Louis.” During the parade in Salt Lake City, when his motorcade passed by, four young brothers, ages 7, 9, 11, and 13, stepped out from the curb to sing, in full barbershop harmony, the popular song. Lindbergh ordered the car stopped, listened to the song, thanked them and shook their hands.

The brothers were Turk, Pres, George, and Clarence Evans. Thirty-three years later, when the Evans Quartet won the gold in Dallas, the quartet was composed of Turk, tenor; Pres, lead; younger brother Jack, bass; and Gene “Smitty” Smith, baritone.

Jack at age nine had ousted big brother Clarence, and Turk, Pres, George and Jack continued to sing as a quartet until 1940. Then Al Nielsen stepped in for George to sing bass through the 1957 International contest in Los Angeles. When he left, the brothers switched voice parts (Jack from lead to bass and Pres from bari to lead) and brought in Smitty as bari.

With a couple interruptions, the quartet continued active for the next ten years. Bob Evans (a cousin) replaced Smitty in 1971. The same combination (Turk, Pres, Bob and Jack) got together again later for a production of The Music Man in Salt Lake City. That was in 1980 – just 53 years after Turk and Pres had sung for “Lucky Lindy”

1959 – The Four Pitchikers

Tenor: Larry Hedgepeth
Lead: Keith Keltner
Bass: Joe Delzell
Bari: Keith Young

From a high school in the heart of the Missouri Ozarks to the winners’ circle onstage of the Civic Opera House in Chicago is an even longer trip than the miles indicate. The Four Pitchikers made it, though, in 1959, to become International quartet champions. But they might never have arrived if it hadn’t been for a chance, once-in-a-lifetime involvement with a man who was to become one of the Society’s leading arrangers and coaches.

The original Pitchikers, natives of two tiny farming communities in southwest Missouri, were high school students; Larry Hedgepeth, Keith Keltner, Keith Young and Johnny Marriott. Bitten by the barbershop bug, they joined the Heart of the Ozarks chapter and competed at a couple of district contests while still in school. They called themselves the Teen Tuners.

At about that time (around 1950) another chapter member with a lot of musical talent was trying his hand at writing barbershop arrangements. But he couldn’t find a combination of voices that “played back” the songs to his satisfaction. The arranger’s name was S. K. Grundy. The Teen Tuners graduated, and Johnny left to take a job elsewhere.

It occurred to S. K. that the two Keiths and Larry, plus an experienced bass, might prove the combination he was seeking. He coaxed Joe Delzell from another quartet to join what then became the Pitchikers. The rest is history.

With Grundy’s coaching and arrangements, the Pitchikers won bronze medals in 1956 and ’57, took the silver in ’58, and the gold in 1959. S. K. Grundy went on to coach other quartets and became on of the Society’s best-known, most prolific and most respected arrangers

1957 – Lads of Enchantment

Tenor: Don Pitts
Lead: Dan Aycock
Bass: Gil Wallace
Bari: Carl Wright

While some quartets continue singing for years as International Champions, others are forced, for one reason or another, to “hang up the pitch pipe” soon after winning the gold. The Lads of Enchantment, 1957 winners, was one of the latter.

And yet tenor Don Pitts, lead Dan Aycock, bari Carl Wright and bass Gil Wallace, all from Albuquerque, left their mark in some areas as indelibly as did the Suntones.

How many quartets since then, for example, have sung Hal Staab’s There’s a Rose on Your Cheek or Ro-Ro-Rollin’ Along, borrowed from the Sweet Adelines’ Big Four Quartet and arranged by Floyd Connett? The “Lads” introduced both songs. When they sang what they thought was Frank Thorne’s version of Love Me and the World is Mine, Frank asked THEM for the arrangement.

They proved, also, that at least for two successive years, they were the best in their league. In the 1956 International preliminary contest, they qualified although losing to Lou Laurel’s Desertaires.

In Minneapolis they won third-place medals, while the Desertaires placed ninth. The following year the Gaynotes beat them in the prelims. But in Los Angeles the Lads took the gold, and the Gaynotes had to wait until 1958.

Don Pitts dropped out of the quartet after its championship year, and the others decided to disband

1954 – The Orphans

Tenor: Bud Bingham
Lead: Bob Groom
Bass: Jay Bond
Bari: Pete Tyree

“We probably had the shortest reign on record,” laughed Pete Tyree, baritone of the 1954 international champion quartet, the Orphans of Wichita, Kansas. But during their championship year – and especially in the 24 hours following their winning of the Landino Trophy – they may have made as many Americans aware of barbershop harmony as any quartet in history.

On Sunday evening, June 13, 1954, they appeared on Ed Sullivan’s famed Toast of the Town television show in New York City. An estimated 24 million viewers watched tenor Bud Bingham, lead Bob Groom, bass Jay Bond, and Pete Tyree. They heard Sullivan say the other performers – the dance team of Mata and Hari, Janis Paige, Johnny Rait, and Victor Borge – were applauding vigorously in the wings.

The quartet, organized in the early 1950s, made only one change of personnel, when Pete replaced the original bari in August 1953. Although they had competed once before at the international level, they did not make the semi-finals.

But in 1954 they zoomed from obscurity to the championship. Like all champions, the Orphans made numerous appearances during the year following their victory, but they broke up in the winter of 1955.

Jay moved to North Carolina and then back to Wichita, where he sang with the Cavaliers. Pete went to Colorado Springs, where he directed the Pike’s Peak chapter chorus for many years and sang with a quartet called the Pusillanimous Posse. Bud and Bob also left Wichita.

1953 – The Vikings

Tenor: Bob Maurus
Lead: Bruce Conover
Bass: Bob Livesay
Bari: Bob Lindley

Bob Lindley, baritone; Bob Maurus, tenor; Bruce Conover, lead; and Carl Stuhr, bass were all ex-service men who liked to do a little harmonizing. All four were attending Augustana College in Rock Island, IL on the GI Bill. The year was 1946. They decided to form a quartet and made their first public performance at the college the following spring. Soon they were singing for churches and PTA meetings as well as at college gatherings.

They joined the Rock Island chapter of the barbershop harmony society in 1947 and sang in their first district contest that fall, placing third. With $25 donated by the mayor, another $25 from a local radio station, and $50 from various friends, the quartet was able to attend the international convention in Buffalo in 1949.

Bob Livesay joined the quartet as bass in 1951 when Stuhr moved out of the area and the foursome became Illinois District Champions. Livesay had sung as a high school student in Moline and was an experienced quartetter.

The following year, the Vikings placed second in international competition. The quartet won the championship in Detroit in 1953 after having sung seven songs in competition. They were asked to sing an extra song after a hail storm falling on a metal auditorium roof made it impossible for the judges to hear the quartet.

