(secular vocal group) may have hailed from Indianapolis, Indiana. The group initially consisted of Charles “Charlie” Fuqua (tenor voice; guitar; ukulele); Orville “Happy” Jones (baritone voice; bass); Bill Kenny (tenor voice; cymbals); Ivory “Deek” Watson (baritone voice; guitar). Although much of their later work is sentimental, in their early recordings they recorded songs of interest, including blues such as OH! RED. They recorded YOU’RE FEETS TOO BIG (R C A VICTOR #24851/ BLUEBIRD #B-6530) and DON’T ‘LOW NO SWINGIN’ IN HERE (R C A VICTOR #24876) at New York City on 4 January 1935. However R C A VICTOR failed to follow up the first session, and they moved to DECCA. They recorded for DECCA from 12 May 1936 to 18 February 1954, mainly at New York City. The early DECCA sessions produced interesting material such as T’AINT NOBODY’S BIZ-NESS IF I DO (DECCA #817); KEEP AWAY FROM MY DOORSTEP (DECCA #1036, recorded 18 June 1936); and WHOA BABE (DECCA #1251, recorded 9 April 1937). Their DECCA session of 25 March 1938 included OH! RED (DECCA #1789), featuring a guitar solo by Charlie Fuqua; and the session of 19 May 1938 included WHEN THE SUN GOES DOWN (DECCA #1870). Leroy Carr’s song, WHEN THE SUN GOES DOWN, although blues in form, was not approached in a bluesy manner. They recorded BROWN GAL and PORK CHOPS AND GRAVY (DECCA #2044, made 31 August 1938); YOU BRING ME DOWN (DECCA #2707, recorded 17 August 1939); but soon began recording more sentimental material, which began to produce a series of pop hits. Among their early hits were WHEN THE SWALLOWS COME BACK TO CAPISTRANO (DECCA #3195), WHISPERING GRASS and MAYBE (both DECCA #3258), WE THREE (DECCA #3379) and I DON’T WANT TO SET THE WORLD ON FIRE (DECCA #3987). During these pre-Pearl Harbor days, however, they still made some more interesting titles, including JAVA JIVE (DECCA #3432) and PUTTIN’ AND TAKIN’ (DECCA #3468), both recorded 16 July 1940; and KEEP COOL, FOOL (DECCA #3958, recorded 25 July 1941). During the War, their hits included DON’T GET AROUND MUCH ANYMORE (DECCA #18503) and I’LL GET BY (DECCA #18579). After Pearl Harbor their more interesting material included SOMEONE’S ROCKIN’ MY DREAM BOAT (DECCA #4045) and SHOUT, BROTHER, SHOUT (DECCA #4194), both recorded 13 October 1941). Cat Anderson worked briefly with the group in 1942 as a member of Lucky Millinder’s band. From summer 1942 to 1944, Bill Doggett was pianist and arranger for the group. They combined with Ella Fitzgerald during the later War years to produce hits such as I’M MAKING BELIEVE and INTO EACH LIFE SOME RAIN MUST FALL (both DECCA #23356) and I’M BEGINNING TO SEE THE LIGHT, but more interestingly they recorded COW – COW BOOGIE (DECCA #18587/ DECCA #25047) with Ella on 3 November 1943. The Brown Dots, which featured Jimmy Gordon, were a 1944 or 1945 offshoot, from the Ink Spots. Huey Long was their guitarist briefly in 1944 and 1945. The Ink Spots in 1945 comprised Billy Bowen, Cliff Givens, Bill Kenny and Bernie Mackey. After the War, their 1946 hits included THE GYPSY (DECCA #18817), PRISONER OF LOVE (DECCA #18864), TO EACH HIS OWN (DECCA #23615). Their more interesting postwar material included I GET THE BLUES WHEN IT RAINS (DECCA #23695, recorded 8 July 1946) and MY BABY DIDN’T EVEN SAY GOODBYE (DECCA #24496, recorded 7 November 1946). The Ink Spots influenced Charles Brown, The Clovers, The Five Blue Flames, Billy Ward and his Dominoes, Jimmy Witherspoon, and Buster Brown, among others. George Kelly played piano with the group in the 1940s. Their later DECCA hits included YOU WERE ONLY FOOLING (DECCA #24507), YOU’RE BREAKING MY HEART (DECCA #24693) and SOMETIME (DECCA #27102). Their later material of some interest includes RECESS IN HEAVEN (DECCA #24517, recorded 19 October 1948), LOST IN A DREAM (DECCA #24887, recorded 16 January 1950)and HIS EYE IS ON THE SPARROW (DECCA #14562, recorded 20 March 1951). Bill Kenny recorded some solo numbers at sessions held in January, February and April 1952, including I COUNTED ON YOU (DECCA #28462). Billy Kenny had moved to Vancouver, Canada by 1953, but was still a member of the group in 1956. They recorded for KING between late 1953 and late 1955, including a remake of SOMEONE’S ROCKING MY DREAMBOAT (KING #1425, released January 1955). Bernard Addison worked with the group in the 1950s. By 1956 they comprised: Everett Barksdale (guitar); Bill Kenny; Harry Prather; and Andrew Maze. Barksdale left soon afterwards. They recorded ROCK AND ROLL RAG (Grand Award #1001) in 1956. From 1957 to 1959 they recorded for Verve. Al “Dr. Horse” Pittman was with the group in the 1950s. They recorded CARELESS LOVE (Ford #115) during 1962, possibly at San Francisco, California. Eddie Tigner worked with The Ink Spots also. Jimmy McLin was guitarist for the group in 1970. Compare the 1978 group, INTERNATIONAL INKSPOTS, which featured guitarist Lefty Bates and saxophonist Lucius (Little Wash) Washington. The George Holmes Ink Spots appeared in Australia during September 1988.