Early Development 3
Group & Last Name Index to Full History:
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Tracks are listed in chronological order by year, then alphabetically.
Listings do not reflect proper order by month or day: later oft precedes earlier.
Find on Page = F3. Not on this page? See history tree below.
Featured on this page loosely in order of first recording if not record release (as possible).
Names are alphabetical, not chronological, per year:
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Caveats in the employment of this page: 1. It descends in chronological
order by the year the artist or band is first found on a commercial record
issue (ideally) by year only, alphabetical thereat. One musician above
another doesn't necessarily translate to earlier issue unless the year
changed. 2. Though release dates are the aim with links to YouTube, some
are recording dates and may not be everywhere clearly distinguished. 3.
Reissues are used to represent originals without much discussion. |
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| Albeit not a few doowop
[1,
2]
groups were one-hit wonders, the significance of doo wop in R&B is
reflected in the length of this page. A good companion source to this page is Mitch Rosalky's
'Encyclopedia of Rhythm & Blues and Doo-Wop Vocal Groups'. 'American Singing Groups' by Jay Warner. A
nice synopsis of doo wop is offered at Russ & Gary's:
1,
2,
3.
See also SAPM. Doo wop is a subcategory of rhythm and blues
preceding soul music which deep roots return to "barbershop" harmony that began to become popular
at the verge of the 20th century [Popular Music
1]. It would in little time grow limbs
such as beach rock and Motown (Detroit branch of what was predominantly
centered in the boroughs of New York City). Barbershop harmony had arisen in the
latter 19th century via the custom in black communities of using barbershops
as social gathering hubs. While waiting to get their hair cut black men
often sang folk, spiritual and popular music. Formally called a cappella,
among the distinguishing features of doo wop is the use of nonsense
syllables in rhythmic support of melody (which in jazz often became the
melody itself, known as scat singing). Among the earliest uses of the phrase "doo
wop" is by The
Drifters, below, in 1953, though the tune
wasn't released
until 1960. The Dundees (members of which would later become the
Calvanes)
used the term in 1954. The
Turbans used the term in 1955. The Velvets use "doo
wop" in 1961, during which decade disc jockeys began to commonly refer to
doo wop as doo wop. Early uses of the phrase "doo wop" in doo wop music: The Dundees 1954 Composition: Mosely/Killough The Turbans 1955 Composition: Andrew Jones The Fi-Tones 1956 Composition: Lowe Murray The Drifters 1960 Recorded 1953 Composition: Ahmet Ertegun/Jerry Wexler The Velvets 1961
Composition: Virgil Johnson
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| The use of nonsense syllables in vocal
harmony long preceded doo wop. It was 1931 when the
Mills Brothers
[1,
2,
3,
4,
5,
6,
7,
8] first
recorded their version of the barbershop quartet ('Tiger Rag'). Their parents actually
owned a barbershop and first christened the group The Four Kings of Harmony.
The brothers were Donald (lead tenor), Harry (baritone), Herbert (tenor) and
John Jr. (guitar and bass vocal). Barbershop harmony was in its heyday
during the first two decades of the 20th century, largely fading away during
the Roaring Twenties. The Mills Brothers were thus rather something of
barbershop music revivalists who gave it a whole new swing while making a
cappella harmony very popular. The group appeared in its first film, 'The
Big Broadcast', in 1932 [*]. In 1934 they played for King George V and Queen
Mary in England, becoming popular not long after on the Continent as well.
Upon their return to England in 1936, John Jr. died of pneumonia on 23 Jan. He was replaced by
guitarist, Norman Brown, for another three decades. John Junior's father, John Sr.,
filled in on bass and tuba until retiring in '58. The Mills Brothers recorded into the seventies, their last song to place in
the Top Forty being 'Cab Driver' in 1968 at No. 23 in the United States. Per
Find a Grave John Senior died on 8 Dec 1967, Norman Brown following on 19
Aug 1969, Harry on 28 June 1982, Herbert on 12 April 1989 and Donald on 13
Nov 1999 of
pneumonia. Donald's last recording had been 'Still...There's You' in
November that year. The group continued for a time with Donald's son, John
II, they no longer touring as of this writing. Catalogs of issues w various
credits at
1,
2,
3,
4.
Mills Brothers in visual media.
See also the Mills
Brothers in Swing Jazz. The Mills Brothers 1931 Composition: Original Dixieland Jass Band First recorded by ODJB in 1917 Music: Billy Meyers/Elmer Schoebel 1924 Lyrics: Gus Kahn/Ernie Erdman The Mills Brothers 1932 Composition: Dorothy Fields/Arnold Johnson/Jimmy McHugh The Mills Brothers 1934 Filmed live Composition: Branch/Don Redman Composition: Shelton Brooks The Mills Brothers 1937 Filmed live Composition: Harry Warren/Mort Dixon The Mills Brothers 1943 Composition: Johnny Black Filmed live Composition: Leon & Otis Renec The Mills Brothers 1944 Composition: Guy Wood/Eddie Seiler/Sol Marcus The Mills Brothers 1950 Composition: Bert Kalmar/Harry Ruby The Mills Brothers 1957 Filmed live From 'Lysistrata' 1902 Music: Paul Lincke Lyrics Geman: Heinz Bolten-Backers Lyrics English: Lilla Cayley Robinson The Mills Brothers 1964 Composition: Fabian Andre/Gus Kahn/Wilbur Schwandt The Mills Brothers 1974 Composition: Pat Ballard The Mills Brothers 1981 Live in Copenhagen Composition: Carson Parks
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The Mills Brothers Source: Three Perfect Minutes |
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Long before anyone had any notion of R&B the Ink Spots [1, 2, 3, 4, 5] were performing music that would develop into the doo wop limb of R&B. Originally consisting of Orville Jones, Ivory Watson, Jerry Daniels and Charlie Fuqua, the Ink Spots made their first recordings in 1935 with 'Mama Don't Allow It' and 'Swingin' on the Strings'. Daniels was replaced as lead tenor in 1936 by Bill Kenny [*], with whom the group would experience its heydays. Beginning with 'We Three (My Echo, My Shadow and Me)' in 1940. They first appeared in film in 1941 in 'The Great American Broadcast' [*]. The Ink Spots managed to place 18 songs in the Top Ten before 1950. Two of those were titles with Ella Fitzgerald reaching #1 in 1944: 'I'm Making Believe' and 'Into Each Life Some Rain Must Fall'. Other nonoriginal configurations of the Ink Spots arose, but the group Kenny led dissolved after its final performance at the Bolero Bar in Wildwood, New Jersey, in July of 1954. The Ink Spots with Bill Kenny were inducted into the Rock and Roll Hall of Fame as an influence in 1989. Their 1939 issue of 'If I Didn't Care' was inducted into the Grammy Hall of Fame the same year. They were elected into the Vocal Group Hall of Fame in 1999. Sessionography for the Ink Spots at *. Discos w various credits at 1, 2, 3. The Ink Sports in visual media. See also Marv Goldberg's 'More Than Words Can Say: The Ink Spots and Their Music', Scarecrow Press, B00F50RQ2K, '98. The Ink Spots 1935 Composition: Cow Cow Davenport Composition: Ada Benson/Doris Fisher The Ink Spots 1939 Film Composition: Jack Lawrence The Ink Spots 1940 Composition: Ben Oakland/Milton Drake Composition: Allan Flynn/Frank Madden The Ink Spots 1941 I Don't Want to Set the World on Fire Composition: Bennie Benjamin Eddie Durham/Sol Marcus/Eddie Seiler The Ink Spots 1942 Composition: Harry Watson/Herman Fairbanks The Ink Spots 1955 Composition: Jack Little/John Siras/Joe Young The Ink Spots 1956 Composition: Billy Mayhew
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The Ink Spots Source: TV Tropes |
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Delta Rhythm Boys Source: Singers |
Another swing era vocal group predating but
contributing to the rise of doo wop was the Delta Rhythm Boys
[1,
2,
3,
4],
first recording in 1940. Consisting of Otha Lee Gaines (bass vocals), Essie
Adkins (bass vocals), Traverse Crawford (second tenor) and Elmaurice Miller
(first tenor), the group first came together in 1934 at Langston University
in Oklahoma. In 1936 they moved to New Orleans to attend Dillard University.
They there picked up arranger and pianist, Rene DeKnight, to make the quartet
a quintet. Other personnel changes were made such that at the time of the
group's first recording it consisted of DeKnight, Gaines and Crawford, with
Adkins and Miller replaced by Harry Lewis and Clinton Holland (soon to be
replaced by Carl Jones
[*]). The Boys'
initial record release was 'Chilly & Cold' b/w 'Gimme Some Skin' in 1940.
They first appeared in film the next year per 'So's Your Uncle'
[*]. Becoming
highly popular in Europe upon their first tour there in 1948, the group
migrated across the Atlantic in 1956 and would later make Paris home base.
The Delta Rhythm Boys performed well into the eighties with various
personnel changes, Gaines the only original member of the group upon his
retirement in 1986 and death the following year in Finland on July 15
[*]. Catalogues of issues
by the Boys w
various credits at
1,
2,
3.
Delta Rhythm Boys 1940 Composition: Clarence Todd Delta Rhythm Boys 1941 Composition: Clarence Todd With Mildred Bailey Delta Rhythm Boys 1945 With Jimmie Lunceford Composition: Sy Oliver With Jimmie Lunceford Composition: Joe Liggins With Ella Fitzgerald Music: Harold Arlen Lyrics: Yip Harburg/Billy Rose Delta Rhythm Boys 1951 Flickorna i Småland (The Girls In Smoland) Music: Fridolf Lundberg 1912 Lyrics: Karl Williams Delta Rhythm Boys 1952 Film Music: Billy Strayhorn 1939 Lyrics: Joya Sherrill 1944 Tuoll' on mun kultani (Tuoll Is My Sweetheart) Delta Rhythm Boys 1958 Alouette (Lark) Composition: French-Canadian traditional * Delta Rhythm Boys 1959 Joshua Fit the Battle of Jericho Television performance Composition: Slave spiritual *
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| Like the Ink Spots, the
Brown Dots [1,
2,
3] preceded doo wop but made a major contribution to its development. They were formed upon Ivory "Deeks" Watson leaving the
Ink Spots in 1944. Other members: Pat Best (baritone and guitar), Jimmy Gordon
and Joe King. 'Sentimental Reasons' (unfound) was among the four songs the
Brown Dots
recorded at their first session for Manor Records in 1945. King was replaced
by Jimmie Nabbie later in the year. In 1946 the Sentimentalists were formed
upon Best, Gordon and Nabbie severing from Watson. The Sentimentalists would
record with
Savannah Churchill before
changing their name to the
Four Tunes (or 4 Tunes) later that year.
As for Watson, he put a new Brown Dots together, continuing to record, and
also joined other configurations of the
Ink Spots while fading into
obscurity. Watson died in 1969 in Washington DC. Disco w various
credits at
*.
Lead data below per Marv Goldberg.