The Vikings made appearances at New York’s Carnegie Hall, the Chicago Opera House, and Philadelphia’s Academy of Music in addition to many chapter shows. At one point, the quartet had its own airplane.

They disbanded in 1955 when Conover returned to active duty in the Air Force. Livesay later sang with Max Lauser, tenor, and Jack Moore, lead, and Maurus moving down to bari. That foursome, the Vi-Counts, became Illinois District Champion in 1958 and placed in the top ten in international competition in 1959.

 

1952 – The Four Teens

Tenor: John Steinmetz
Lead: Jim Chinnock
Bass: Don Cahall
Bari: Don Lamont

The Four Teens originated in the Eau Claire, WI Chapter in September 1949. Three members – Jim Chinnock, lead; Don Lamont, baritone; and Gene Rehberg, bass, were high school students; the fourth, tenor John Steinmetz, had graduated the previous year.

On January 8, 1950 the four young men plus a friend, Mike Egan, enlisted in the Air Force. They had decided to try to keep the quartet together and enlist as a group. The five were sent to Lackland Air Force Base near San Antonio, Texas for boot camp. There, bass Gene was found to have a foot problem and was given a medical discharge.

It looked like curtains for the quartet. They were scheduled to appear on a show built around Bob Hope and on the night before the show they found a new bass, Don Cahall from Cincinnati. They sang on the show and came to the attention of Dr. Norman Rathert, who had served as the Society’s third international president in 1941. Rathert, from St. Louis, was helping one of the generals at Scott Air Force Base in Illinois stage shows for military entertainment. At Rathert’s request the Four Teens were assigned to Special Services at Scott, making it possible for them to rehearse six to eight hours each day.

The quartet entered the Central States District contest in 1951 as representatives of the St. Louis Chapter, and won. Requests began for performances on chapter shows and at other Air Force bases. In June 1952, the four were crowned Society champions in Kansas City.

They were the second successive quartet to win its first international contest and the youngest quartet ever to reach the top spot; Chinnock was 19 and the other three were 20. As military personnel, the quartet would not ordinarily have been allowed to leave to appear on chapter shows. However, an agreement was reached between the Air Force and the Society to allow bookings on chapter and military shows, with arrangements to be handled by the quartet’s ” business agent, bodyguard, nursemaid, and general factotum,” Mike Egan.

After their championship year, the Four Teens toured military posts throughout the world with an all-Air Force show called Tops in Blue. They also made an appearance on Arthur Godfrey’s television show. All four quartet members were discharged in 1955.

1951 – The Schmitt Brothers

Tenor: Joe Schmitt
Lead: Fran Schmitt
Bass: Jim Schmitt
Bari: Paul Schmitt

Joe, Jim, Paul, and Fran Schmitt began singing together as a quartet in September, 1949 at their mother’s home in Two Rivers, WI. Two months later a local businessman and international president of the Barbershop Harmony Society, O.H. “King” Cole, heard them singing and invited them to visit the nearby Manitowoc chapter.

The brothers soon became members. The quartet received a great deal of help from two men in the chapter. Milt Detgen, the chorus director, arranged many of their songs and John Means, later to become president of the Society, became one of their coaches. In 1950 the quartet became Land O’ Lakes District champion. The brothers had made only about five public performances at the time.

While preparing for the international preliminary contest the following spring, they met Rudy Hart, another man who assisted them for many years as coach and arranger. Selected as one of four quartets to represent the district at the international contest in Toledo, the Schmitts began rehearsing at least once each day, met with Means three days per week, and learned two more songs.

In the semifinal contest round they sang in last position and earned a standing ovation. They won the international contest and the hearts of the audience.

Being a new quartet, they were in need of a repertoire. They went home and learned 20 songs before their first barbershop show in September. During their championship year the Schmitt Brothers sang 110 performances including the Ed Sullivan network television show and the Arthur Godfrey show.

In 1952 they made a two-week USO tour of military installations in Alaska.

In 1956 the Schmitts were featured in a color filmstrip explaining the Voice Expression judging category, produced by the Society. The production received an award as the best instructional film of the year.

Each year the quartet sang on a show produced by the Society’s Association of International Champions (AIC).

At the 1966 convention in Chicago the four brothers rented a bus and loaded their wives and 32 children aboard. All 40 of them appeared on stage at the AIC show.

The quartet became active as teachers at district and international schools and clinics. In 1980 the Schmitts received an award from the Wisconsin Music Educator’s Conference for outstanding service to school music.

The Schmitt Brothers from Two Rivers entertained barbershop audiences for 34 years, traveling more than two million miles and appearing on nearly 3,000 shows.

 

1950 – The Buffalo Bills

Tenor: Vern Reed
Lead: Al Shea
Bass: Bill Spangenberg
Bari: Dick Grapes

In 1945 a quartet called the Barber Shop Four had a radio program that aired every Sunday at 12:45 in Buffalo, NY. Al Shea sang lead; the other quartet members were Bill Delfield, tenor; Ross Davis, bari; and Ralph Bone, bass. The group made many appearances at USO shows and war bond drives in the area. Two years later, Shea and baritone Hershel Smith were ready to start a new quartet. They invited tenor Vern Reed and bass Bill Spangenberg to Smith’s house to do some singing. Reed and Spangenberg were not Society members at the time.

As an unnamed foursome they began singing for community groups. During an appearance at the Buffalo Quarterback Club they were introduced as the Buffalo Bills and the name stuck.

The quartet had an inauspicious beginning in international competition, placing 16th at Oklahoma City in 1948. However, they became district champions that fall and moved up to sixth place the following year. At that point Smith left the quartet and was replaced by Dick Grapes.

In Omaha in 1950 the gold medals were hung around their necks and a new era of barbershop harmony began. There was something different about the Buffalo Bills; their big sound, combined with the work of Phil Embry and other talented arrangers, kept them busy singing on barbershop shows and gave them a popularity no other Society quartet had achieved.

The Society’s Armed Forces Collaboration Program brought requests for them to sing before military audiences. Soon they were touring military posts in Germany, France, Austria, Japan, Korea, and other far-flung places.

In 1957 a famous conductor and radio personality, Meredith Willson, wrote a stage musical about his home town of Mason City, Iowa. His plot included a quartet. Willson had heard the Bills’ records and suggested they come to New York and audition for the role of the Iowa quartet.

