A brief history of Paul Winley Records and the recording industry that captured rap

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Hip-hop, as a creative expression, is often traced back to New York City, particularly the Bronx area. However, the initial recording of hip-hop and rap music didn’t exclusively happen in the Bronx, but still predominantly revolved around New York City.

In the 1970s, hip-hop and rap records emerged as something fresh, but it’s important to understand that they didn’t come about in isolation within New York. Often, these new genres were integrated into existing structures for recording African American music in the city.

In many instances, rap music borrowed elements from genres such as funk and soul, and even collaborated with artists and industry professionals from these fields, helping shape rap music’s position in the broader music scene.

The impact of Paul Winley Records

Previously, I mentioned Winley Records, a record label located in Harlem, which served as a platform for doo-wop bands such as the Paragons and the Jesters.

Paul Winley established Winley Records in 1956. He was a multi-talented figure, serving as a talent scout, songwriter, producer, and owner of both stores and dance halls, primarily active from the early 1950s onwards. This information is derived from Frank Broughton’s 1998 interview with Winley, which was published by Red Bull in the 2018 article “From Doo-Wop to Hip-Hop: The Creation of the Breakbeat Compilation.

In the beginning, Winley penned songs for a group called the Clovers, who were initially established in Washington D.C., where he was born. His brother, Harold, was part of the group as its bass vocalist.

During the ’50s and early ’60s, alongside labels such as Cyclone and Porwin, Winley Records collaborated with various artists including the Quinns, the Collegians, and the Duponts. Among these groups was one led by Jerome Anthony Gourdine, famously known as Little Anthony.

In the ’50s and early ’60s, Winley Records was also associated with acts like the Quinns, the Collegians, and the Duponts, with Jerome Anthony Gourdine, better known as Little Anthony, serving as their frontman.

On Winley’s record labels, it was common for vocal groups to perform songs that he composed, co-composed, or produced, as detailed in the book “The Complete Book of Doo-Wop” by Drs. Anthony J. Gribin and Matthew M. Schiff (2009).

In the realm of doo-wop, I’ve collaborated with some incredible artists. There were rhythm and blues legends like Big Joe Turner, whose soulful melodies echoed through my studio. Not to mention Gene Ammons, a tenor saxophonist whose notes danced around our recordings. Then there was Clay Tyson, the comedian whose humor added a unique charm to Winley Records in the early ’60s. Later, he moved on to King Records, where James Brown ruled, becoming an integral part of the James Brown Revue.

During the 1960s, Winley Records temporarily halted operations. It’s possible that the label ceased to exist for a period, but by the early 1970s, it was revived under the name Paul Winley Records and continued releasing an abundance of music.

Besides compiling popular music albums for artists such as Shirley Caesar and Mahalia Jackson, who weren’t under contract with the label, Winley also released speeches by Malcolm X. In the 1960s, he frequently encountered Malcolm X at the Audubon Ballroom, where they both often held events.

The Organization of Afro-American Unity led by Malcolm X regularly held their weekly meetings at the Audubon Ballroom. However, prior to this, the ballroom was frequently used for 99 cent dances and shows, managed by a person named Winley, in collaboration with radio disc jockeys like Frankie Crocker and Jocko Henderson. Following Malcolm X’s assassination at the same venue in February 1965, Winley’s use of the ballroom significantly decreased.

At these dances, Jimmy Castor’s band would perform. Over time, this group transformed into the funk ensemble, the Jimmy Castor Bunch. Similar to Winley, they had roots in doo-wop music. Jimmy Castor was a collaborator on Frankie Lymon & The Teenagers’ 1956 hit song “I Promise to Remember.

On their 1972 album titled “It’s Just Begun”, the band published a cover version which Castor elaborated on its background. In the following year, Paul Winley Records unveiled “The Jimmy Castor Story ‘From The Roots'”, an anthology of some of Castor’s earlier tracks from the 1960s. This compilation was presumably intended to demonstrate the development and growth of his band during their early stages.

The musical collective Cymande, a funk band hailing from the UK with members originating from various Caribbean countries, was the one that put out new music through Paul Winley Records. Their album “Arrival” was actually released in 1981 on this label, but it’s interesting to note that most of these songs were initially recorded way back in 1974 when the band had disbanded, as explained by Jason Draper in his 2009 review for Record Collector Magazine.