The Brown Dots 1945 Let's Give Love Another Chance Lead: Deek Watson Composition: Deek Watson Lead: Joe King Composition: Deek Watson/Pat Best The Brown Dots 1946 Film: 'Boy, What A Girl' Composition: Johnny Hartman The Brown Dots 1947 Film: 'The Sepia Cinderella' Film: 'The Sepia Cinderella' Composition: Herman Fairbanks/Deek Watson
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The Brown Dots Source: All Music |
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The Ravens Source: Homoerratic Radio Show |
The basic structure of the doo
wop group was a lead, two tenors and a baritone.
Jimmy Ricks, however, had one of the
deepest bass voices in music, which proved an advantage to the
Ravens [*] formed in
1946 in New York City by
Ricks, Warren Suttles (baritone),
Zeke Puzey (second tenor) and Ollie Jones (Henry Oliver, second tenor).
Another of the Ravens' advantages was manager, Ben Bart, also handling the
Ink Spots
[1,
2,
3]. Of six tracks
recorded in June of '46 'Honey' and 'Lullaby' were the first to be released
by Hub Records (3030)
[*]. Those were followed that year by 'Out of a
Dream'/'My Sugar Is So Refined' (Hub 3032) and 'Once and For All' (Hub
3033). Circa Jan 1947 Maithe Marshall replaced Jones as first tenor (he
himself replaced by Richie Cannon in October of 1948). The Ravens also
replaced Hub Records with National that year, beginning with 'Mahzel'/'For
You' (9034). Continuing with National into the early fifties, the group also
issued on King, the latter having bought masters owned by Hub. Come
September of 1948 Suttles was temporarily replaced by Joe Medlin, returning
in Jan of '49 to replace Cannon. The Ravens would undergo various personnel
shifts through the years. They switched from National to Columbia in 1950,
commencing with 'Time Takes Care of Everything'/'Don't Look Now' (39050). The
Ravens positioned seven titles in the Top Ten and Twenty of Billboard's R&B
chart in 1948 alone, among them 'Be On Your Merry Way' (#13) and 'Write Me a
Letter'' (#5). Four Top Ten titles later they placed their last, 'Rock Me All Night Long',
at #4 in 1952, not again to notably chart. Puzey (d '07) was replaced
by Jimmie Steward in June of 1953.
Ricks (d '74) left in spring of 1954,
returning half a year later to remain until late '55, early '56, replaced by
Tommy Evans. Suttles (d '09) had permanently vacated in summer of '54. Goldberg has the Ravens' final
issue on Argo 5284 in November of 1957: 'Here Is My Heart'/'Lazy Mule'. They
gave their final performance in December of '58 at the Apollo Theatre in
Harlem. There were no original members when the Ravens then dismantled,
consisting of Grant Kitchings, Joe Van Loan, Boots Bowers and Aaron Tex
Cornelius. In May of 1959 Top Rank released 'Into the Shadows'/'The Rising
Sun' (#2003) by unidentified Ravens. It was also 1959 when Willis Sanders, a
member of the Ravens in 1956, recorded 'Solitude'/'Hole in the Middle of the
Moon' (Top Rank #2016) with his group, the Embers, as the Ravens. A later
reunion in 1974 between
Ricks, Suttles, Puzey and
Marshall resulted in 'Without a Song', 'Write Me a Letter', 'Careless Love'
and Marshall's 'Would You Believe Me', those issued on EP per Song Master
800. The
Ravens were inducted into the Vocal Group Hall of Fame in 1998. Songwriting
credits for the group at
1,
2,
3. None of
the Ravens'
members, original or otherwise, remain living. Lead data below per Marv
Goldberg. The Ravens 1946 Lead: Jimmy Ricks Composition: Howard Biggs The Ravens 1947 Lead: Leonard Puzey/Jimmy Ricks/Maithe Marshall Composition: Artie Wayne/Jack Beekman The Ravens 1949 Lead: Jimmy Ricks/Maithe Marshall Composition: Johnny Hodges The Ravens 1950 Lead: Maithe Marshall Composition: Lester Fountain Lead: Jimmy Ricks Composition: Bill Sanford/Jimmy Ricks The Ravens 1953 Lead: Jimmy Ricks Composition: Cole Porter Lead: Jimmy Ricks Composition: Harold Hensley Lead: Jimmy Ricks Composition: Bill Sanford/Jimmy Ricks Lead: Jimmy Ricks Composition: Ella Fitzgerald/Hank Jones/Bill Tennyson Solo: Jimmy Ricks Composition: Bill Sanford/Jimmy Ricks Lead: Jimmy Ricks Composition: Bill Sanford/Jimmy Ricks The Ravens 1954 Lead: Jimmy Ricks/Joe Van Loan Composition: Antonin Dvorak From Antonin Dvorak's 'Symphony No. 9' 1893 The Ravens 1955 Lead: Jimmy Ricks/Jimmie Steward Composition: Nilo Menéndez
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| The
Beale Street Boys
[1,
2,
3] named after the early
blues and jug band hub in Memphis
[*], released their first 1947 recording in
1948: 'Teach Me Teach Me, Baby' with 'Why Does It Always Rain On Sunday?'
flip side. The Beale Street Boys consisted of Bob Davis (lead), William
Barnes (tenor), James Pugh (baritone) and David Pugh (bass).
Milt Buckner's Beale Street Gang
[*] also
issued as the Beale Street Boys, those and these Beale Street Boys
not to be confused. Incomplete disco of issues
at *. Beale Street Boys 1948 Composition: Mack David/Ticker Freeman Composition: Sid Tepper/Roy Brodsky I've Kept Everything the Same For You Composition: Evans/Loeb Composition: Sid Tepper/Roy Brodsky Wait'll I Get You In My Dreams Tonight Composition: Sid Tepper/Roy Brodsky Music: Sammy Fain Lyrics: Irving Kahal/Ticker Freeman
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The Beale Street Boys Source: Vocal Group Harmony |
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| When Joe King, Pat Best and Jimmy Gordon
left the
Brown Dots they got together with Danny Owens to form the
Sentimentalists in 1946. Jimmie Nabbie replaced King later that year. They recorded that year for the Manor label,
backind
Savannah Churchill's recording of
'I Want to Be Loved'
[*]. Briefly afterward they changed their name to the
Four
Tunes
[1,
2] upon request by swing band leader
Tommy Dorsey, known as 'The
Sentimental Gentleman Of Swing', thinking the Sentimentalists might rival
his banner. Such presented no problem, so that the group began backing
Churchill in 1948 as the Four Tunes.
Notable in 1953 was 'Marie' rising to No. 2 on the R&B chart. 'I Understand
(Just How You Feel)' attained to No. 6 on Billboard's pop chart the next
year. The early fifties were the heydays for the 4 Tunes, though Nabbie
would lead the group until 1963, various configurations continuing over the
following decades. The Four Tunes were inducted into the Vocal Group Hall of
Fame in 2004. Discos w various credits at
1,
2,
3. The Four Tunes 1948 Backing Savannah Churchill Composition: Abe Schiff/Irving Berman The Four Tunes 1949 Composition: Martha Koenig/Spencer Williams/W. C. Handy Composition: Roy Brodsky/Sid Tepper The Four Tunes 1950 Carry Me Back to the Lone Prairie Composition: Carson Robison The Four Tunes 1951 Backing Savannah Churchill Composition: Fred Wise/Ben Weisman The Four Tunes 1953 Composition: Anita Boyer/Nick Arvan/Paul Weirick Composition: Irving Berlin The Four Tunes 1954 Composition: Ray George The Four Tunes 1955 Composition: Ulysses Burton
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The Four Tunes 1964 Source: Marv Goldberg |
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In 1948 the Orioles [1, 2, 3, 4, 5] released their first recording, 'It's Too Soon to Know', written by Deborah Chessler, their manager, that charting at No. 1. The Orioles consisted of Sonny Til (lead tenor), Alexander Sharp (high tenor), George Nelson (baritone), Johnny Reed (bass vocals and double bass)and Tommy Gaither (guitar). The group began dropping away after Carroll replaced Nelson in 1953. 'Crying in the Chapel' hung around at No. 1 on the R&B chart for five weeks afterward that year, but the fundamental Orioles had made their run and gone past tense by the time their manager, Chessler, left in February of 1955. Further configurations arose into the new millennium, but by then the group had long since become an oldies attraction. Discographies of issues by the Orioles at 1, 2, 3, 4, 5. The Orioles 1948 Composition: Deborah Chessler The Orioles 1949 Composition: Artie Glenn Composition: Deborah Chessler The Orioles 1950 Composition: Una Mae Carlisle The Orioles 1953 Don't You Think I Ought to Know Composition: Bill Johnson/Melvin Wettergreen The Orioles 1956 Composition: Conrad Sewell The Orioles 1959 Composition: Artie Glenn The Orioles 1962 Composition: Alan Freed/Harvey Fuqua
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The Orioles
Source: Brian Lee's Colorradio |
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The Blenders Source: Discogs |
Among the earliest doo wop groups
(not to be confused with the much later Chicago
Blenders) was the
Blenders
[1,
2]. A New York City group,
they made their professional debut in 1949. Their first four
milk shakes
were 'I Can Dream, Can't I', 'Why Is It You', 'Come Back Baby Blues' and
'Why Does A Good Man Get Kicked Around'. The group at first consisted of Ollie Jones,
James DeLoach, Tommy Adams and Abel DeCosta. The Blenders took on some stiff
competition in the fifties when
Hamilton Beach was appearing at 5 & 10s,
Woolworths and soda fountains everywhere throughout the nation. But that
didn't ruffle the Blenders. They mixed right back with 'Don't Play Around
With Love' in 1953. They did an alternate take of that called 'Don't Fuck
Around With Love', telling Hamilton Beach to get out of town. The latter
replied "So what" and stirred on everywhere just as before. Hamilton Beach
proved the big dog and the Blenders were unplugged in 1954, disbanding that
year. Issues discography at
*. Lead
data below per Marv Goldberg. The Blenders 1949 Lead: Tommy Adams Music: Sammy Fain Lyrics: Irving Kahal The Blenders 1951 Lead: Ollie Jones/Raymond Johnson All I Gotta Do Is Think of You Lead: Ollie Jones Composition: Fay Tishman Lead: Ollie Jones The Blenders 1952 Lead: Ollie Jones Composition: Marty Symes/Al Neiberg/Jerry Levinson Lead: James DeLoach The Blenders 1953 Lead: Ollie Jones/James DeLoach Composition: Joseph Burns/C De Metruis (Claude DeMetrius) Lead: Ollie Jones/James DeLoach Composition: Joseph Burns/C De Metruis (Claude DeMetrius)
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The Clovers Source: Custom Rodder