They were immediately accepted but joining the musical meant leaving their jobs and moving to New York City. Dick Grapes decided to stay behind and Wayne “Scotty” Ward, former tenor of the international finalist Great Scots quartet of Steubenville, Ohio joined them for the adventure. The move to New York brought them television and radio appearances, including the Arthur Godfrey show, where they met Walter Latzko, a CBS staff music arranger. Latzko, who later became well-known throughout the Society, provided much of the quartet’s show material during the next ten years.

The Music Man was a great success and ran for many years on Broadway. A motion picture was made, featuring the Bills in the same roles. In 1962, after filming was completed, illness forced Bill Spangenberg to leave the quartet. He died the following year. Spangenberg was replaced by another Ohioan, Jim Jones, bass of the Sta-Laters, Johnny Appleseed District champs. The quartet made personal appearances for another five years and were featured on almost every kind of stage. They continued to sing on the Arthur Godfrey radio program.

When the final curtain rang down on the Buffalo Bills, they left behind a record that may never be topped in the world of barbershopping – 1,510 performances on Broadway, 728 concerts, 675 radio shows, 672 night club and hotel appearances, 626 conventions, 216 television shows, 137 state fair performances, and a major motion picture. Their fifteen record albums are another permanent record of their great singing.

The Buffalo Bills sang their last show at the Waldorf-Astoria Hotel in New York on May 24, 1967.

1949 – The Mid-States Four

Tenor: Bob Mack
Lead: Marty Mendro
Bass: Art Gracey
Bari: Forry Haynes

A quartet was organized by four employees at the Bell & Howell Company. Marty Mendro, lead; Forry Haynes, baritone; and Bob Corbett, bass. Haynes had been a member of a quartet that was one of the last to appear on the Keith road show circuit on stage and radio.

Mendro, a soloist in church choirs during his younger years, was introduced to barbershop harmony at Bell & Howell during World War II. The foursome became 6th place international finalists in 1945 and 1946 and were Illinois District champions in 1946.

When three of the quartet members left Bell & Howell, the group changed its name to the Mid-States Four. The president of the Mid States Insurance Company had taken an interest in the quartet and offered to sponsor them, providing uniforms and expenses in return for jobs done for his firm if they would use the corporate name.

Art Gracey, formerly with the Fort Dearborn Four of Illinois, joined the quartet replacing Corbett, who was forced to give up singing with the group due to the pressure of business obligations.

The quartet finished third at the international contest in Milwaukee in 1947 with Bob Rodriguez singing tenor. Rodriguez, later known as Bob Mack, had studied voice in Chicago.

The Mid-States Four were second at Oklahoma City in 1948 and became the Society’s eleventh quartet champion in Buffalo in 1949.

The quartet became famous for its ability to combine smooth styling of currently popular songs with madcap comedy and serious barbershop ballads. They were featured on barbershop chapter shows throughout the United States and Canada and appeared with many big-name entertainers on commercial shows.

In 1950, during the Korean conflict, the Mid-States Four traveled more than 24,000 miles, doing a total of 33 shows for more than 52,000 United Nations troops. Their schedule took them to the front lines as well as to recreational areas and hospitals in Korea and Japan.

They left the show circuit around 1966 but came out of retirement in 1982 with Phil Hansen replacing Art Gracey who had died. They performed in the Association of International Champions show at the 1983 international convention in Seattle. Hansen came from a singing family and was a veteran of several quartets, among them the Memories and Madness Quartet.

Tenor Bob Mack died in the spring of 1988. The quartet made a cameo appearance on the golden anniversary Association of International Champions show with Don Barnick of the 1979 Champion Grandma’s Boys and 1992 Champion Keepsake filling in as tenor.

1948 – The Pittsburghers

Tenor: Harry Conte
Lead: Tom Palamone
Bass: Bill Conway
Bari: John “Jiggs” Ward

Anthony “Zebo” DiPerro first instilled a love for barbershop harmony in Tom Palamone. The two were part of a quartet that rattled the walls in the back room of Zebo’s Pittsburgh grocery store in 1938. Palamone sang lead, Harry “Chummy” Conte was tenor, Zebo sang baritone, and “Turp” Marcanello was the bass. Zebo knew hundreds of songs and quite a few parodies that he taught the quartet.

They never used a pitchpipe; the lead would hang out a note and off the quartet would go, woodshedding the harmony.

In 1946 the quartet, then known as the Allen Club Four, went downtown to the Fort Pitt Hotel and joined the Pittsburgh Chapter of SPEBSQSA. The quartet attracted the attention of Maurice “Molly” Reagan, founder of the chapter, who was an accomplished arranger of quartet music.

After a month under Reagan’s coaching, the Allen Club Four decided to take a shot at the 1946 international quartet competition in Cleveland, Ohio. They placed a respectable sixth.

Zebo sang with the group a few months more, then the demands of his business compelled him to reluctantly part from the quartet. He was replaced by John “Jiggs” Ward who had sung bari with Bob Holbrook, lead of the 1941 champion Chord Busters, in the Serenaders quartet in the 5th Marine Corps Division during the final years of World War II.

Bill Conway took over the bass spot when Marcanello left Pittsburgh to sing with a band in New Jersey. Eighteen months later, still under the tutelage of Reagan, the quartet, renamed the Pittsburghers, won the gold medal at the 1948 international competition in Oklahoma City.

The quartet continued singing for three more decades and underwent a number of personnel changes. In 1955 Tom O’Malley moved into the lead spot and Palamone moved up to tenor when Conte dropped out. O’Malley had sung lead in the 1952 Johnny Appleseed District Champion Four Maldehydes. By the end of the decade, Conway was replaced by Dutch Miller at bass. In 1963, Nick Kason, who had sung with the Selectones, took over the bass part.

Two years later, the name Pittsburghers was retired when Jiggs Ward decided to withdraw, leaving Palamone as the only remaining member of the championship foursome. With Jack Elder, formerly of the Town and Country Four, singing bari, the group continued to do show dates as the Pittsburgh Four.

The Pittsburgh Four was active until the 1980’s when Tom O’Malley died.

 

1947 – The Doctors of Harmony

Tenor: H.H. “Jumbo” Smith
Lead: Max “Junior” Cripe
Bass: Lee “Reverend” Kidder
Bari: Elton “Butch” Hummel

When the Elkhart, Indiana chapter of SPEBSQSA was formed in September 1943, Ron Younce, lead; Lee “Reverend” Kidder, bass; and Elton “Butch” Hummel, bari were already looking for a tenor they could push around. They found H.H. “Jumbo” Smith, standing five feet tall in his socks and weighing 125 pounds.

Kidder and Hummel had sung together in a high school quartet; Smith had sung as a baritone with two professional quartets and had been an acrobatic performer on the vaudeville stage. Younce went into the Navy and was replaced by Max “Junior” Cripe in the spring of 1944.

