In the early 1950s, during a time when vocal harmony groups were on the rise, The Larks emerged as one of the most versatile and dynamic acts on the R&B and gospel scene. Formed in North Carolina, this pioneering group combined gospel roots with a rhythm and blues edge, paving the way for many vocal acts that followed.
Not to be confused with other similarly named groups—such as Don Julian’s Los Angeles-based Larks or the Philadelphia doo-wop Larks led by Weldon McDougal—this original lineup made its mark through hard work, rich vocal blends, and short-lived but impactful success.
| The Larks – Artist Profile | |
|---|---|
| Origin | North Carolina, USA |
| Genres | R&B, Gospel, Soul, Blues |
| Years Active | 1950–1954 (original lineup), 1953–mid-50s (new lineup) |
| Record Labels | Apollo, Savoy, Regal, Jubilee |
| Notable Members | Gene Mumford, Allen Bunn, David McNeil, Thermon Ruth, Raymond Barnes, Hadie Rowe |
| Major Hits | “Eyesight to the Blind” (#5 R&B, 1951), “Little Side Car” (#10 R&B, 1951) |
| Associated Acts | The Dominoes, Billy Ward & The Dominoes, The Ink Spots, The Golden Gate Quartet, Tarheel Slim & Little Ann |
| Legacy | Pioneers of blending gospel harmonies with R&B; early hitmakers in the transition from gospel to secular music |
Early Days: From Gospel Roots to Secular Sounds
The Larks’ story began with a blend of individuals from prominent gospel groups of the era. The original lineup included:
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Eugene “Gene” Mumford – tenor
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Allen Bunn (Alden Bunn) – baritone, lead vocals, guitarist
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Thermon Ruth – baritone, group organizer
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Hadie Rowe Jr. – baritone
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David McNeil – bass
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Raymond “Pee Wee” Barnes – tenor
All six members had backgrounds in spiritual music. Ruth had already founded the Selah Jubilee Singers in the 1920s and had experience producing and performing on gospel radio shows. In the late 1940s, he recruited Bunn and later Mumford, McNeil, Rowe, and Barnes to create a new group.
Mumford’s early career faced a major hurdle. While singing with The Four Interns, he was falsely imprisoned in a case of attempted assault. After being cleared and released, he joined Ruth and Bunn to form what would become The Larks.
Multiple Names, One Sound
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In 1950, the group moved to New York City and recorded under four different names for various labels:
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As The Jubilators for Regal Records
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As The 4 Barons for Savoy Records
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As The Southern Harmonaires for Apollo Records
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As Selah Jubilee Singers for Jubilee Records
They recorded mostly gospel songs during this phase, but the group’s potential in the secular market caught the attention of Apollo Records co-founder Bess Berman. She encouraged them to shift toward R&B, and they rebranded as The Larks, capitalizing on the popular trend of bird-named groups like The Orioles and The Ravens.
Commercial Breakthrough with “Eyesight to the Blind”
Their first hit came in 1951 with “Eyesight to the Blind,” written by bluesman Sonny Boy Williamson II. With Mumford’s smooth tenor and Bunn’s guitar backing, the song climbed to No. 5 on the Billboard R&B chart.
They followed this with “Little Side Car,” a revamped version of Smokey Hogg’s “Too Many Drivers.” It also reached the R&B Top Ten, proving that The Larks had the potential to be major players in the music scene.
Their secular recordings were a mix of blues, gospel-tinged ballads, and rhythm-heavy numbers. While the hits were modest compared to some of their peers, their style was influential, combining gospel finesse with R&B grit.
Personnel Changes and Group Disbandment
As success rolled in, internal changes followed. In the midst of their chart run, Hadie Rowe was drafted into the U.S. Army, reducing the group to a quintet.
By 1952, the group began to unravel:
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Allen Bunn left for a solo career, later recording as Tarheel Slim, exploring rockabilly, blues, and doo-wop. He would go on to collaborate with his wife, singer Little Ann.
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Raymond Barnes became an in-demand session guitarist across several genres.
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David McNeil joined The Dominoes, replacing bass singer Bill Brown.
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Eugene Mumford returned to gospel, joining The Golden Gate Quartet.
A New Version of The Larks
Despite the original lineup breaking up, Mumford revived the group in 1953 with a new set of members:
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Orville Brooks
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Glenn Burgess
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David Bowers
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Isaiah Bing
This second version of The Larks recorded new material and continued the group’s legacy, though with less commercial success.
Mumford’s later career included work with Billy Ward & His Dominoes, and collaborations with McNeil in The Ink Spots, albeit a later version of the famous group. He remained active in music until his passing in 1977.
Legacy and Influence
Though The Larks had a relatively short time in the spotlight, their impact on early R&B and doo-wop is undeniable. Their fusion of gospel vocal discipline and secular rhythm arrangements helped define the genre’s evolution in the early 1950s.
Their biggest hit, “Eyesight to the Blind,” became a blues standard, later covered by artists like The Who, Eric Clapton, and B.B. King. The song even appeared in The Who’s rock opera Tommy in 1969, proving its staying power.
The group’s recording work across multiple names also demonstrates how talented vocalists adapted to a changing music industry during a time when racial boundaries were more strictly enforced in mainstream media.
Conclusion
The Larks may not be a household name today, but their contributions to the foundations of R&B, soul, and even early rock ‘n’ roll are clear. With only a handful of hits, they helped bridge the sacred and the secular in a way that influenced future legends.
From gospel halls in North Carolina to recording studios in New York, The Larks sang with heart, harmony, and history. Their music is a reminder of the era’s creative spark—and of the many voices who helped build the sound of modern music.