In the world of hip-hop, the tracks from bands like Cymande and Jimmy Castor Bunch, including “Bra” and “It’s Just Begun,” have gained recognition as foundational sources for iconic breakbeats and samples. This is a fact that Paul Winley was familiar with as well.

Starting from 1979, Winley’s label initiated the release of the groundbreaking series known as “Super Disco Breaks”. These were essentially the precursors to breakbeat compilations, and they were predominantly issued during the early ’80s.

The series started, as stated by Winley, due to his discontent over record store owners charging exorbitant prices for rare 45″ singles that were highly coveted by fledgling hip-hop DJs. To use these records at their gigs, the DJs needed expensive custom 12″ studio productions from the 45″ originals.

Super Disco Breaks could be considered an early forerunner to Street Beat Records’ Ultimate Breaks and Beats collections, which gained significant popularity and influence in hip-hop music production during the second half of the 1980s.

The tracks featured on the Super Disco Break’s mixes were highly significant within the hip-hop scene, encompassing tunes like “Bra” and “It’s Just Begun,” in addition to “Rocket in the Pocket” by Cerrone and “Soul Makossa” by Manu Dibango.

Under a different name, the Harlem Underground Band (which is actually Mighty Tom Cats), was given credit for ‘Soul Makossa’ on the record label as a standalone track.

Back in the day, I was grooving to the tunes of The Harlem Underground Band when they dropped their smash hit “Love Potion-Cheeba-Cheeba” in ’73. That record had everyone dancing and it even got reused for tracks like “Cheeba Cheeba” by Tone-Loc. Those guys, Matt Dike and Michael Ross, were the geniuses behind its production.

In 1987, “Cheeba Cheeba” was the secondary track to “On Fire,” but a revised version appeared on Tone-Loc’s 1989 album Loc’ed After Dark. This updated edition featured N’Dea Davenport’s vocals instead of the sample from the Harlem Underground song’s female vocalist.

To clarify, the woman we’re discussing is Ann Fleming Winley, who was married to Paul and has been associated with his music industry since the 1950s. She not only served as a vocalist but also worked as a songwriter, producer, and artist for his label.

It could also be intriguing to discover if the song title “Love Potion-Cheeba-Cheeba” shares some connection with Winley’s family ties to the Clovers, a group renowned for their 1959 hit “Love Potion No. 9.

On their 1976 album titled “Harlem Underground, “Smokin’ Cheeba Cheeba,” an extended rendition of “Love Potion-Cheeba-Cheeba,” was showcased. This release served as a debut for Ann Winley as the group’s vocalist, with additional performances by Willis “Gator” Jackson on saxophone and George Benson on guitar.

Apart from being known for providing break beats, Paul Winley Records is also well-known as an early manufacturer of original hip hop records.

In the “Underground to the Mainstream” episode of the documentary series Hip-Hop Evolution (2016), directed by Darby Wheeler, author Dan Charnas – who wrote The Big Payback: The History of the Business of Hip-Hop in 2011 – discusses that Sylvia Robinson’s passion for recording hip-hop and launching Sugar Hill Records originated when she witnessed Lovebug Starski perform at her niece’s birthday party in Harlem.

Much like Paul Winley developed an enthusiasm for recording rap, it stemmed from his family life. Specifically, his son rose to fame as a DJ known as Gangster, who was considered a contemporary of Grandmaster Flash and other renowned figures in the industry.

On 125th Street, Winley allowed his son, DJ, to hone his skills at a store he owned, providing unwavering support. Additionally, as they went about their daily lives, Winley’s daughters, Tanya and Paulette, would share popular verses they learned from school and the neighborhood with him.

It’s quite possible that Winley’s daughters might encounter poets who use rhyme schemes or witness hip-hop artists at their school, given that numerous up-and-coming rappers during that period attended the same schools or sometimes put on performances within those school facilities.

In their youth, many artists lived in the same neighborhoods, making it common for them to find each other. For instance, one would often visit the Bronx to meet Afrika Bambaataa and his group, the Zulu Nation, which had its base at the Bronx River Projects.

In the end, after listening to Tanya rap for a while, and wanting to profit from the appeal of rap music among young black people, Paul made the decision to bring his daughter to the recording studio. There, they worked together with the Harlem Underground Band on a single titled “Vicious Rap.