The Doctors of Harmony became the first Indiana state quartet champion at a contest held in January, 1945. Thirteen quartets competed. The quartet entered international competition in 1945 and placed fifth. The following year, they finished third place and in 1947 they won the international championship.

According to the Doctors, a prescription of hard work earned them the gold medals. One of the songs they sang in competition was a new tune entitled Mississippi Moon, written by Jumbo Smith, ending a rumor that judges only liked familiar songs.

The quartet disbanded in 1950. Kidder sang bass in the 1953 Cardinal District champion Clef Chefs, a quartet that became an international semifinalist in 1953 and 1954.

 

1946 – The Garden State Quartet

Tenor: Ted Rau
Lead: Bob Freeland
Bass: Jack Briody
Bari: Jimmy Verdick

The Garden State Quartet came to life in 1941. Jimmy Verdick, bari, and Ted Rau, tenor, worked together at Western Electric. Jim knew a lead singer named Bob Freeland in Newark and the three of them met at Ted’s house in Jersey City with Joe Marrese, bass.

These four sang together for about a year, then Verdick enlisted in the Navy. The search for a fourth part began and in May of 1943, the trio found Jack Briody, who had recently been discharged from the Army. Rau was a former nightclub entertainer and Freeland had been a member of a tumbling and singing act in vaudeville during the 1920s. He had also appeared in Irving Berlin’s Broadway show, Yip, Yip, Yaphank. Briody had sung on the radio and in nightclubs with the Garden State Trio and Marrese was a glee club baritone until he began singing with the quartet.

The quartet became New Jersey State champion in 1943 and 1944. They entered international competition in 1944 wearing bathing suits and finished in fifth place.

They dropped down to finalist ranking in 1945 but, with hard work, were able to take the championship at the convention in Cleveland in June, 1946.

 

1945 – The Misfits

Tenor: Joe Murrin
Lead: Art Bielan
Bass: Pete Buckley
Bari: E.V. Perkins

Art Bielan, lead, Joe Murrin, tenor, and E.V. “Cy” Perkins, bari, formed three legs of a quartet on a train en route to the national SPEBSQSA convention in July 1941. They shanghaied Pete Buckley to sing bass. All were members of the Chicago No. 1 Chapter. Lacking a name and a costume, they exchanged coats and christened themselves the Misfits. They placed seventh.

Tenor Joe “Moose” Murrin had sung in a quartet while in the Navy during World War I and he sang with the Chicago Police Octet for nine years. Art Bielan, lead, had sung with a number of quartets, including the Suberpa Four, the State Four, and the Forges Post quartet, the latter group being an American Legion foursome. Cy “You’re Wrong” Perkins, who had sung baritone for a quarter century, was happy to point out other fellows’ mistakes, thereby endearing himself to many barbershoppers. Pete “Butch” Buckley had previously contributed his resonant bass voice to the P&O Quartet and the Variety Four.

The Misfits placed fifth at the national contest in 1942, and did not compete the following year due to the absence of Buckley, who spent nine months in Mississippi helping Uncle Sam build ships, but in 1944 the group finished in second place.

To comply with regulations of the War Committee on Conventions, the preliminary round of competition in 1945 was held in four different cities: New York, Cleveland, Chicago, and Kansas City.

The top fifteen quartets then competed in the final round at the Detroit Masonic Auditorium in June where the Misfits won top ranking.

 

1944 – The Harmony Halls

Tenor: Ed Gaikema
Lead: Bob Hazenberg
Bass: Gordon Hall
Bari: Ray Hall

The Harmony Halls came from a background of quartet singing that dated back two generations. Grandpa Hall sang bass in a quartet during Abraham Lincoln’s presidency. Pop Hall, his son, was a choir and quartet singer at the turn of the century and when O. C. Cash founded the Society. It was only natural that some of the six Hall brothers would become barbershoppers.

Harold, Ray, and Gordon Hall, singing lead, bari, and bass respectively, formed the Hall Brothers quartet with tenor John “Slim” Peterson. At the 1942 national contest in Grand Rapids, the quartet made the finals with Frank Clark as tenor.

In March of 1943 the quartet was reorganized; Ray, who was known among barbershoppers as “Curley”, and Gordon Hall sang with Bob Hazenberg, lead, and Ed Gaikema, tenor. That year, the Harmony Halls placed fifth. During a year of intensive work, they became Michigan champions the following spring, then entered the international contest in Detroit and won first place.

 

1943 – The Four Harmonizers

Tenor: Charles Schwab
Lead: Leo Ives
Bass: Fred Stein
Bari: Huck Sinclair

The Four Harmonizers, a Chicago quartet, competed in the 1941 and 1942 national contests and finished just out of the medalist class. They were considered a top-flight foursome, composed of Charles Schwab, tenor; Leo Ives, lead; Ed Young, baritone; and Fred Stein, bass.

In March 1943, just a few months before the Chicago contest at which they won the national championship, a new baritone, Huck Sinclair joined the group. Sinclair had grown up in a harmonious family. His mother sang lead, his sisters took the tenor and bari parts, and Huck sang bass. He had sung in quartets in high school and college and, before joining the Four Harmonizers, he was a member of the Capital City Four of Topeka, Kansas.

Bass Fred Stein began singing at the age of three and he won a prize as the best alto of his eighth grade class. He began singing in quartets at the age of seventeen and for eight years toured the vaudeville circuit with the Troy Comedy 4 and other groups. Leo Ives, lead, sang in a quartet called the Ives 4 with three of his children. Charles Schwab had sung with the Music Box Four for seven years.

The Four Harmonizers claimed that none of the arrangements they sang were written down; all four quartet members participated in woodshedding their numbers.

 

1942 – The Elastic Four

Tenor: Herman Struble
Lead: Roy Frisby
Bass: Frank Thorne
Bari: Jimmy Doyle

Roy Frisby enjoyed singing as a young man and made some extra money as a professional singer while attending high school and college. He studied voice at the Indianapolis Conservatory of Music.

After college, Frisby worked in the development division of a bank. In 1940 one of his accounts was National Aluminum Corporation, where Frank Thorne was vice president and director. One evening in October 1941 Thorne invited Frisby, Jimmy Doyle and Herman Struble to his home for dinner. Frisby was hopeful of drumming up some bank business, but Thorne wanted him to sing in his quartet.

The Elastic Four was organized that night in Thorne’s parlor with Frisby singing lead. Struble had won scholarships at Valparaiso University and DePaul as a tenor soloist and sang with the American Opera Company for three years. Doyle was also a tenor and sang for two years with a foursome known as the Trevette Quartet.

