Various - duo.tone




A 14 X 20 inch unfolded window card reproduction. Not sure when this was made...looks like 1970s. Duo tone colors strong, no pinholes! no tape! Great condition. Only one of this title available. Heavy gloss card stock.

In The Workshop - Customer Cars, Past and Present. Below are some of the cars we are either presently working on or have worked on in the past. A busy workshop!!

A double/single action firearm, the Bersa Thunder 380 CC gets into the action with a long, but by no means gritty or stiff, double-action pull. Subsequent shots are easily made and easily kept where they need to go thanks to a short and relatively crisp single-action break.

The Carpe Diem Business Diary is geared towards fulfilling the needs of the modern-day business person in significantly more ways than a standard diary does. Monthly business motivational articles serve to inspire users to greater heights, while its functional platform provides the tools to achieve.

Torah for Children is a fun way to teach your children from a young age. Click on Torah for Children header above to be redirected to review or order.

Our new model HW 44, pre-charged air pistol from Weihrauch: Excellent accuracy • vibrationfree shot release • fast and easy repeating • 10-shot magazine capacity • built in, fillable air cartridge with 200 bar • integral pressure gauge and quick-fill equipment • with regulator
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The Dootone Record label was formed in 1951 by Walter (Dootsie) Williams in Los Angeles, California. The address of the company for many years was 9512 South Central Avenue, which originally was Williams' home in Watts. For a number of years, the record label was run out of the enclosed front porch of the house, but later the Williams family moved so that the record company could take over the whole house. Dootsie Williams had started a label called "Blue Records" starting in 1949. In 1951, he changed the name of the label to Dootone. Two of the first three singles on Dootone [#301 and #303] were by Johnny Creach, a violinist who would become famous in the Woodstock era as "Papa John" Creach, and would be heard on Jefferson Starship records two decades later.

Dootone recorded rhythm and blues, jazz, comedy, gospel and popular music. The label name was changed to Dooto in January 1957 (to avoid a lawsuit from Duo-Tone Records). Singles numbered 301 to 409 were on the Dootone label, with the switch to Dooto coming at single #410. Albums changed from Dootone at #223, released in 1956, to Dooto at #224, released in 1957. Even though the name changed in 1957, some albums and possibly singles released after that time are known to still have the Dootone label. This is most likely due to using up old label-blank stock as a cost-saving measure, or in the case of the later albums, as a nostalgia trip.

As can be seen from the following discography, the vast majority of the albums released by the label were raunchy party records, or "blue" material (as in, "swearing a blue streak"). As with most comedy records before the late 1960s, the language on these discs was not actually obscene at all, but rather, "suggestive," with the double-entendres. But in the 1950s, these records stayed under the record store counter unless somebody came in and asked for them. The most successful comedian on the label was Redd Foxx (real name: John Elroy Sanford), and he sold thousands of records on college campuses before most people ever heard of him. Redd Foxx was a comedian on the burlesque circuit, providing the comedy routines between the strippers. He had teamed up in Baltimore in the early 1950s with comedian Slappy White as the duo "Redd & White." After the duo agreed to go their separate ways in the mid- 1950s, Foxx relocated to California and signed a long contract with Dootsie Williams' Dootone label. Foxx and Williams had a falling out around 1963, but Foxx was legally tied to Dooto until Frank Sinatra bought his contract for Sinatra's Loma label in 1967. Foxx went on to mainstream success with the 1970s TV comedy series Sanford and Son, playing Fred G. Sanford (actually, his older brother's name - as well as his father's, whom he never met).