Tanya often goes by the nickname Sweet Tee, but it’s important to note that she’s distinct from another well-known Sweet Tee, Toi Jackson, who collaborated with British MC Leonie J on Davy DMX’s “The DMX Will Rock” in 1985. Besides being a member of the Glamour Girls and a solo artist, Tanya is recognized for hits like “It’s My Beat,” released with DJ Jazzy Joyce in 1986.

In another track, Paul collaborated with his daughters on a rap single titled “Rhymin’ and Rappin’.” Paulette adopted the stage name Paulette Tee for this song. Meanwhile, “Vicious Rap” saw Tanya in the limelight. The Harlem Underground Band handled the music production, while the B-side featured Ann Winley singing over a beat similar to that of the foundation track, but now titled “Watch Dog.

Back in the early days of hip-hop, it wasn’t unusual to find a blend of styles in our favorite artists’ albums. Pioneers like the Sugarhill Gang and Kurtis Blow, whose first releases I adored, would intersperse their rap party anthems with more traditional R&B ballads and dance tracks.

It seems that while “Rhymin’ and Rappin'” was released in 1979, a year prior to “Vicious Rap” in 1980, Paul Winley claims that the latter was actually recorded first. Interestingly, “Rhymin’ and Rappin'” is presented as a follow-up, as suggested by Paulette Tee’s opening lyric, which refers to both her sister and brother as MCs who had already been active in the field before her.

Paulette and Sweet Tee, two remarkable rappers, were among the first women in this field to release records. Unlike the Mercedes Ladies, who appear to have collaborated only once uncredited on Donald D.’s “Don’s Groove” in 1984, Paulette and Sweet Tee had their own solo records showcasing their talents.

The Winley sisters are part of a group who share the stage with notable figures such as Philadelphia’s MC and radio DJ Lady B, known for her hit song “To The Beat Y’all” which dropped on TEC Records in 1979, and MC Sha-Rock, a member of the Bronx-based Funky 4 + 1 whose debut single, “Rappin and Rocking the House,” was also launched on Enjoy Records that year.

Beyond just recording his daughters, Paul Winley additionally utilized his record label to produce tracks for various hip-hop artists he was acquainted with, most notably Afrika Bambaataa and the Zulu Nation.

In 1980, Winley was the one who initially published Afrika Bambaataa’s singles that I’m familiar with, which still featured the Harlem Underground Band. The initial release was “Zulu Nation Throw Down,” a rendition of Cosmic Force, made up of Lisa Lee, Chubby Chub, Ice Ice, and Ikey C who were all part of the Zulu Nation MCs.

Although Bambaataa isn’t directly mentioned having made a record, the Cosmic Force acknowledges him, alongside Jazzy Jay – another DJ from the Zulu Nation – as per Winley’s account. He claims that this duo, along with Kool DJ Red Alert and a larger group of Zulu Nation members, visited his store in Harlem.

In their second release, they presented “Zulu Nation Throw Down Volume 2,” which showcased a distinct ensemble of MCs from the Zulu Nation, known as the Soul Sonic Force. This group included Mr. Biggs, Pow Wow, and MC G.L.O.B.E.

Or:

Their second single was “Zulu Nation Throw Down Volume 2,” which featured a new collective of MCs within the Zulu Nation, known as the Soul Sonic Force. The trio consisted of Mr. Biggs, Pow Wow, and MC G.L.O.B.E.

Or:

Their second single was “Zulu Nation Throw Down Volume 2,” showcasing a new group of MCs from Zulu Nation called the Soul Sonic Force, which includes members like Mr. Biggs, Pow Wow, and MC G.L.O.B.E.

After “Planet Rock,” the groundbreaking electro tune recorded by Afrika Bambaataa and the Soul Sonic Force in 1982 for Tommy Boy Records, there was at least one more song they released, this time under Paul Winley’s label as well.

In 1983, ‘Death Mix,’ a recording of a live performance by the Zulu Nation held in the Bronx, possibly at the Bronx River Community Center, was released on Winley’s label. This tape offers a fantastic glimpse into the group’s energetic stage presence, demonstrating their exceptional skills as both MCs and DJs.

Although the examples provided might be short, I aim to illustrate, via Paul Winley’s perspective, a somewhat comprehensive picture of how doo-wop, soul, funk, rap, and electro genres were intricately linked within the New York recording industry, more so than one would initially assume.

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2025-09-10 16:01