He then sang lead in the Old Oak Four, a traveling vaudeville quartet, before being enlisted as baritone for the Elastic Four. Thorne was an accomplished instrumental musician but enjoyed quartet singing. Once described as a lyric bass, he confessed that he did not know what that meant. He sang in the Plow City Four in Canton, IL and wrote many Elastic Four arrangements.

The quartet rehearsed about eight hours a week in 1942 to prepare for that year’s SPEBSQSA national contest in Grand Rapids, MI. Sixty quartets competed; there was no preliminary round of competition. The quartet appeared in straw hats, canes, suits, and spats; some quartets objected to their “fancy attire”.

The Elastic Four were named winners and their picture appeared on the back page of the Chicago Herald – right next to a photo of a girl who had killed her grandmother.

 

1941 – The Chord Busters

Tenor: Norman T. “Doc” Enmier
Lead: Bob Holbrook
Bass: Tom Masengale
Bari: Bobby Greer

The 1941 national champions were organized in Tulsa, OK in the spring of 1940 with Virgil Dow, tenor; Bob Holbrook, lead; Bobby Greer, baritone; and Tom Masengale, bass. The next year, Norman T. “Doc” Enmeier replaced Dow, who had moved to another city.

The quartet set a goal of placing high in the SPEBSQSA national quartet contest. To meet that goal, they met on an average of four nights per week, singing from three to five hours per night.

At the 1941 contest in St. Louis, after two afternoons of elimination, eleven quartets were selected to face the audience on the night of July 5. When the final scores were totaled, the Chord Busters were selected as national champions.

The Chord Busters were invited to compete again in 1942 but declined. They agreed to attend the convention in Grand Rapids as non-competitors to receive recognition as champions and “sing up a storm” in hotel lobbies.

They firmly established a tradition for, since that time, a quartet champion, once crowned, was never to compete again and therefore, was never to be dethroned.

1958 – The Gaynotes

Tenor: Harold Jones
Lead: Howard Rinkel
Bass: Morris “Mo” Rector
Bari: John Loots

The Society for the Preservation and Encouragement of Barbershop Harmony (SPEBSQSA) was born in Tulsa, Oklahoma, so it was no surprise when Oklahoma quartets captured the first three International (then national) crowns. But it would be 20 years after the Society’s formation before the title returned to the Sooner state.

In 1958 in Columbus, Ohio, four Tulsa men called the Gaynotes won the gold medals as International champions. They were Harold Jones, tenor; Howard Rinkel, lead; John Loots, bari, and Morris “Mo” Rector, bass. Howard and John had sung in a couple of earlier quartets, including one sponsored by an ice cream company which required that they perform at least twice a week.

When the Gaynotes formed in 1953, Larry Stayer was tenor and Dick Galloway the bass.

Dick soon moved away and was replaced by Mo, who had started singing with quartets in high school. This combination won the Southwestern District championship in 1956, but Larry was visit page already planning to leave. The others contacted Harold Jones, a tenor in the Tulsa chorus, as a replacement. Although Harold had no quartet experience, he showed up at a rehearsal with a tape recorder, taped 13 songs and within two weeks had learned the tenor part to all of them.

It took the Gaynotes only three tries to win the gold; they placed third in 1957. They stayed together, with a two-year hiatus while Mo sang in a touring company of The Music Man, but disbanded when Mo moved to Texas in the mid-1960s

1955 – The Four Hearsemen

Tenor: Wendell Heiny
Lead: Deane Watson
Bass: Dick Gifford
Bari: Dwight Elliott

In 1934, members of the Blackburn-Shaw Quartet, sponsored by a funeral home in Amarillo, TX, were paid a dollar each for singing at funerals or on the firm’s Sunday radio program. Tenor Wendell Heiny joined the quartet in 1935 and was soon working full-time in the funeral business.

The quartet stayed together until World War II when three members went into the service. Heiny, along with lead Paul Ellis and bass Willard Grantham came home from the service in 1946 and started looking for a baritone. They found Dwight Elliott and in 1947 won a quartet contest sponsored by the American Legion. Two years later, Grantham dropped out of the group and was replaced by Jim Bob Nance.

A chapter of SPEBSQSA was started in Amarillo in cialis professional online 1948 and the Blackburn-Shaw Quartet became members. They entered international competition in Omaha in 1950 and began receiving invitations to be on chapter shows.

Because the name Blackburn-Shaw didn’t mean anything outside of Amarillo, the four men began thinking about a name change. They incorporated a funeral director routine in their act and became the Four Hearsemen, walking on stage carrying an imaginary casket. Paul Ellis withdrew from the quartet in 1951 and Al Autrey replaced him as lead.

In 1952 the Four Hearsemen were semifinalists at the international contest in Kansas City, but more personnel changes were in store. Autrey moved to Austin, TX and Nance entered a new business that made it impossible for him to participate. Survivors Elliott and Heiny “dug up” a new lead, Deane Watson, and a new bass, Dick Gifford. Nance continued to write arrangements for the quartet; he knew their voice ranges and routines.

In 1953 the Hearsemen were second in international competition. They won the Southwestern District Championship in 1954 and the following year became international champions at the convention held in Miami, FL

1971 – The Gentlemen's Agreement

Tenor: Al Rehkop
Lead: Drayton Justus
Bass: Bob Whitledge
Bari: Glenn Van Tassel

The Gentlemen’s Agreement, 1971 International champion, is one quartet that really was an “overnight success.” Almost, anyway.

Organized in December 1969, they qualified for the international contest in the spring, went to Atlantic City in July and came home with fourth-place medals. The following year, in New Orleans, the Detroit-area quartet won the whole ball of wax.

But why not? Two of its members (baritone Glenn Van Tassell and tenor Al Rehkop) claimed their second gold medals in New Orleans. They had been half of the Auto Towners, 1966 champions. And the other two, lead Drayton Justus and bass Bob Whitledge, were equally www.ismedicine.org talented, long-time barbershoppers, even though they didn’t have medals to show for it.

Glenn, Bob and Drayton had been directors or assistant directors of three different choruses. Al, an accomplished composer and arranger, was responsible for many of the quartet’s songs.

One week after winning the gold the G.A. accepted an invitation to make a 17-day tour of South Vietnam. From the decks of ships to forward-area bases to hospitals they entertained US servicemen, singing 41 shows in a little over two weeks. Greg Backwell, formerly of the Nighthawks, replaced Glenn in about 1973, and Drayton later joined the Suntones. The quartet retired, then reorganized two or three different times but finally shelved the pitch pipe in the mid-1980’s.