If Dooto had only produced the "blue" material, it would probably be long forgotten by now (except, of course, on web pages such as this). But the singles output of the label was a different story altogether. Before he got into blue comedy, Williams produced some great R&B vocal group records. Certainly the most successful, and many would say the best, was "Earth Angel" by the Penguins, a record that is often near to the top of oldie radio station lists of the greatest records of all time. The lead singer for the Penguins was Cleveland Duncan, and all the members attended Fremont High School in Los Angeles. In November, 1954, "Earth Angel" became one of the first R&B hit records to make the popular music charts on a national level, reaching #8. The members of the Penguins became unhappy with Dootsie Williams because he refused to give them advances on their royalties, so they got a new manager named Buck Ram. Ram took the Penguins to Mercury Records, who were interested in buying the Penguins' contract. But as part of the deal, Ram insisted on a Mercury recording contract for another group he managed, the Platters. Of course, history shows the Platters went on to tremendous success on Mercury, and interest in the Penguins waned. Even though many of the Mercury recordings by the Penguins were very good, they had little success after leaving Dootone, and by 1957, after Mercury had dropped them and they had but one single released on Atlantic, the dispirited group re-signed with Dootsie Williams and his re-named label, Dooto.

In 1954, Williams also recorded a group called the Medallions, with lead singer Vernon Green. They had a hit with "The Letter" in April and followed it up with "Buick 59" in July. Another group that had some success on Dootone was Don Julian and the Meadowlarks. In June of 1955, they had a hit with "Heaven and Paradise". Even though they never had a big hit, the Calvanes' EP [205], titled "Voices For Lovers," is cherished by vocal group collectors and sells for megabucks today.

Group vocal albums of note on the Dootone/Dooto labels include Best Vocal Groups in Rhythm and Blues [Dootone DL-204], which is sometimes referred to as "the first Penguins album" since one side is devoted to that group. (The other side has two songs each by the Medallions, Meadowlarks, and Dootones.) This album first appeared with a Dootone label on red vinyl and is incredibly rare (but as with all rare records, look out for counterfeits or "reproductions"). It was reissued later with the Dooto label. An album by the Penguins alone, titled The Cool, Cool Penguins [Dooto DTL-242], was released later, and this album, with the original yellow and red Dooto label, is also much in demand by collectors.

Another album of note is Dootone DL-223, Rock and Roll vs. Rhythm and Blues , with six songs by Roy Milton and six songs by Chuck Higgins. This album was probably released with a Dootone label because it was released prior to the label name change in 1957, but we have never seen one with that label. Dooto DL-224, Best Vocal Groups in Rock and Roll is also much in demand by collectors because it contains material by nine of Dooto's vocal groups.

The Willie Hayden album [Dooto DTL-293] is also interesting. Hayden was the lead singer who fronted the Dootone group, the Birds, although his name on those releases is listed as Willie Headen (which may have been the original spelling, although it was pronounced "Hayden."). The album contains the Birds group recordings in addition to Hayden solo. Some copies of this album have the original flat maroon Dootone label; that is unusual because it was released 3 years after the label name change. It also exists with a Dooto label.

Dooto also recorded jazz, and jazz collectors seek early albums by pianist Carl Perkins, Curtis Counce, Buddy Collette, and Dexter Gordon on the label. Perkins, not to be confused with the Sun Records rockabilly artist, was a black pianist originally from Indiana, who was gaining a great reputation in the Los Angeles jazz scene when he died in 1958 at the age of 29. Gospel on the label includes the Lillian Randolph Singers, the Zion Travelers, and the Soul Revivers.

Authentic Records was a budget subsidiary of Dooto. Their discography is covered separately.

The best days for the Dooto label were the mid-to-late 1950s, but the label survived into the 1970s mostly by repackaging and selling the Redd Foxx comedy records. Although Foxx had ended his contract with Dootone/Dooto in 1967 and moved on, Williams, who was now calling himself "The Foremost Authority on American Humor," used the tried-and-true industry practice of shamelessly recycling old recordings, culminating in a 1972 album titled Sanford & Foxx, [Dooto DTL-853], trying to cash in on the hit TV show, Sanford & Son. Redd Foxx was not amused, nor was the network. Although in tiny print on the bottom front of the record jacket it said, "An Anthology," to avoid legal problems, the jackets of this record were soon carrying a prominent sticker that said, "The material in this album is not from or based on the television series Sanford and Son'." It was only a few albums later, mostly more Redd Foxx reissues, that Dooto/Dootone finally closed up shop, around 1975. For all intents and purposes, the label had stopped being anything but a comedy album label when they stopped issuing 45s in 1964, and for the last few years had just hung on by reissuing the Redd Foxx catalog.