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The Clovers [1, 2, 3, 4, 5] were first formed in 1946, a trio until a quartet was formed called the Four Clovers. The Clovers released 'Yes Sir, That's My Baby'/'When You Come Back to Me' on Rainbow Records in 1950. The group consisted of Harold Lucas, Matthew McQuater, Harold Winley and John "Buddy" Bailey at that time, but would start experiencing personnel changes in 1951. They were yet the above-mentioned configuration upon releasing 'Don't You Know I Love You' and 'Fool, Fool, Fool' in 1951, both topping the charts at No. 1. The group, now altered, repeated that success in 1952 with 'Ting-A-Ling'. The Clover's placed numerous songs in the Top Ten, their last in 1956 at No. 4 on Billboard's R&B: 'Love, Love, Love'. Their last to chart in the Top Thirty was 'Love Potion #9' in 1959 at No. 23. They continued strong through the sixties despite continuous personnel changes, but by the seventies the Clovers had become past tense. New configurations of the group continued into the nineties to perform the oldies circuit, but as death took continual claim to the group's members it was eventually abandoned altogether. Discos of issues at 1, 2, 3. Songwriting credits also at *. The Clovers in visual media. Lead data below per Marv Goldberg. The Clovers 1950 Lead: John Bailey/Harold Winley Composition: David Highsmith Lead: John Bailey/Harold Winley Music: Walter Donaldson Lyrics: Gus Kahn First issued by Gene Austin 1925 The Clovers 1951 Television performance Composition: Ahmet Ertegun The Clovers 1952 Composition: Rudy Toombs The Clovers 1954 Filmed live Composition: Carmen Taylor/Jesmet*/Willis Carroll Filmed live Composition: Eddie Curtis/Nuggy (Nugetre, Ahmet Ertegun) The Clovers 1959 Lead: John Bowie Composition: Jerry Leiber/Mike Stoller
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Bobby Day |
Bobby Day (Robert Byrd) [1, 2, 3] was born in Fort Worth Texas, in 1930. In 1945 he headed for Los Angeles, changed his name from Byrd to Day in 1957, then formed the (Hollywood) Flames [1, 2, 3] In 1949. The group's first gig was at the Barrelhouse Club, owned by Johnny Otis, where the Robins were formed about the same time. The Flames' first single was 'Young Girl', recorded in January of 1950. The Flames recorded under various names (such as the Hollywood Four Flames) for several years, and Day was very popular locally. But he didn't arrive to substantial national recognition until reforming the Flames into the Satellites and recording 'Rockin' Robin' in 1958 (a less successful version released the year before by the Valiants, another doo-wop group). Day was also part of the duo called Bob and Earl with Earl Nelson in the early sixties. (He was replaced by Bob Relf with whom the Bob and Earl duo released 'Harlem Shuffle' in 1963.) Day's biography with that of the Flames during the sixties is as complex as it is missing. Suffice it to say that Day released numerous recordings for several labels in various capacities, not again to achieve his earlier success with 'Rockin' Robin'. The Flames, having been through multiple name and personnel changes, last recorded in 1965 and was disbanded by 1967. Day toured Australia and New Zealand, thought in the latter sixties, returning to Florida in the States perhaps in the early seventies. After a time he returned to Los Angeles, soon becoming an oldies attraction. Day toured the United Kingdom in 1989, the year before his death of cancer on July 27, 1990. Day had composed titles like 'Little Bitty Pretty One' ('57) and 'Over and Over' ('58). Discographies of releases by Day with various credits at 1, 2. Issues by the Hollywood Flames at 1, 2, 3. Per below, Robert Byrd = Bobby Day. Bobby Day 1953 Composition: Marty Cooper/Robert Byrd Arrangement: Jack Nitzsche With the Flames Composition: Rudy Toombs Bobby Day 1957 Lead: Earl Nelson With the Hollywood Flames Composition: John Gray/Robert Byrd With the Satellites Composition: Robert Byrd Bobby Day 1958 Composition: Robert Byrd With the Satellites Composition: Jimmie Thomas Bobby Day 1959 Music: Alex North Lyrics: Hy Zaret For the film 'Unchained' 1955
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The Robins Source: Lara Petersson Music |
The Robins
[1,
2,
3,
4]
were a doo wop group that came together at the Barrelhouse Club owned by Johnny Otis
in Los Angeles, the same place that
Bobby Day formed the
Flames about the same
time. Original members consisting of Bobby Nunn, Terrell Leonard, Billy
Richard and Roy Richard, the Robins had first recorded as the Bluebirds
in 1949. They did one side for the Excelsior label: 'My Baby Done Told Me'.
They released 'Around About Midnight'/'You Sure Look Good To Me' the same year, followed by 'Don't Like
the Way You're
Doing'/'Come Back Baby'. The Robins were reconfigured as the
Coasters in 1956. Biographical sources
above include issue discographies. See also
1,
2. As usual, tracks below are in alphabetical
sequence by year, not ordered by date. Lead vocal data per Goldberg. Lead
guitar per Discogs. The Robins 1949 Lead: Bobby Nunn Lead: Bobby Nunn Lead guitar: Bobby Nunn Composition: Bill Richard/Terrell Leonard Don't Like the Way You're Doing Lead: Bobby Nunn Lead guitar: Bobby Nunn Lead: Bobby Nunn Composition: Leonard Caston The Robins 1954 Lead: Bobby Nunn Composition: Jerry Leiber/Mike Stoller Lead: Carl Gardner Composition: Jerry Leiber/Mike Stoller Lead: Richard Berry Composition: Jerry Leiber/Mike Stoller The Robins 1959 Lead: All Composition: Alvin & Edwin Johnson The Robins 1961 Lead: Bobby Sheen Composition: Carl White Lead: Bobby Sheen Composition: R. Adams/J. Stampfeck Lead: Bobby Sheen Composition: Nat Burton/Walter Kent
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Billy Ward and the Dominoes recorded their first titles on November 14, 1950 [*], among them 'Do Something For Me' (Federal 12001) issued in December [sessions/issues: 45Worlds/Discogs/Rocky52]. Billy Ward had been born in 1921 in Savannah, Georgia, and had studied at Juilliard in New York [*]. At first called the Ques, the original Dominoes consisted of Clyde McPhatter (lead tenor), Charlie White (tenor), Joe Lamont (baritone) and Bill Brown (bass). Ward was the group's arranger and pianist. 'Do Something For Me' arrived to the No. 6 spot on Billboard's R&B in Feb 1951. A session on December 30, 1950, witnessed the early rock tune, 'Sixty Minute Man', that to reach No. 1 in May of '51. On January 27 of 1951 they backed Little Esther Phillips on 'Heart to Heart' and 'The Deacon Moves In'. 'Have Mercy Baby' became another No.1 title for the Dominoes in May of 1952. In 1953 Jackie Wilson replaced Clyde McPhatter as lead. Wilson's first session on June 27 came to 'You Can't Keep a Good Man Down', 'Where Now Little Heart' and "The Handwriting on the Wall'. In 1957 the Dominoes released their 12th and last single to crack the Top Ten on Billboard's U.S. R&B, 'Star Dust' at #5 in May. That was fairly much the group's last hurrah, Wilson leaving later that year to return to a solo career. The Dominoes performed well into the sixties before drifting apart. Goldberg traces them to a session as late as Sep of 1965 for 'Oh Holy Night' and 'What Are You Doing New Year's Eve' (King 6016). Ward died in February of 2002 in Inglewood, CA, before the Dominoes were elected into the Vocal Group Hall of Fame in 2006. Songwriting credits for the Dominoes at 1, 2. Lead data below per Goldberg. The Dominoes 1950 Lead: Clyde McPhatter Composition: Billy Ward/Rose Marks The Dominoes 1951 Lead: Bill Brown Composition: Billy Ward/Rose Marks With Little Esther Phillips Lead: Charlie White Composition: Billy Ward/Rose Marks With Little Esther Phillips Lead: Clyde McPhatter Composition: Billy Ward/Rose Marks The Dominoes 1953 Lead: Clyde McPhatter Composition: Billy Ward/Rose Marks The Dominoes 1954 Lead: Jackie Wilson Composition: Walter Gross/Jack Lawrence The Dominoes 1955 Lead: Jackie Wilson Composition: Dolores Vicki Silvers Lead: Jackie Wilson Unissued Lead: Jackie Wilson Composition: Billy Ward The Dominoes 1956 Lead: Jackie Wilson Composition: Remus Harris/Arthur Strauss
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The Dominoes Source: OSML |
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The 5 Royales Source: Blues & Rhythm |
The 5 Royales [1, 2] were originally a gospel group, formed in 1942, called the Royal Sons Quintet. Formed by guitarist, Lowman Pauling, and brother, Clarence, the latter made an early exit to work as a producer for Motown Records. Lead vocalists included Johnny and Eugene Tanner. Other members included Jimmy Moore, Obadiah Carter and Otto Jeffries (the latter replaced by Eugene). In 1951 the Royal Sons won a contract with Apollo Records to make their first recording, 'Bedside of a Neighbor' with 'Journey's End' flipside (Apollo 253 Jan '52 ['The Billboard'/45Cat]). Apollo didn't initially release those, however, because the Royal Sons planned to pursue secular music the same year, changing their name to the Royals. Their first release by that name was 'Too Much Of A Little Bit' with 'Give Me One More Chance' in November of 1951 (Apollo 434) [45Cat]. To avoid confusion with other bands called the Royals they changed their name to the 5 Royales in 1952. Their first release by that name was 'You Know I Know' with 'Courage to Love'. The 5 Royales were best known for their #1 tunes, 'Baby Don't Do It' ('53) and 'Help Me Somebody' ('53) [*]. The group fundamentally broke up in 1965, though configurations of small note continued into the seventies. The last living member of the 5 Royales, James Moore, died on August 16 of 2008 [*]. The 5 Royales were elected into the Rock and Roll Hall of Fame as an early influence in 2015. Issues discos at 1, 2, 3, 4. 5 Royales 1951 As the Royals Composition: Lowman Pauling As the Royals Composition: Lowman Pauling 5 Royales 1952 As the Royal Sons Composition: Thomas Dorsey Composition: Lowman Pauling As the Royal Sons Composition: Lowman Pauling Composition: Lowman Pauling 5 Royales 1954 Composition: Lowman Pauling 5 Royales 1955 Women About to Make Me Go Crazy Composition: Lowman Pauling 5 Royales 1956 Composition: Charles Singleton/Rose Marie McCoy 5 Royales 1957 Composition: Lowman Pauling Composition: Lowman Pauling Composition: Gloria Pall/Lowman Pauling 5 Royales 1958 Composition: Lowman Pauling
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The Cardinals [1, 2, 3, 4], were a major group which released only three charting titles, though all Top Ten, making them a three rather than one-hit doo wop wonder. They were initially formed in Baltimore in 1946 as the Mellotones consisting of Ernie Lee Warren (lead tenor), Meredith Bothers (second tenor), Leon Hardy (bass) and Donald Johnson (baritone). They changed their name to the Cardinals in 1950. The group released 'Shouldn’t I Know' in May of 1951 [rockabilly.nl], peaking at No. 7 on Billboard's R&B chart in Oct that year [*]. The group began to go through personnel changes in 1951, preceding the rise of 'The Wheel of Fortune' to the R&B's #6 tier in April 1952. 'The Door Is Still Open (To My Heart)' (Chuck Willis) charted at #4 on the R&B in April of 1955 before the Cardinals dropped off the charts altogether. The Cardinals performed in one configuration or another into the sixties, disappearing with the wane of doo wop in general. Discos of releases w various credits at 1, 2. The Cardinals 1951 Composition: Meredith Brothers/Sam Azrael The Cardinals 1952 Composition: Ahmet Ertegun Composition: Bennie Benjamin/George David Weiss The Cardinals 1955 Composition: Bobby Mansfield Composition: Jerrold & Perry Samuels The Cardinals 1956 Composition: Diamond/Graham Composition: Diamond/Graham