 

1962 – The Gala Lads

Tenor: Dave Panther
Lead: Tom Keehan
Bass: Gordie Lees
Bari: Bill Cockrell

“Experienced” – and proving it – might best describe the members of the 1962 International quartet champion, The Gala Lads from Alhambra, CA.

While a few gold medalists have been young and won while in their teens, the Gala Lads averaged 36 years of age when they won the championship. Tenor Dave Panther was 28, lead Tom Keehan 35, bari Gordie Lees 36, and bass Bill Cockrell 45.

What’s more, collectively they had sung in 16 quartets before getting together as the Gala Lads, and could count a total of 35 years of barbershopping experience.

One of Bill’s previous quartets was the West Coasters, 1957 viagra natural International silver medalists. For Dave, although the youngest of the group, the Gala Lads was his seventh quartet.

Although the foursome was organized in 1958, the winning combination did not get together until 1960. A year later, in its first International competition, it placed sixth, then jumped to the top of the heap the following year in Kansas City.

In 1964 Tom was seriously injured in a motorcycle accident, and California barbershoppers staged a benefit to raise $1,200 to help with medical expenses. By 1968 the Gala Lads were back in business with all the original members except Dave, who had been replaced by Joe May.

50 Year Champs

Four Pitchikers
1959 International Quartet Champions

Larry Hedgpeth (Tenor); Keith Keltner (Lead);
Wendell Keith Young (Baritone); Joe Delzell (Bass)

Our 50th anniversary champs were simply small town boys who made it big. They went from the farms in old Missouri to the top of the music world and had a lot of fun along the way.

This year we celebrate our 1959 Gold Medalists, The Four Pitchikers.

The boys began singing together in high school in the heart of the Ozarks and a town of less than 200 people, Nixa, Missouri. They originally named themselves The Teen Tuners. The quartet consisted of Larry Hedgpeth, tenor; Keith Keltner, lead; Keith Young, baritone and Johnny Marriot on bass.

The year was 1950 and the boys visited the Springfield – Heart of the Ozarks chapter up the road. They were immediately “bitten by the barbershop bug”. The Teen Tuners joined up and even competed at district for a few years while still in high school.

After high school Johnny took a job out of town while the other three attended Drury College in Springfield and began looking for a new bass. Even by this time all were experienced musicians, singing and playing several instruments.

Brand new to barbershop, future Society Hall of Famer, SK Grundy was looking for a quartet to try out his new arrangements. He really liked the sound of the three Teen Tuners but they needed a bass. In May of 1955 he persuaded an experience quartet man, Joe Delzell, to join.

Grundy provided custom arrangements, helped them get organize and coached them as well. He so involved in the quartet they considered him the fifth man.

This new combination became The Four Pitchikers. They only had 25 miles distance between them so rehearsing twice a week was the norm. They worked hard and few had any doubt they would be successful.

With an active show and rehearsal schedule, great coaching from Grundy and innovative arrangements, they began their climb up their contest ladder.

They placed 8th at regional, second at district and soon qualified for their first International quartet contest. It was in Minneapolis in June ‘56 they placed FOURTH. Thanks to their hard work and the perfectionist, SK Grundy they would never place lower.

They won the Central States District quartet championship that October and the next International repeated as fourth place medalists in Los Angeles ‘57, they moved up to Second in Columbus 1958.

The 1959 convention was held in the Chicago Civic Opera House with an overflow crowd of 5000 fans cheering them on.

They performed their six best songs including “Alexander’s Ragtime Band”, “That Tumble Down Shack In Athlone” and “Lora-Belle Lee”. Among the 39 other quartets were five future champs (Gala Lads – Oriole 4 – Evans Quartet – Town & Country Four – Suntones).

When the smoke cleared, The Four Pitchikers won their International gold medals by only 64 points. But it was enough to make all those hours of hard work worth the time and effort. They had great support from their chapter, district and family. All four were married by now and the wives were and important part of their quartet.

In fact Keith and Wanda Keltner were wed just prior to the International Convention.  During their acceptance speech, Keith told the audience of 5,000, “I’ve only been a BRIDE for seven days”. He only realized what he had said later that night.

At the time of their winning, Larry was 24 and a building contractor, Keith Keltner was 23 and running his family’s tire an oil company, Keith Young was a 24 year old carpenter and Joe was 42 and a government office employee.

The return home was special. They were celebrated with a “Pitchikers Night” during the next Springfield chapter meeting with about 200 family and friends including a very proud coach and mentor, SK Grundy.

The group performed in 42 states, Mexico and Canada.  They literally canvassed the four corners of the nation as they performed three out of every four weekends, on average, with an approximate 50 appearances a year.

For many years they were “regulars” on the nationally broadcast Ozark Jubilee television series. The Pitchikers had special spots on the show each weekend and did all the vocal background music for stars appearing on the show. Once they were even introduced on the Jubilee by Gene Autry. He introduced them as “Four Pitch Pickers”.  They even got to meet and sing for Irving Berlin.

During their career they shared the stage with The Jordanaires. Rex Allen, Sr., Eddie Arnold, Pat Boone, Walter Brennan, Ray Charles Singers, Perry Como, Jimmy Dean, Everly Brothers, Red Foley, Tennessee Ernie Ford, Pete Fountain, Al Hirt, Waylon Jennings, Brenda Lee, Lennon Sisters, Ted Lewis, Willie Nelson, Osmond Brothers, Debbie Reynolds, John Ritter, Tex Ritter, Doc Severinsen, Diana Shore, Mel Tillis, Lawrence Welk, and Andy Williams.

The Pitchikers enjoyed a special LIVE TV appearance on the Perry Como Show. They sang two songs with Como as the performance was broadcast across the nation from New York City.

In 1961 Hedgpeth took a construction job in Alaska so, in June, Keith’s brother, Ken Keltner filled in for Larry so the group could honor its performance commitments.

They sang over eight and a half years and performed extensively. They sang their last performance together was in December of 1963.

All remained active in the chapter and Joe Delzell served as a chapter vice president and went on to learn the baritone horn, tuba and trumpet would play with the renowned Springfield Symphony.

Two members have passed on. Larry Hedgepeth died March 9, 1999 at the age of 63 and we lost Joe Delzell on September 1, 2004. He was 87. His son is active in the Kansas City chapter.

The Four Pitchikers were “always available” and never too busy or too good to sing with anyone. They were ever-willing, hard working, clean cut, morally fine and true barbershoppers at heart.

These farm boys grew up to become fine entertainers and shared their love of harmonizing with a nation.

We salute Larry Hedgepeth, Keith Keltner, Keith Young and Joe Delzell. Champions all!