Walter "Dootsie" Williams died in 1991, the same year as Redd Foxx.

Dootone/Dooto used an unusual numbering system, both 33 1/3 RPM LPs and 45 RPM extended play albums were in the same series. In the following discography, we have indicated the format after the catalog number. Few of the Dootone/Dooto albums were issued in stereo, primarily because most were recorded before 1958, when stereo became viable. The 1970s issues were labeled stereo, but many of the Redd Foxx skits were recorded in mono, and appear in rechanneled stereo on these late albums.

The first Dootone label was dark red or maroon with silver print. "DOOTONE" was in a silver field above the center hole. Shown far left is the 78-rpm label, and near left the label used for early extended play (EP) 45s. Early Dootone albums (far left) had a label that was either flat or glossy maroon with silver print, graphics the same as the 45 or 78 labels. Many of the early Dootone albums were pressed on red vinyl. Early in 1957, when the label name changed to Dooto, both the 45s and the EPs switched for a time to maroon labels that were essentially the same graphics as the Dootone labels. LP albums probably did not use this label variation. Starting with DTL-224 in 1957, the Dooto album label (far left) switched to a yellow and blue to replace the maroon and silver, essentially keeping the same design. Singles and EP releases used a similar label (near left). This label, which we will call the "yellow and blue label #1", was used as late as DTL- 270 in 1959. In 1958, some issues of both albums (illustration not shown) and singles/EPs (far left) used a yellow label with red print, with the same graphics as the yellow and blue label #1. This was at approximately the same time as the logo on the front of the album jackets changed to one resembling a musical note rather than the rounded logo used up until then. (The logos on the record labels did not change to the musical note logo, to our knowledge.) A second yellow and blue design was then used, starting in 1959, one which we call the "yellow and blue label #2." The logo was narrowed at the top of the label, and included the slogan "Authentic High Fidelity" under the label name inside the logo. Albums (near left) and singles/EPs (see below) used similar designs. This design was used until late 1960 or early 1961. At far left is the 45/EP version of "yellow and blue label #2." At about the start of 1961, Dooto went to a new black label with silver print (EP version, near left). "DOOTO" was spelled out twice on the perimeter of the label in white on an alternating blue and orange background for 45s and EPs. The album version of the black multi-color label is shown at far left, with "DOOTO" in white around the perimiter of the label three times, in alternating orange, blue, and gold fields. This label was used until the mid-1960s, when a version of the label with a brown background replaced it. The brown label only had "DOOTO" once, at the top of the label. This label was used for the remainder of the LP issues, which lasted until the mid-1970s. At far left is the 45 counterpart of the brown Dooto LP label shown above. In the mid-1960s, the dispute with Duo-Tone Records finally resolved and forgotten, Dooto reissued many of its earlier singles on a version of the brown label with "DOOTONE" as the label name once again.

Putting dates and order to the Dootone/Dooto labels is not an exact science. Theoretically, one would be able to match the logos on the record jackets to the first release label, but the albums were reissued so often, and the logos on the jacket front revised so often, and leftover label stock used so unpredictably, that this is just not easily done. The actual graphics of the album cover would change (and in one case, the album title) for many of the records upon reissue. We have attempted to sort out the labels and issue sequence as best as we can, but this discography should not be taken as the last word on the subject. In the record jacket illustrations below, we have freely substituted later issues with the same graphics (but with, say, a later logo style) to be able to illustrate how each cover appeared. EP issues almost invariably used the same graphics (to the extent they would fit with the EP text) as their LP counterparts, so in cases where we could not obtain photos of EP covers, we have used the covers for the LP for illustration. One last thing: EPs originally issued with the EPD- prefix were later reissued with a DTE- prefix.

We would appreciate any additions or corrections to this discography. Just send them to us via e-mail . Both Sides Now Publications is an information web page. We are not a catalog, nor can we provide the records listed below. We have no association with Dootone/Dooto or Authentic Records. Should you be interested in acquiring albums listed in this discography (which are all out of print), we suggest you see our Frequently Asked Questions page and follow the instructions found there. This story and discography are copyright 2006, 2010 by Mike Callahan.










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