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The Cardinals Source: Last FM |
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The Five Keys [1, 2, 3, 4, 5, 6] released their first single, 'With a Broken Heart' b/w 'Too Late', in 1951. The Five Keys had originated as the Sentimental Four in 1945 in Newport News, Virginia. The Sentimental Four was a gospel quartet of two pairs of brothers, all yet in school: Rudy and Bernie West with Raphael and Ripley Ingram. Numerous personnel changes, however, were soon to occur. The Sentimental Four were rechristened the Five Keys upon their first performance as such at the Apollo Theater in August of '49 (Billie Holiday headlining). Apollo manager, Isaac Burton, decided upon the name upon a set of five skeleton keys falling to the floor. After the Keys' release of 'With s Broken Heart' in 1951 they issued 'The Glory of Love' the same year, to sit atop Billboard's R&B chart at No. 1. Maryland Pierce joined the group in 1954, he and Rudy the group's main lead singers. 1955 saw two Five Keys songs reach Billboard's #5 tier: 'Close Your Eyes' and 'Ling, Ting, Tong'. The Keys enjoyed a strong run into the sixties, collapsing into an oldies group a year or so after the Beatles first invaded, by which time doo wop had begun to fade in popularity, having largely run its course by the sixties but for oldies circuits and revivals. The Five Keys variously reunited into the seventies before dropping out of sight altogether. Rudy West died in 1998. The group was inducted into the Vocal Group Hall of Fame in 2002. Maryland Pierce has yet been active performing well into the new millennium. Bernie West is thought to yet reside in Newport News, Virginia, where it all began, as of this writing. Issues discographies w various credits at 1, 2. Lead data below per Marv Goldberg. The Five Keys 1951 Lead: Dickie Smith Composition: Dickie Smith The Five Keys 1955 Lead: Maryland Pierce/Rudy West Composition: Chuck Willis Lead: Maryland Pierce Composition: Mabel Godwin The Five Keys 1956 Lead: Maryland Pierce/Rudy West Ramon Loper/Bernie West Composition: Murray Berlin The Five Keys 1957 Lead: Rudy West Composition: Vin Corso/Clyde Otis The Five Keys 1958 Lead: Maryland Pierce/Bernie West Composition: Rudy Toombs/Earl Hines The Five Keys 1960 Lead: Dickie Smith Composition: Pat Best/Irving Berman
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The Five Keys Source: Last FM
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The Checkers Source: Marv Goldberg
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The Checkers [1, 2] first recorded in 1952. The group was formed by two ex members of the Dominoes, Charlie White and Bill Brown, and called the Checkers specifically to compete with the Dominoes. Beyond Brown and White, the original quintet consisted of Buddy Brewer, Irwin Williams and John Carnegie. The group's initial release for King Records in 1952, 'Flame In My Heart' b/w 'Oh, Oh, Oh Baby', didn't travel far. Nor did the rest of the Checkers' recordings, they no match for the Dominoes. In 1953 White dropped out of the group. It then disbanded in 1955. Although King Records continued releasing earlier material for years to come their was to be no reawakening of the Checkers. Issues discos at 1, 2. Lead data below per Goldberg. The Checkers 1952 Lead: Bill Brown/Charlie White Composition: Andrew McCarter Lead: John Carnegie/Bill Brown Composition: Henry Glover Lead: Bill Brown Composition: Henry Glover The Checkers 1953 Lead: Bill Brown Composition: Nat Burton/Walter Kent Lead: Bill Brown Music: Vincent Youmans Lyrics: Edward Eliscu/Billy Rose
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| Not to be confused with the
later Canadian
Diamonds, these
Diamonds
[*]
were formed in Harlem in 1948. Harlem would figure big in doo wop, producing
countless groups. Consisting of Harold Sonny Wright (lead),
Daniel Stevens (bass), Myles Hardy (first tenor) and Ernest Ward (second
tenor), their first record release was in 1952: 'A Beggar for Your
Kisses'/'Call, Baby, Call' on Atlantic 981. The group issued only three
plates before dissolving in 1955: 'I'll Live Again'/'Two Loves Have I'
(Atlantic 1003 '53) and 'Romance in the Dark'/'Cherry' (Atlantic 1017 '54). The Diamonds 1952 Composition: Sylvia & Marco Rosales Composition: Stone/Hines The Diamonds 1953 Composition: Carlisle ('J'ai Deux Amours') Music: Vincent Scotto Lyrics French: Georges Koger/Henri Varna Lyrics English: Jack Murray/Barry Trivers The Diamonds 1954 Composition: Big Bill Broonzy/Lil Green
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 The Du Droppers Source: Doo-Wop Blog |
Lead tenor, JC Ginyard (Caleb
Ginyard Jr.), first formed the
Du Droppers
[1,
2,
3,
4,
5,
6]
to be a gospel group
in 1952. Turning to R&B, their first record release was in December that
year, a response to the Dominoes', 'Sixty Minute Man': 'Can't Do Sixty No
More'/'Chain Me Baby'. The record label was Red Robin, also a record shop in
New York. Other original members were Willie Ray (tenor/baritone), Harvey
Ray (tenor/baritone) and Eddie Hashaw (bass). The Du-Droppers moved to RCA to release 'I Found Out' in June of
1953. That visited the #3 spot on the R&B along with 'I Wanna Know' that
year, the group's only titles to chart. The group released its last plate in August 1955: 'You're Mine
Already' b/w 'I Wanna Love You', after which Junior Ginyard returned to
gospel with the Golden Gate Quartet. Issues discos for the Du Droppers
(Du-Droppers) with production and
songwriting credits at
1,
2. The Du-Droppers 1952 Composition: Caleb Ginyard Composition: Matthew Nelson The Du-Droppers 1953 Composition: Jerry Leiber/Mike Stoller The Du-Droppers 1954 Composition: Bob Kornegay/Caleb Ginyard Composition: Bob Konegie (per Victor label) The Du-Droppers 1955 Composition: Bob Kornegay/Julius (Caleb) Ginyard Composition: Charles Singleton/Rose Marie McCoy
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| It was 1947 when the
Bachelors (one a
few groups by that name including the later and better known based in Dublin
*) first got
together as the Cavaliers in Washington DC. The group consisted of Waverly
Mason (lead), James Walton (first tenor), Walter Taylor (second tenor),
Herbert Fisher (baritone) and John Bowie (bass). (Only Walton, Fischer and
Bowie remained with the Bachelors for the photo, circa 1956, to the right.) They soon changed their name to the Jets
[1,
2], under
which they first recorded in 1952 ('The Lovers'/'Drag It Home, Baby' -
reviewed in 'The Billboard' January 17, 1953). But as there
was another group called the Jets, they began recording as the Bachelors
[1,
2,
3] the
same year. Personnel changes brought about the dismantling of the Bachelors
and the formation of the Links
[*] in 1958. Titles below are in alphabetical order by year.
Lead data per Goldberg. The Bachelors 1953 Lead: Robert Russell Composition: John Bowie As the Jets Lead: Charles Booker Composition: John Bowie Lead: Charles Booker As the Jets Lead: Waverly Mason Lead: Walter Taylor Lead: Robert Russell Composition: John Bowie The Bachelors 1957 Lead: James Taylor Composition: John Bowie The Bachelors 1958 As the Links Lead: Herbert Fisher Composition: Smart/The Links As the Links Lead: Herbert Fisher
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The Bachelors Circa 1956 Source: Marv Goldberg |
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Hank Ballard [1, 2, 3, 4, 5] was born John Henry Kendricks in Detroit in 1927. He was working an assembly line at the Ford Motor Company when he was invited to replace Lawson Smith in the Royals. The Royals had made their first recordings on Jan 8 of 1952 with Charles Sutton at lead: 'Every Beat of my Heart' *. It was 1953 when Ballard made his first recording with the Royals: 'Get It'. In 1954 they changed their name to the Midnighters [1, 2, 3, 4] to avoid confusion with other bands named the Royals. It was with the Midnighters that Ballard released 'The Twist' in 1959. But it was Chubby Checker's cover in 1960 that got the publicity via Dick Clark's 'American Bandstand'. The Midnighters would take doo wop into the sixties when it ceased to be a popular musical style, disbanding in 1965. Ballard then pursued a solo career until he reformed the Midnighters in the eighties. That group performed until 2002. Ballard died on March 2 of 2003 of throat cancer in Los Angeles [*]. Discos of Ballard and the Midnighters at 1, 2, 3, 4. Ballard & his Midnighters in visual media. Hank Ballard 1954 Composition: Ballard Composition: Ballard Hank Ballard 1959 Composition: Henry Glover Composition: Ballard Hank Ballard 1960 Composition: Andy Gibson/Lois Mann/Sonny Thompson Composition: Ballard Hank Ballard 1964 Composition: Sonny Thompson Composition: W. King/J. Stephen
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Hank Ballard Photo: Norm Buller Source: MALE sTRip show |
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 The Castelles 1956 Source: Marv Goldberg |
The
Castelles
[1,
2] (not to be confused with the
later pop vocal harmony group from Santa Rosa, CA, the
Castells) began
coming together in 1949 while yet kids. They were a group of junior and
high school students busking on the streets of Philadelphia as the Royal
Castelles by the time they took on manager, Lucille McCord. She took them to
see Herb Slotkin and Jerry Ragovoy who decided to found Grend Records with
them. The group dropped "Royal" from their name and
issued their debut 45 in October of 1953: 'My Girl Awaits
Me'/'Sweetness'. At that time the group was comprised of George Grant (lead
tenor), Octavius Anthony (first tenor), Billy Taylor (first & second
tenor/baritone), Ron Everett (bass) and Frank Vance (guitar). In 1955 both
Everett and Vance were replaced by Clarence Scott for the 1956 issue of
'Happy and Gay'/'Hey Baby Baby'. That record going nowhere, Grant shut down
operations. George Grant and Billy Taylor (not, by the way, the jazz pianist) continued
their musical careers. In 1991 Grant released 'Surrender to Love'/'Baby
Please Don't Stop' as George Grant & the Castelles. That is thought to be a
misprint, the
Calvanes the actual group.
Discographies w credits at
1,
2.