25 Year Champs

The Original College Champs from Ohio

The term “rapscallion,” meaning “rascally” or “roguish,” turned out to be an accurate portrayal of four talented young upstarts from Ohio. The turn of the century term resurfaced within the popular barbershop lexicon in 1984 when these four young men took the stage during the St. Louis International Convention. In four short years The Rapscallions (David Smotzer – tenor, David Wallace – lead, Timothy Frye – bari, Jeff Oxley – bass) won the Johnny Appleseed District title and reached the top of the barbershop world winning the coveted Gold.
 
They began their musical journey together at the Barbershop powerhouse, Bowling Green State University. All were members of BGSU’s Men’s Chorus under the tutelage and mentorship of Richard Mathey.

All natural baritones, The Raps formed in February 1980 with the intention of auditioning and performing that summer on the shores of Lake Erie at Cedar Point Amusement Park in Sandusky, Ohio. After being selected from over 100 groups, the four young lads were awarded the feature quartet gig at the “Red Garter Saloon.” There they forged their unique sound and performance style while performing 444 show.

All but Jeff were already barbershoppers but competition was not a thought until the summer job ended and they decided their sound was special…and it was. Early on the four guys found they were able to lock and ring chords that some of their contemporaries could not. They registered and set their sights on competition.

Dave Smotzer was involved in musical theater and chose to sing tenor. He later went on to become the director of the Cincinnati Southern Gateway Chorus.
 
Dave Wallace sang lead and was studying musical composition. After BGSU he became the director of the Sweet Adeline’s’ City of Flags chapter in Canton.
 
Jeff Oxley bass, studied vocal performance and was involved in many operatic productions and leading roles at BGSU Some being “Don Quixote” in “Man of LaMancha” and “Figaro” in “The Marriage of Figaro.” He then moved to continue his vocal training at the Cincinnati Conservatory of Music.
 
Tim Frye sang baritone, earned a degree in music education and directed the Wayne-aires of the Wayne County Chapter in Wooster.
 
In the fall of 1981 “The Raps” won the Johnny Appleseed District Quartet Championship. In International competition they also moved up fast, placing ninth in 1982 and sixth in 1983. They never placed out of the top 10.
 
In between they continued their summer amusement park habit by performing at King’s Island near Cincinnati.
 
They won in St. Louis in ’84 and staged three entertaining sets for the judges and the audience of loyal fans. The Johnny Appleseed District embraced the quartet from the beginning and their support, along with family, was an integral part of their success. They credit the help of several coaches with their progress, Darryl Flinn, Tom and John Sommer, Bob Mucha, Glenn Van Tassel and in particular, Don Clause.  
 
They were soon on the road singing barbershop shows, on a tour of Europe (Austria, Yugoslavia, Italy and Germany) representing the Society as champs.


 

“The Rapscallions” produced only one LP, “Premiere” with some spectacular performances preserved. Looking at the World With Rose Colored Glasses, The Barbershop Strut, They Go Wild, Simply Wild Over Me, Toyland, Mr. Touchdown U.S.A., All American Girl, Please Mr. Columbus, Last Night Was The End Of The World, and Toot, Toot Tootsie / Goodbye My Lady Love.
 
Today there have been many quartets with the title of “college champs.” The MBNA Collegiate Quartet competition began in 1992. The Raps could be considered the FIRST collegiate quartet champs as all would have certainly qualified and probably won had there been such a contest in the early ‘80s.
 
They went their separate ways to start starting families and careers following the 1986 AIC show at the Salt Lake City International Convention.

Where Are They Now?
David Wallace is active in many styles of music as a published composer, church musician and choral clinician. He’s now directing the “Heart of Ohio” Sweet Adelines chorus, and regularly coaches around the country some of the best choruses in both organizations. In Sweet Adeline Lake Erie Region 17 he was the very first Master Director, a designation he earned while directing the “City of Flags” chorus. Under his direction the chorus earned 7 regional championships and finished as high as 7th at International competition.

David Wallace is happily married to wife Sandy, and together they have 6 children, 2 son-in-laws, and 1 grandchild. He is the 7th best piano player – in his own family! Sandy is a pianist on the staff at Kent State University. Daughter Chelsea is a music teacher and her husband Bobby Selvaggio is a nationally recognized jazz saxophonist, having recorded with the likes of Jamey Haddad, Kenny Werner, Sean Jones and many others. Twins Josh and Tyler haven’t been involved in music since high school, but are talented singers. Daughter Shannon is a professional speech therapist, but also a skilled flautist and singer. Sons Dorian and Elliot are currently majoring in music composition, with an emphasis in piano at Kent State University, and percussion at the University of Akron, respectively. The current big news in the Wallace household is that Dorian’s most recent piano trio composition will be premiered in April by none other than the world famous Cleveland Orchestra Piano Trio.

David Smotzer directed the San Antonio Chordsmen and currently directs the Independence Chapter of JAD and is looking forward to his chorus accompanying him to Anaheim as the mic-testing chorus this summer. David continues to coach men’s and women’s quartets and choruses around the country, and is a frequent featured faculty member at JAD’s harmony education program (Apple Corps) and at numerous JAD coaching schools. He occasionally plays trombone in a jazz/swing band, and continues to enjoy quarteting with The News. Dave is a professional contractor. He resides in University Heights with his lovely wife Eileen, his daughter Helen Rose (almost sweet 16), and two rascally shih tzus, Johnnie Rocko and Kato.

Tim Frye continues to work in the field of Special Education, is married to Jody, a nurse, and has two children, Andrew 17 and Abigail 11.
 
The “Ox” has continued in the Society with the most success. He moved to Dallas where he joined the Vocal Majority Chorus and began singing with Class of the 80s. They retooled and changed their name to Acoustix winning International on their first try in 1990. He quickly became an admired soloist, bass section leader, chorus vocal coach and Assistant Director with the VM. Jeff later became Musical Director of California’s Masters of Harmony where he guided them to the 1999 Chorus Championship. Most recently he became only the third Society member to win THREE quartet gold medals with the 2007 championship of Max Q. Jeff is actively employed in Dallas as a first call studio vocalist. You can hear his voice world wide on thousands of radio IDs and commercial voice-overs. Jeff states “My most fulfilling and important endeavor is being married to my beautiful wife Susan and the proud father of 7-year old, Blake and 3-year old, Lily”.

Looking back, The Raps rose through the ranks in record time, braking traditions. Being “rascally” paid off for the Raps.