Lead data below per Goldberg. The Castelles 1953 Lead: George Grant Composition: Frank Vance Lead: Octavius Anthony Composition: Octavius Anthony Lead: George Grant Composition: Pagovoy/Epstein The Castelles 1954 If You Were the Only Girl in the World Lead: George Grant Composition: Clifford Grey/Nat Ayer 1925 Lead: George Grant Composition: Frank Vance
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| The
Charms was a
group led by Otis Williams
(not the same Otis Williams as in the
Temptations) which original members
were Bob Smith (tenor - later replaced by Donald Peak), Rolland Bradley
(tenor), Joe Penn (baritone/tenor) and Richard Parker (bass) [see also
*]. The group first recorded in
1953: 'Heaven Only Knows'. Several more releases were made until 'Hearts of
Stone' reached No. 1 on
Billboard in 1954 and went gold. The Charms saw
their dissolution upon Williams getting drafted into the Army in 196o,
though earlier recordings were yet released. Williams pursued a solo career
upon his discharge from military service in 1962. Issues discos of the
Charms at Discogs. Of the
Charms w Otis Williams at Discogs. The Charms 1953 Composition: Donald Peak/Joe Penn/Otis Williams Composition: Richard Parker/Rolland Bradley The Charms 1954 Composition: Rudy Jackson Composition: Mabel Godwin The Charms 1956 Composition: Stone/Henry Glover/Lois Mann Composition: Stone The Charms 1959 Composition: Henry Glover
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The Charms Source: JV Entertainment |
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The Crows Source: Wikipedia
|
The
Crows
[1,
2,
3,
4,
5] began practicing harmony on the
sidewalks of the Bronx in 1951. Its original members were Daniel "Sonny" Norton
(lead), William Davis (baritone), Harold Major (tenor), Jerry Wittick (tenor
- later replaced by Mark Jackson) and Gerald Hamilton (bass). Discovered at
an Apollo Theater talent show, theirs were the first records produced by
newly formed Rama Records in 1953, recording with Viola Watkins. "Gee' reached No. 2
on Billboard's R&B chart, after which the Crows dismantled, something
exemplary of doo-wop, bloated with one-hit wonders which, upon making some
dollars,
disappeared as fast as they came. Discographies of releases w various
credits at
1,
2.
Daniel Norton sings lead on all titles below. The Crows 1953 Guitar: Tiny Grimes Piano: Viola Watkins Composition: William Davis/Viola Watkins Composition: William Davis/Viola Watkins The Crows 1954 Composition: Eddie Tex Curtis Composition: George Goldner/Sonny Norton/William Davis Composition: George Goldner/Sonny Norton/William Davis
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| The
Drifters first
recorded in 1953
[*],
Clyde McPhatter, their lead singer,
having just left the
Dominoes
[1,
2,
3,
4,
5,
6,
7].
Their release of 'Money Honey' b/w 'Lucille' in '53 was by ensembles of
differing personnel,
"Lucille' recorded at their first session, 'Money Honey' at their second
[*].
They would soon install a rotating door for
changes in personnel,
McPhatter leaving the group
in 1954. Two more lead vocalists, David Baughn and Bobby Hendricks, wafted
through the group until joined by Johnny Moore in 1955 to become the
Drifters' mainstay. 'Up on the Roof' in 1962 placed at No. 5 on
Billboard,
followed in 1963 by 'On Broadway'. 'Up on the Roof' had been too windy so they
wandered 'Under the Boardwalk' in 1964 to chart at No. 4.
That remained
on Cash Box at No. 1 for three weeks. The album by the same title released
in 1964 also achieved Billboard's No. 4 tier. But the Drifters ceased to
chart well in the States after that, so they floated off to the UK in 1972
where they remained a huge draw. Their last to break the Top Ten in the UK
was 'You're More than a Number in My Little Red Book', peaking at No. 5 in
1976. Moore left the Drifters in 1982, after which the group has remained
active despite continual personnel changes. Songwriting credits for the
Drifters at
1,
2,
3,
4,
5,
6,
7. Disco of
issues. The Drifters 1953 Lead: Clyde McPhatter Composition: Jesse Stone The Drifters 1954 Lead: Clyde McPhatter Composition: Charles Calhoun The Drifters 1955 Lead: Clyde McPhatter Composition: Ahmet Ertegun
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The Drifters Source: Time Goes By
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| The
Five Blue Notes
[1,
2] began to put their act
together as the Blue Jays in high school in Washington DC in 1950. That
group consisted of Andy Magruder (lead), Waymond Mooney (first tenor),
Robert Stroud (second tenor), Moise Vaughn (baritone/bass) and Melvin Lee
(guitar). The Blue Jays made their first demos in 1953 at the Park Lane
Pharmacy in DC, next to the Circle Recording Studio on Pennsylvania Avenue.
Costing a $!.25 per side, the Blue Jays are thought to have recorded at
least thirty. They became the 5 Blue Notes to avoid confusion with another
group by that name in 1953. Their first recording session as such was in
October of 1953. Of those tracks, promos were made of 'My Gal Is Gone' and
'Ooh Baby'. Sabre Records (Chance imprint) delayed release of those until
December, during which time Magruder got impatient and joined the Marines.
The tracks were released locally and charted at #1 in Washington DC. 'The
Beat of Our Hearts'/'You Gotta Go Baby' was issued in June of 1954. But by
that time Vaughn had left the group that March, also for the Marines. No
more was heard of the 5 Blue Notes until Magruder left the Marines in 1958
to resurrect them with Robert Stroud, Moise Vaughn, Jackie Shedrick and Louis
Smalls as lead tenor. Onda issued 'My Special Prayer'/'Somethin' Awful' in
1958, changing the flip side to 'The Thunderbird' in 1959. The group
permanently dissipated that year, Magruder, joining the
Spaniels the next year. Release
discographies with various credits at
1,
2.
Lead data below per Goldberg. The Five Blue Notes 1953 Lead: Andy Magruder Composition: Fleming Briscoe Lead: Fleming Briscoe Composition: Fleming Briscoe The Five Blue Notes 1954 Lead: Fleming Briscoe Composition: Fleming Briscoe Lead: Moise Vaughn Composition: Fleming Briscoe The Five Blue Notes 1958 Lead: Robert Stroud Composition: Stanley
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The Five Jets 1956 Source: Marv Goldberg |
The
Five Jets [1,
2,
3] had
their roots in the Thrillers (not to be confused with the Thrillers who
issued 'Lisabeth'/'Please Talk to Me' on Herald, also a Detroit group, nor
Little Joe & the Thrillers based in Philadelphia
*).
Originally consisting of Joe Murphy (lead tenor), Raymond Dorsey (baritone),
Charles Wright (first tenor), Lawrence Payton (second tenor), and Roquel
Davis (bass/composition/manager). The Thrillers made their first release on
the Thrillers label, Joe Battle naming his fledgling operation after the
group. That was 'I'm Gonna Live My Life Alone'/'Lessy Mae' in 1953. The
Thrillers issued their next and final record that year, now for Big Town,
'Mattie, Leave Me Alone'/'The Drunkard'. Yet 1953, the Thrillers changed
their name to the 5 Jets. Original members of that group are thought to have
been Joe Murphy (lead), Raymond Dorsey (baritone), Crathman Spencer (tenor),
Charles Lee (second tenor) and Billy Davis (bass). The 5 Jets' first release
was in 1953: 'I'm In Love'/'Not a Hand to Shake'. Personnel changes began
occurring in 1955, concerning which we've not space to keep track, but to
mention that Davis was the first original member of the 5 Jets to stop
singing that year, though he continued composing and managing. The group
recorded as the Five Dollars
[1,
2] in 1956, releasing 'You Fool'/'Bacon Fat' on
the Fortune label. Per Goldberg, due to mislabeling of 'Bacon Fat' some of
those are actually 'I'm Wandering' by the Five Jets (Fortune 833). The 5 Jets became the 5 Stars in 1957, 'Ooh Shucks'/'Dead
Wrong' their initial issue as such in November that year for the Anna label.
The 5 Stars reemerged (with altered personnel) in 1958 as the Voice Masters.
That group's initial release was 'Hope And Pray'/'Oops, I'm Sorry' in
January of 1959. Before the Voice Masters' total of six singles were
released that year Raymond Dorsey left the group to join the Royal Jokers.
Billy Davis would eventually leave the recording business (part owner of the
Anna label) and pursued a career in advertising. Joe Murphy pursued a solo
career. The Voice Masters continued with the Anna label with the addition of
Ty Hunter as Ty Hunter & the Voice Masters, releasing a couple 45s in 1960:
'Orphan Boy'/'Everything About You' and 'Free'/'Everytime'. The Voice
Masters then
became the Originals, though the only original 5 Jets member of that group
was Spencer. Discographies of the Five Jets at
1,
2. Five Dollars at
1,
2.
Five Stars at
1,
2.
Voice Masters at
1,
2.
Lead data below per Goldberg. The Thrillers 1953 Lead: Billy Davis Composition: William Campbell The Five Jets 1953 Lead: Joe Murphy Composition: Joe Von Battle The Five Jets 1954 Lead: Joe Murphy Composition: Billy Davis Lead: Joe Murphy Composition: Billy Davis/Henry Glover Lead: Joe Murphy Composition: Billy Davis Lead: Joe Murphy Composition: Billy Davis Lead: Joe Murphy Composition: Billy Davis Lead: Joe Murphy Composition: Joe Murphy The Five Jets 1956 As the Five Dollars Lead: Eddie Hurt Composition: Mildred McClough The Five Jets 1957 As the Five Stars Lead: Joe Murphy Composition: Berry Gordy/T. Carlo (Billy Davis) As the Five Stars Lead: Joe Murphy Composition: Berry Gordy/T. Carlo (Billy Davis) As the Five Dollars Lead: Charles Evans Composition: Charles Evans The Five Jets 1958 Lead: Joe Murphy As the Five Stars Composition: T. Carlo (Billy Davis)/Berry Gordy
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|
| It was 1950 when a Harlem group called the Dovers
formed. The Dovers recorded nothing.
In 1953 personnel got shifted as the group became the
Five Willows
[1,
2,
3,
4].
Members at that time were Tony Middleton （lead), Richie Davis （tenor), Ralph
Martin （tenor), Joe Martin （baritone) and John Steel （bass). Their debut
release was 'Lay Your Head On My Shoulder' b/w 'Baby, Come A Little'.
The group renamed itself simply the Willows in 1954. Notable in 1956 was
their release of 'Church Bells Are Ringing' (Melba 102), shortly after which
they dropped "Five" from their name to go simply as the Willows, issuing the
above title as 'Church Bells May Ring' (same Melba 102) to reach No. 11 on Billboard's R&B
in March.
The
Diamonds' version of that song the same
year charted at #14. Doo wop ensembles with numbers in their names not
uncommonly experienced problems with keeping that exact number of personnel
in their groups. In the case of the Willows, according to journalist,
Patrick Prince, they changed their name when Joe overslept and missed a
matinee engagement at the Apollo Theatre in NYC. The Willows tied it up in 1965, having
charted only once and never releasing
an album. (A compilation called 'The Willows featuring Tony Middleton' was
issued in 1988.) Sporadic reunions occurred into the nineties until original
Willows' members began dying off. New configurations continued into the
millennium. Issues discos w various credits at
1,
2.
Per 1956 below, 'Do You Love Me' is not the same song as the more famous title
written by Berry Gordy Jr. for release in 1962 by the
Contours. The Five Willows 1953 Composition: Copyright Five Willows: Davis/Martin/Martin/Steel/Wright Composition: Copyright Five Willows: Davis/Martin/Martin/Steel/Wright Composition: Nat Burton/Walter Kent Composition: Abner Silver/Benny Davis The Five Willows 1954 Composition: Five Willows: Davis/Martin/Martin/Steel/Wright Composition: Five Willows: Davis/Martin/Martin/Steel/Wright The Five Willows 1955 Composition: Charlie Singleton/Rose Marie McCoy Composition: Charlie Singleton/Rose Marie McCoy The Willows 1956 Composition: Morty (Morton) Craft/Willows Composition: Morty (Morton) Craft/Willows The Willows 1957 Composition: Sid Jacobson/Lou Stallman Composition: Harold Arlen/Ted Koehler Composition: Wayne Jackson Handy
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The Five Willows Source: Soul Music HQ |
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|
Doo wop group, the Flamingos, were originally a bunch of dirty little birds called the Swallows [1, 2]. They tried a couple more names until deciding on the Flamingos in 1953. Members at that time were Jacob Carey, Ezekial (Zeke) Carey, Paul Wilson, John Carter and Sollie McElroy. The Flamingos issued their first record, 'If I Can't Have You'/'Someday Somewhere' in 1953, followed by 'That's My Desire' with 'Hurry Home Baby' flipside. In 1955 'I'll Be Home' reached the No. 5 tier on Billboard's R&B. 'I Only Have Eyes For You' grabbed Billboard's #3 position in R&B, and #11 in the US overall, in 1959. But that would be the last the group approached the Top Ten. The Flamingos, which members could seem to change one day to the next, made their last recordings in the seventies, 'Buffalo Soldiers their last title to chart in 1970 at #28 with Jacob, Ezekial and Wilson yet members. None of the original Flamingos remain living [*], though later members, Terry Johnson and Tommy Hunt, yet perform with their own versions of the Flamingos as of this writing [1, 2]. Songwriting credits for Flamingos titles. Discos of issues at 1, 2, 3. The Flamingos in visual media. The Flamingos 1953 Lead: Jake Carey With the King Kolax Orchestra Composition: King Kolax Lead: Sollie McElroy/Johnny Carter With the King Kolax Orchestra Composition: C. Gonzalez Lead: Sollie McElroy With the King Kolax Orchestra Music: Helmy Kresa Lyrics: Carroll Loveday The Flamingos 1956 Live performance Lead: Nate Nelson Composition: G. Moore The Flamingos 1959 Lead: Nate Nelson Music: Harry Warren Lyrics: Al Dubin Til the End of Time (Mi Amore)
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The Flamingos Source: All Music |
|
| Upon release from the Army in 1949,
Harvey Fuqua
[1,
2,
3,
4,
5,
6]
was twenty years old, born in 1929 in Louisville, Kentucky. He
and friend, Bobby Lester [*], began their music careers by forming a duo
together. In 1951 they put together a doo wop group, the Crazy Sounds. Radio
host Alan Freed (aka Moondog) became their manager in 1953 and suggested the group change
its name to the Moonglows
[1,
2,
3,
4,
5,
6,
7,
8].
Other members of The Moonglows were
Alexander Graves, Prentiss Barnes, Billy Johnson
and William Westbrooks [later personnel
1,
2].
They first issued on the local Champaign label in March 1953: 'I Just Can't
Tell No Lie'/'I've Been Your Dog' (Champagne 7 500). Fuqua sang lead on the
former, Lester the latter. Lead was in general split between Lester and
Fuqua w Lester the more emphasized while Fuqua more focused on
composing
titles from R&B ballads to more
rock n roll oriented material. Albeit, Lester co-wrote 'So All Alone' with
Fuqua in 1954 when the Moonglows were known as the Moonlighters
[*]
releasing that duet on Checker 806 that year with 'Shoo Doo-Be-Doo' flip
side. The Moonglows first visited
Billboard in 1955 with 'Sincerely' at #1
and 'Most of All' at #5 on the R&B. Fuqua's first solo issue is
thought to
have been 'I Want Somebody' b/w 'Da Da Goo Goo' in 1958. During the period
that Fugua was with the Moonglows six of their songs reached the Top Ten on
Billboard's R&B, including 'Sincerely', topping the chart in March of 1955.
The Moonglows placed a total of six titles onto the Top Ten until their last
in Sep of 1958 per 'The Ten Commandments', dropping off the charts
thereafter, although a later release of 'Sincerely' in performed as well as #43 as late as 1972. In 1959
Fuqua split from the Moonglows to form Harvey and the New Moonglows, of which
Marvin Gaye was a member. In 1961 Fuqua began work on his own record labels,
Tri-Phi Records and Harvey Records, handling, for example, the
Spinners.
In 1962 he recorded with the Quails. (The Quails were a group with small
impact, formed in 1957. Their debut releases that year, with Mercury
Records, are thought to have been 'Hop Scotch Rock' and 'Jungle Baby'.) Per
above, Fuqua contributed to numerous compositions for the Moonglows. He
wrote such as 'Whistle My Love' ('53), 'I Was Wrong' ('54) and '219 Train'
('54). Discographies w various credits at
1,
2. See also
*. Bobby
Lester died at the relatively young age of 49 in 1980, of lung cancer
[*]. Fuqua died
on July 6 of 2010 in Detroit [1,
2,
3,
4].
Fuqua in visual media.
Lead data below per Goldberg. The Moonglows 1953 Lead: Harvey Fuqua Composition: Al Lance Lead: Bobby Lester Composition: Al Lance Lead: Harvey Fuqua Composition: Alan Freed/Harvey Fuqua Lead: Bobby Lester Composition: Alan Freed/Harvey Fuqua The Moonglows 1954 Unissued until 1964 on Constellation Lead: Harvey Fuqua Lead: Bobby Lester Composition: Alan Freed/Harvey Fuqua Lead: Bobby Lester Composition: Paul Francis Webster/Sammy Fain Lead: Bobby Lester Composition: Alan Freed/Harvey Fuqua The Moonglows 1955 Lead: Harvey Fuqua Composition: Alan Freed/Harvey Fuqua Robert Dallas (Bobby Lester) Lead: Bobby Lester Composition: Alan Freed/Harvey Fuqua Lead: Harvey Fuqua Composition: Alan Freed/Harvey Fuqua The Moonglows 1956 Lead: Harvey Fuqua Composition: Nathanial Montague Lead: Bobby Lester Composition: Glen Moore/Milton Subotsky Lead: Bobby Lester Composition: Harvey Fuqua/Jackie McCoy/Robert Dallas (Bobby Lester) Film: 'Rock Rock Rock' Lead: Bobby Lester (on Chess) Composition: Al & Ben Weisman Lead: Harvey Fuqua Composition: Charles Sutton/Harry Pratt/Roquel Davis Lead: Harvey Fuqua/Bobby Lester Composition: Perry Stevens/Shelley Haims Live for CBS Radio Lead: Bobby Lester (on Chess) Composition: Harvey Fuqua/Jackie McCoy/Robert Dallas (Bobby Lester) The Moonglows 1957 Unissued Lead: Bobby Lester Harvey Fuqua 1958 Composition: Harvey Fuqua Composition: Berry Gordy Harvey & The Moonglows 1959 Backing Chuck Berry Composition: Chuck Berry Recorded as the New Moonglows Lead: Marvin Gaye Composition: Harvey Fuqua/Marvin Gaye Recorded as the New Moonglows Lead: Harvey Fuqua Composition: Harvey Fuqua The Moonglows 1960 Lead: Harvey Fuqua Composition: Chuck Barksdale//Mickey McGill With Etta James Composition Etta James/Harvey Fuqua Composition: Chuck Barksdale//Mickey McGill Harvey Fuqua 1962 Composition: Gwen Gordy Fuqua/Harvey Fuqua With the Five Quails Composition: Harvey Fuqua/Quails With the Five Quails Composition: Harvey Fuqua/Quails With the Five Quails Composition: Harvey Fuqua With the Five Quails Composition: Harvey Fuqua/Quails The Moonglows 1972 Lead: Bobby Lester Composition: Alan Freed/Harvey Fuqua Live Lead: Bobby Lester
Composition:
Marshall Paul
|
The Moonglows Source: Boppin' Around |
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The Harptones Source: Crooks & Liars |
The
Harptones [
1,
2,
3,
4] never acquired great
popularity, albeit their lead singer Willie Winfield was well regarded in the
industry, together with their pianist and arranger, Raoul Cita. The only
song by the Harptones that ever made it onto a Billboard chart was 'What
Will I Tell My Heart' in 1961 at No. 96. And yet they made a big fuss
placing fourteen songs in the Top Five Hundred, more than any other group
[Goldberg]. They released
their first record, 'A Sunday Kind of Love' and 'I'll Never Tell' in 1953.
After a decade of record issues that never left ground, by 1965 the Harptones were no longer, their last release thought to have been
'Sunset'/'I Gotta Have Your Love' in 1964. The group coughed once more that
year as the Soothers, releasing 'The Little White Cloud That Cried'/'I
Believe In You', before the curtain was summarily drawn. Issues by the
Harptones w various credits at
1,
2.