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Other AIC members who came out of the Bowling Green State University music program are Ben Ayling and DJ Hiner of “The Ritz”, Randy “Beef” Baughman and Mark Blake of “Yesteryear”, Gary Lewis of “Platinum” and “Max Q” and Jay Hawkins of “Interstate Rivals” and “Marquis”. The current Johnny Appleseed District International Chorus representative and sixth place finalist is directed by BGSU alum Dave Calland. College Champs from BGSU are 1994 The Real Deal, 1995 Stop The Presses and 2002 Catfish Bend.

2007 AIC Show Best Ever

By Jay Giallombardo – Director of Music – AIC Chorus – Denver 2007 jgiallombardo@ccc.edu

Congratulations on one of the finest AIC shows ever. We all heard nothing but glowing comments on the fun, entertainment, and great singing of the AIC chorus of the show.

Music Man Medley was a hit. Kudos to a great effort by the chorus and “special” performers, quartets and soloists that did an outstanding job, particularly Jim Henry, in his role as Harold Hill, and for his coaching of the Rock Island performers and acting as advisor to me.

Thanks to Tim Waurick for the outstanding learning tools which were certainly a motivation to get these pieces “under our belts”. Thanks to the administration, Harlan Wilson and President Don Bagley, for their unwavering support in facilitating the AIC show effort. Thanks to the special Dave Kindinger – AIC events guy as well

 

The AIC quartets, once again, were the real heroes with outstanding performances from every quartet. Our goal was to increase the entertainment value of the show. And, we did just that. It was joy to watch each quartet performance as they knocked the audience out with great singing and superb entertainment. Kudos all around.

Classic Collection, in their 25th anniversary year, was outstanding. Their return was marked with nostalgia and warm feelings for a great champ that had a long and memorable history. It was wonderful to see them back together for this special occasion.

That’s What Dreams Are For” was sung with particular quality and emotion as we welcomed the youthful, Vocal Spectrum into our midst. Although we have done this piece many times before, the AIC chorus brought a special freshness and understanding of the power of this piece in its long-standing tradition and ability to move, not only the audience, but us!

Finally, “All Nations Rise” was well-received, (some say a “triumph”), and a joy for me, personally, to have the chorus perform this new work. I wish to thank each of you for your kind words of praise and your efforts to learn the piece. The audience rewarded our debut performance and the entire show with an instant standing ovation. It was truly a cathartic moment as the curtain came down. Back stage I enjoyed the warm embrace of your heartfelt words, hugs and handshakes; I saw many with tears in their eyes, moved by the total experience. What a great organization and “brotherhood” we have and can enjoy in our lives.

There’s Always a Band, Kid
by Grady Kerr

In addition to and great arrangements and the top notch singing by the chorus we must also thank new AIC sound man Kenny Piercy who worked thru some rather challenging demands. The audience was able to concentrate on the performance and not be distracted by the lights or sound.  An added touch was the entertaining choreography provided by Geri Geis.  Yes, the AIC chorus actually learned moves after arriving on site and did them very well – maybe a first for the chorus?

 Rock Island (Jim Henry as Harold Hill and Joe Clay) Iowa Stubborn (Jim Bagby and Bob Dowma) Ya Got Trouble (with Jim Henry as Harold Hill) Wendy Wilson DeCrow on Dream of Now

Sincere (Gotcha!) (with lead Chris Vaughn wearing the actual hat Al Shea of The Buffalo Bills wore on Broadway 50 years ago in The Music Man)

Pick A Little Talk A Little/Good Night Ladies (Beck, Dalke, Littlefield, Guydon & Beef)

It’s You (Vocal Spectrum)

Grecian Urns provided by FRED

The aftermath – Oh, the humanity

Seventy Six Trombones – Jim Henry (with 12 piece band)

Realtime
Get Happy
Loch Lomond
Heart of My Heart (dedicated to their wives)
Come Back To Me 
Power Play
Battle of Jericho
You Know Better Than I (from Joseph, King of Dreams)
Side By Side
When There’s Love At Home

Happiness Emporium
Tribute to Great Quartets
            Lida Rose (Buffalo Bills)
            Glow Worm (Mills Bros)
            We Three (Ink Spots)
            Blue World (Four Freshmen)
            You, You, You (Ames Bros)
            Tumbling Tumbleweeds (Sons Of The Pioneers)
            Moments To Remember (Four Lads)
FRED
Wonderful World parody
That’s Amore’
Coney Island Washboard Roundelay
Where Does The Time Go (Barry Manalow)

Classic Collection (their 39th year together)

Moonlight Becomes You
Money, Money, Money
Jezebel
Musical Island Boys (2006 College quartet champs)
Once Upon A Time

Gotcha! and Classic CollectionNo I Don’’t Believe In IF Anymore

Gotcha!
Jefferson Lord Play That Barbershop Chord
There Goes My Heart (Lloyd Steinkamp arr.)
Victory Road
Vocal Spectrum
Rampart Street/Swing Low
On The Street Where You Live
Small Fry
Let’s Live It Up

That’’s What Dreams Are For Vocal Spectrum get their AIC Coats from Realtime

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Report & Photos by Grady Kerr

2008 AIC Show

A Tribute to American Music

How can these annual shows get better every year? Well, they DO and if you were there you witnessed some of the very best close harmony singing on the planet – Quartet AND Chorus. Here we can only SHOW you. To bad we can’t replay it here. Photos will just have to do till next summer in Anaheim, California and the next talent-fest of International Quartet Champions.


First half Finale – Directed by one of the Society’s top director/arrangers, Jay Giallombardo
how many faces can you recognize in the AIC Chorus?

2008 AIC Show Pictorial
Jeff Baker – Emcee
AIC Chorus – Opening
This Land Is Your Land
American Medley
Blue Shadows on The Trail
Nashville Cats
Goodbye, World, Goodbye

50th Anniversary Tribute
(Gaynotes / Howard Rinkel)
Gotcha! 
(their final appearance, announced retirement)
April Love
More I Can Not Wish You
If I Had My Way
Wait ‘Til the Sun Shines Nellie
 
Realtime
Hello World Get Happy
Everything Was Right
Rocky Top
Drinkin’ Gourd
 
Vocal Spectrum
Be Like You (The Banana Song)
Cheer Up, Charlie
Midnight Jamboree
Good Vibrations
 
– Intermission –
 
Road Trip (2007 College Quartet Champs)
In Your Eyes
 
FRED
Mexican Hat Dance
Wonderful World
I Got You Under My Skin
 
25th Anniversary Tribute (Side Street Ramblers)
            Keith Houts / Dennis Malone / Brian Beck
 
Max Q
Somebody Cares For Me
Moondance
Fare Thee Well, Love
You Can Fly
 
AIC Chorus – Finale
        That’s What Dreams Are For (Coat Song)
        Song Of America
 

 

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