Lead data below per Goldberg. The Harptones 1953 Lead: Willie Winfield Composition: Barbara Belle/Anita Leonard Stan Rhodes/Louis Prima Lead: Willie Winfield Composition: James Prestovino/Neval Nader The Harptones 1955 Lead: Willie Winfield Composition: Hy Weiss/Raul Citar You Know You're Doing Me Wrong Lead: Jimmy Beckum Composition: Cita The Harptones 1956 Lead: Willie Winfield Composition: Rose Marie McCoy/Charlie Singleton The Harptones 1959 Lead: Willie Winfield Composition: Ben Raleigh/Bernie Wayne The Harptones 1960 Lead: Willie Winfield Composition: Gerald Winkler/Carl Sigman/Fred Rauch Conductor: Berte Keyes
|
|
| Based in Los Angeles, the
Lamplighters
[*]
consisted of Thurston Harris [1,
2,
3,
4],
Willie Ray Rockton, Matthew Nelson and Al
Frazier. They
released their first vinyl in 1953, making their recording debut in November
that year for Federal Records: 'Part of Me' b/w 'Turn Me Loose'. In
September that year they issued 'Be-Bop Wino' backed by 'Give Me'. The
Lamplighters also recorded as the Tenderfoots
[*] in 1955, as the Sharps with
Thurston Harris [1,
2] in 1957 ('Little Bitty Pretty One' and 'Do What You Did'),
and the Rivingtons
[1,
2,
3,
4] in the early sixties ('Poppa Ooh Mow Mow'). Neither the
Lamplighters nor any of their other incarnations ever scored on a Billboard
chart with the exception of the Rivingtons approaching the Top Forty a
couple times ('The Bird's the Word' did peak at #27 on Billboard's R&B in
1963). Big splash that they were in Los Angeles, the Lamplighters never
acquired the national spotlight. The Lamplighters 1953 Composition: Ralph Bass/Willie Ray Rockwell Composition: Thurston Harris Composition: Dwight Davis The Lamplighters 1954 Composition: Thurston Harris Composition: Rudy Toombs Composition: Rudy Toombs Composition: Thurston Harris Composition: Boss/Rudy Toombs The Lamplighters 1955 Composition: Phyllis Otis Composition: Johnny Otis Composition: Thurston Harris Composition: Thurston Harris Composition: Phyllis Otis
|
The Lamplighters Source: Discogs |
|
|
The Platters [1, 2, 3, 4, 5, 6, 7] made their first record release in 1953 as Tony Williams and the Platters: 'Give Thanks' with 'Hey Now'. That group began shifting into the one that it's largely known by in 1953 due to taking up songwriter, Buck Ram, as a manager. Ram shaped the Platters into Tony Williams, Herb Reed, Paul Robi, David Lynch and Zola Taylor, which ensemble remained intact until 1960 when Charles Sonny Turner joined the Platters, soon to assume William's place. The Platters issued a stream of recordings for Federal Records into 1955 but caught no fish. Ram then moved the group to Mercury Records, upon which they shot to Billboard's top tier with 'Only You'. (The Platters had recorded an earlier version at Federal, but it wasn't issued.) The Platters repeated that success the same year with 'The Great Pretender'. Top Ten singles in the months they peaked:
1955 Top Twenty songs were released from 1956 onward, not ceasing until 'With This Ring' reached No. 12 in 1967. 1973 saw three of the Plattars' melodies used in the film, 'American Graffiti'. Selling above 53 million records, the Platters were inducted into the Rock and Roll Hall of Fame in 1990 and the newly formed Vocal Group Hall of Fame in 1998. Various configurations of the group have formed into the new millennium, though with long-lasting litigation as to ownership and use of their name. The Platters were a premium doo wop group that made a major contribution to bringing R&B into the homes of white America, assisting the shift to rock n roll in the process. As of this writing the current Platters consist of Lance Bryant (bass/baritone), Brian McIntosh (tenor), Leslie Mon'e (mezzo soprano) and Kenny Williams (tenor) with Michael Larson their musical director. Bosco Asanovic's discography of Platters releases. Discographies w various credits at 1, 2. See also *. The Platters in visual media. Lead data below per Goldberg. The Platters 1955 Lead: Willie Winfield Composition: Ande Rand/Buck Ram The Platters 1956 Lead: Tony Williams Composition: Buck Ram Lead: Tony Williams Composition: Jeanette Miles/Paul Robi/Tony Williams The Platters 1957 Lead: Herb Reed Composition: Merle Travis 1946 The Platters 1958 Lead: Tony Williams Music: Jerome Kern Lyrics: Otto Harbach For the musical 'Roberta' 1933 Lead: Tony Williams Music: The Three Suns: Morty Nevins/Al Nevins/Artie Dunn Lyrics: Buck Ram The Platters 1959 Lead: Tony Williams Composition: Buck Ram The Platters 1962 Lead: Tony Williams Music: Kurt Weill Lyrics: Maxwell Anderson The Platters 1967 Composition: Luther Dixon/Richard Popcorn Wylie/Tony Hester The Platters 1969 Lead: Charles Sonny Turner Music: Alex North Lyrics: Hy Zaret Originally by Todd Duncan for the film 'Unchained' 1955 LP: 'Singing the Hits Our Way'
|
The Platters Source: Antorcha |
|
| First formed in Gary, Indiana
(scenic drive along I-90 for who like looking at industry), in 1952, the
Spaniels
[1,
2,
3,
4,
5] are said to have pioneered the method of using two microphones
during stage performances, one for the group and one for the lead singer.
Its original members, all since deceased were, Thornton James "Pookie"
Hudson (driving mainstay), Ernest Warren, Willie Jackson, Opal Courtney and
Gerald Gregory. The Spaniels released their first wax in May of 1953 with 'Baby It's You'
b/w 'Bounce', reaching #10 that June on
Billboard's R&B chart. That was
released by Vee-Jay Records before the Spaniels had even played their first
professional gig at Park City Bowl, a skating rink in Chicago. They attained
their highest position on Billboard's R&B the next year with 'Goodnite
Sweetheart, Goodnite', peaking at No. 5. The Vee-Jay label went out of
business in 1966, a convenient though not exactly true marker for the end of
the Spaniels as well, as they made their last releases with Vee-Jay in 1960
('I Know' b/w 'Bus Fare Home', rising to #23 on Billboard's R&B), then moved
on to other labels. Hudson resurrected the group to record for Buddha
Records in December of '69, then formed his own record label, North
American, in 1970. Future versions of the group with Hudson recorded as late
as 1995 ('All the Places I've Been'/'Sloppy Drunk'). Discographies of
releases w various credits:
1,
2.
Lead vocals on all titles below are by Pookie Hudson except as noted. The Spaniels 1953 Composition: Pookie Hudson/Gerald Gregory The Spaniels 1954 Recorded 1953 Composition: Calvin Carter/Pookie Hudson Lead: Pookie Hudson/Gerald Gregory Composition: Calvin Carter/Pookie Hudson The Spaniels 1955 Composition: Calvin Carter/Pookie Hudson The Spaniels 1956 Composition: Barney Roth Composition: Otis Blackwell The Spaniels 1957 Composition: James Bracken The Spaniels 1958 Composition: Pookie Hudson/B. Brooks Composition: Harold Arlen/Ted Koehler The Spaniels 1959 Lead: Gerald Gregory Composition: Rodgers & Hammerstein For the musical 'Oklahoma!' 1943 The Spaniels 1960 Composition: Luther Dixon The Spaniels 1997 Filmed live Composition: Luther Dixon
|
The Spaniels 1960 Photo: Pookie Hudson family Source: New York Times |
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|
The first recordings by the Cadillacs [1, 2, 3, 4, 5], formed in Harlem in 1953 as the Carnations, were in 1954: 'Gloria' and 'I Wonder Why'. 'Speedoo' peaked on Billboard's R&B at #3 in 1955, the only instance of the Cadillacs rising to the Top Ten. The group separated in 1957, the less successful Four Cadillacs then forming as lead singer and original member, Earl Carroll [*], became the Cadillacs' mainstay through its early heydays. Once the Cadillacs divided again in 1960 personnel began to require a revolving door, especially upon Carroll leaving to join the Coasters in 1963. Later configurations of the Cadillacs performed into the seventies. Carroll remained with the Coasters into the early nineties, after which he reformed the Cadillacs to perform into the new millennium. Carroll passed away on November 5 of 2012 in NYC [*]. Discos of issues by the Cadillacs w various credits at 1, 2. Dr Horse selection by Mr R&B Records of Sweden. The Cadillacs in visual media. The Cadillacs 1954 Composition: Leon René 1946 Cadillac's version: Esther Navarro Navasrro was the Cadillac's manager. Composition: Lover Patterson The Cadillacs 1955 Composition: Esther Navarro The Cadillacs 1958 Composition: Esther Navarro/Jesse Powell Composition: Jack Hammer The Cadillacs 1959
|
The Cadillacs Photo: James Kriegsmann/Michael Ochs Archives/Getty Source: Gonna Put Me in the Movies
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The Calvanes Photo: Dootone Records Source: Doo-Wop Blogg
|
Out of Los Angeles, the
Calvanes
[1,
2,
3,
4] first
recorded as the Dundees [*] in 1954, releasing 'Never'/'Evil One' on the Space
label that October. When Carlyle Dundee made his exit the Dundees became the Wonders,
issuing 'Little Girl'/'Bop Bop Baby' in November of '54, again with Space. The
group released their first vinyl as the Calvanes in September 1955 ('Don't Take
Your Love From Me' with 'Crazy Over You' back side). In 1957 the Calvanes'
personnel consisted of Herman Pruitt, Lorenzo "Bobby" Adams, Stewart Crunk
and Freddy Willis. Never managing to do well on Billboard, they changed
their name to the Nuggets in 1961 for one last spurt of several singles that
year. Neither did any of those affect a lot, the group breaking up in 1962.
In 1989 the Calvanes were resurrected by Pruitt, Adams and Willis, adding
Jimmy Corbitt as bass, and recording in various capacities into the new
millennium. Discos of issues w various credits at
1,
2.
Lead data below per Goldberg. The Calvanes 1955 Lead: Herman Pruitt Composition: Nellie Brown Don't Take Your Love (From Me) Lead: Herman Pruitt Composition: Stewart Crunk The Calvanes 1956 Lead: Stewart Crunk Not issued until 1972 by Dootone Composition: Stewart Crunk The Calvanes 1958 Lead: Herman Pruitt Composition: Bruce Morgan
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| The
Dells
[1,
2,
3,
4,
5] first got together in high school
in Chicago in 1952 as the El Rays. They were yet the El Rays when they produced their
first recording in 1954: 'Darling I Know'/'Christine' (Checker 794)
[*]. The changed their name to the
Dells in 1955, then signed up with Vee-Jay Records the next year. The group
consisted of Mickey McGill, Marvin Junior, Verne Allison, Johnny Funches and
Chuck Barksdale at that time. The Dells were among the more successful doo
wop groups, charting in the Top Ten several times. Their first was 'On What
a Night' in 1956, peaking at #4 on Billboard's R&B. Johnny Carter, earlier
of the Flamingos, joined the Dells in 1958 after leaving a tour in the
military. His would be a steady presence with the Dells into the new
millennium. As late as 1974, long
since doo wop's wane in popularity as a genre, 'I Miss You' climbed all the
way to #8 on Billboard's R&B. They reached the Top Forty again in 1980 with
'I Touched a Dream'. 'A House For Love' snagged the thirteenth tier on
Billboard's R&B in 1991, making the Dells one of the most enduring doo wop
groups. They continued recording into the new millennium (albeit Funches
died in 1998
*), performing until 2012 (albeit Carter died in 2009
[1,
2]. Marvin
Junior passed away in 2013 [*].
Discographies of the Dells w various credits at
1,
2. See also
*.
The Dells in visual media.
Lead data below per Goldberg. The El Rays 1954 Lead: Johnny Funches Composition: El Rays The Dells 1956 Lead: Marvin Junior Composition: Calvin Carter/Theodore Twiggs Lead: Marvin Junior Composition: Johnny Funches/Marvin Junior The Dells 1968 Composition: Bobby Miller/Raynard Miner Composition: Arthur Hamilton Composition: André Popp/Bryan Blackburn/Pierre Cour The Dells 1969 Television performance Lead: Marvin Junior Composition: Johnny Funches/Marvin Junior The Dells 1972 Composition: Skip Scarborough The Dells 1973 Composition: Tony Hester The Dells 1977 Composition: Marvin Junior/Junior Marvin/Kim Wilson The Dells 1978 Album The Dells 1992
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The Dells Source: AMW |
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The El Dorados 1955 Photo: Vee Jay Records Source: Marv Goldberg |
Formed in Chicago in 1952 as
Pinkie Lee and the Five Stars, the
El Dorados
[1,
2,
3,
4]
were thus christened in 1954 upon the return of lead vocalist, Pirkle Lee
Moses Jr., to the group after a time in the Air Force. Other members were
Louis Bradley, Arthur Basset, Jewel Jones, James Maddox and Richard Nickens.
The El Dorados
first found themselves on vinyl in 1954, issuing 'My Loving Baby'/'Baby I
Need You' on Vee Jay 115 followed by 'Annie's Answer''/'Living with Vivian'
(Vee Jay 118) and 'One More Chance'/'Little Miss Love' (Vee Jay 127). Their
next release was 'At My Front Door' to reach Billboard's #1 top tier in R&B in 1955.
'I'll Be Forever Loving You' peaked at #8 the next year, after which the
group began to splinter. First Besset and Nickens abandoned ship, then
Pirkle Moses was left to form another El Dorados altogether in 1957 (out of
the Kool Gents). Bradley and Maddox went on to form Those Four El Dorados
[*]
and the Tempos
[*]. Moses began
his own career as a name act in 1958, then formed a new El Dorados in 1969.
Another El Dorados had been formed about the same time by Tempos member,
Johnny Carter, the two to merge in the seventies until Moses' death in 2000.
Since that time the Pirkle Lee Moses Jr's El Dorados yet occasionally tour
as of this writing. Discos of the El Dorados w various credits at
45Cat and
Discogs.
Lead data below per Goldberg. The El Dorados 1954 With Hazel McCollum & the Al Smith Orchestra Composition: Al Smith/Henry Prince The El Dorados 1955 Lead: Pirkle Moses Composition: Ewart Abner/John Moore Lead: Louis Bradley Composition: Bob Owens/Riley Hampton The El Dorados 1956 Recorded 1955 Lead: Pirkle Moses Composition: Leon Arnold/Ted Daniels Unissued Lead: Pirkle Moses Lead: Pirkle Moses Composition: Ewart Abner/John Moore/Pirkle Moses The El Dorados 1957 Lead: Pirkle Moses Composition: Pirkle Moses Lead: Pirkle Moses Pirkle Moses/John Moore
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The 4 Bars Source: Discogs |
The
Four Bars
[1,
2]
of Washington DC (not to
be confused with Jimmy Sweeney's 4 Bars of Tennessee issuing 'Memories of
You/When Did You Leave Heaven?' on Republic 7101) were never chart toppers,
indeed, never charted at all. But
they were popular enough to keep releasing vinyl for fifteen years, their
first in 1954 for Josie Records, a Jubilee subsidiary: 'Grief By Day Grief By Night'/'Hey
Baby (#762).
The group was comprised of Eddie Daye (bass and mainstay), Melvin Butler
(second tenor), Alphonso Feemster (first tenor) and Francis Henry
(baritone). Though the Four Bars came unglued in 1967 the Dayco label, owned by
Daye, continued issuing titles into 1969. Daye, the 4 Bars' driving force,
died on August 6 of 2009. Discographies of the Four Bars w credits at
45Cat
and Discogs. Lead data below per Goldberg
(1 above). The Four Bars 1954 Lead: Eddie Daye Lead: Eddie Daye/Alphonso Feemster Composition: Al Jacobs/Jimmie Crane/Jimmy Brewster Lead: Alphonso Feemster Composition: Eddie Daye The Four Bars 1955 Lead: Melvin Butler Lead: Melvin Butler The Four Bars 1961 Lead: Eddie Daye Composition: Eddie Daye Lead: Eddie Daye The Four Bars 1962 Lead: Eddie Daye Composition: Eddie Daye Lead: Eddie Daye Composition: Eddie Daye The Four Bars 1964 With Betty Wilson Composition: Eddie Daye The Four Bars 1966 With Vic Marcel Composition: Donald Butler With Vic Marcel Composition: Donald Butler
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| The
Penguins
[1,
2,
3,
4,] are said
to have named themselves such as a way of remarking they were cool. I like
to let people know I'm cool by greeting them when they open their
refrigerator doors. The
original group was comprised of Cleveland Duncan (lead and mainstay), Curtis
Williams, Dexter Tisby and Bruce Tate. The Penguins released their first record in 1954. 'Hey Senorita' is the tune they were
pushing, until a disc jockey somewhere flipped the record and played 'Earth
Angel', whence upon it soared to the #1 spot on Billboard's R&B where it remained
for three weeks. The Penguins reached to No. 15 in 1957 with 'Pledge of
Love' before falling off the charts altogether. The group disbanded in 1962.
Later configurations of the Penguins were led by Duncan until his death on
November 7 of
2012 in Los Angeles [1,
2].
Discographies of releases w various credits at
1,
2. Lead data below thanks
to Marv Goldberg. The Penguins 1954 Lead: Cleve Duncan/Dexter Tisby Composition: Curtis Williams/Jesse Belvin/Gaynel Hodge Lead: Curtis Williams Composition: Carl Green/Curtis Williams The Penguins 1958 Lead: Dexter Tisby Composition: Curtis Williams The Penguins 1973 Television broadcast Lead: Cleve Duncan Composition: Curtis Williams/Jesse Belvin/Gaynel Hodge
|
The Penguins Source: Joe's Beat |
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The Rivileers 1953 Source: Marv Goldberg
|
It was 1954 when the
Rivileers
[1,
2,
3] from Jamaica
Queens released their first record (recorded in 1953), 'A Thousand Stars'
backed by 'Hey Chiquita'. That was also the first release for Baton Records,
owned by Sol Rabinowitz. The Rivileers consisted of Gene Pearson (lead
tenor), Herb Crosby (first tenor), Errol Lennard (second tenor), Alfonso
Delaney (baritone) and Milton Edwards (bass). The group made its last recording in 1957 ('Who Is
the
Girl'), having never found their way onto a Billboard chart. Discographies
of issues with various credits at
1,
2. Lead data below
thanks to Goldberg (1 above). The Rivileers 1954 Lead: Alfonso Delaney Composition: Alfonso Delaney Lead: Gene Pearson Composition: Lou Sprung/Phil Rose (I Love You) For Sentimental Reasons Lead: Gene Pearson Composition: Deek Watson/Pat Best Lead: Alfonso Delaney Composition: Alfonso Delaney Lead: Alfonso Delaney Composition: Milan Brown Lead: Gene Pearson Composition: Gene Pearson The Rivileers 1957 Lead: Gene Pearson Composition: Gene Pearson
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The Solitaires 1954 Source: Doo-Wop Blogg |
Harlem doo wop band, the Solitaires [1, 2] released their first batch of tunes in 1954, 'Chapel of St. Claire' believed to be their first recording. The group's original members were Eddie Jones (lead), Nick Anderson (first tenor), Winston Willis (second tenor), Rudy Morgan (baritone) and Pat Gaston (bass). Members '54 to '64. The photo to the left shows the Solitaires at the time of their first issue. Bottom row: Bobby Williams (tenor/piano) and Buzzy Willis (second tenor). Top row: Herman Curtis (lead tenor), Pat Gaston (bass) and Bobby Baylor (second tenor/baritone). Not shown is sixth member, Monteith Owens (tenor/guitar). Curtis was replaced by Milton Love in 1955. The Solitaires released their last record in 1964 for MGM: 'Fool That I Am'/'Fair Weather Lover'. Though the Solitaires were popular performers on the East Coast, particularly New York, they never scored on a Billboard chart. Discographies of issues w various credits at 1, 2. Samples below are in alphabetical order per year, not by release dates. Lead data thanks to Goldberg (1 bracketed above). The Solitaires 1954 Lead: Herman Curtis Composition: Cain/Royal/Wilcox Unissued until 1979 on Old Town 1003 Composition: Solitaires: Curtis/Baylor/Willis/Gaston/Williams Unissued Unissued until 1979 on Old Town 1003 Composition: Solitaires: Curtis/Baylor/Willis/Gaston/Williams Lead: Herman Curtis Composition: Robert Wright/George Forrest Music from Alexander Borodin: 'Gliding Dance of the Maidens': Opera: 'Prince Igor' 1890 Lead: Herman Curtis/Winston Buzzy Willis Composition: Nicholas Brodszky/Sammy Cahn (Samuel Cohen) The Solitaires 1957 Lead: Milton Love Composition: Love/Willis/Baylor/Owens/Gaston
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Nolan Strong & the Diablos Source: Longshot's Blog |
Based in Detroit,
tenor,
Nolan Strong
formed the Diablos in 1950
[1,
2,
3,
4,
5,
6,
7]. Other than
Strong at lead the group originally consisted of Juan Guitierrez (tenor), Willie
Hunter (baritone), Quentin Eubanks (bass) and Bob Edwards (guitar). The
Diablos began releasing records in 1954,
'Adios My Love' their first recording for the Fortune label. 'The Way You
Dog Me Around' reached Billboard's #12 spot in R&B in 1956 (released in
'55). Strong was
drafted into the Army in 1956 and served two years until resuming with the Diablos in 1958. ('Mambo of Love', below, released in 1957, had been
recorded earlier.) The Diablos dissolved in 1964, whence upon Willie Hunter
and Jay Johnson (bass since latter '56) formed the
Velvet Angels
[1,
2]
with Cy Iverson and Bobby Calhoun, a group with which Strong also recorded. With Hunter the main lead, the Angels first plate was 'I'm In Love' with 'Let Me Come Back', followed by 'Blue Moon' with 'Fools Rush In' on back.
Upon the dissolution of the brief-existent Angels the same year they were
formed ('64) Johnson would later become one of the Four Sonics in the latter sixties. Strong
faded into obscurity after the Angels. Calhoun has him working for Stax
Records, no documentation of such found. He died in Detroit
on Feb 21, 1977. A new configuration of the Diablos
called Nolan Strong's Diablos was formed as recently as 2007 by Johnson. The group yet
tours on occasion as of this writing while maintaining a
Facebook presence.
Discographies of Strong and his Diablos at
1,
2. Velvet Angels at
1,
2.
Lead data for Velvet Angels below per Harmony Train. Nolan Strong & the Diablos 1954 Composition: Dorothy Brown/Ray Meany Composition: The Diablos: Edwards/Guiterriez/Strong/Eubanks/Hunter Issued 1984 on Fortune 8020 (I Want) an Old Fashioned Girl Composition: Dorothy Brown/Ray Meany Composition: The Diablos: Edwards/Guiterriez/Strong/Eubanks/Hunter Nolan Strong & the Diablos 1955 Composition: Nolan Strong Composition: Nolan Strong Composition: Nolan Strong Nolan Strong & the Diablos 1956 Composition: D. S. Brown/John Kleia Composition: Nolan Strong Composition: Nolan Strong Composition: Nolan Strong Nolan Strong & the Diablos 1957 Composition: Devora Brown Nolan Strong & the Diablos 1959 Composition: Nolan Strong Composition: Devora Brown/Nolan Strong Nolan Strong & the Velvet Angels 1964 Composition: Richard Rodgers Lead: Nolan Strong Composition: Rube Bloom/Johnny Mercer Lead: Jay Johnson Composition: Velvet Angels: Calhoun/Iverson/Johnson/Hunter Lead: Jay Johnson Composition: Henry Glover Lead: Bobby Calhoun Composition: Traditional nursery rhyme First published in 'Tommy's Tunes' 1917 F. T. Nettleingham
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Another Harlem doo wop band, the Valentines, [1, 2, 3, 4] first came together as the Mistletoes, then the Dreamers, in 1952. The group was comprised of Raymond Briggs (first tenor), Carl Hogan (second tenor), Mickey Francis (baritone) and Ronnie Bright (bass). That quartet became a quintet with the addition of Richard Barrett (composer/lead) in 1954. Then becoming the Valentines, the group released its first single in latter 1954 with Old Town Records: 'Tonight Kathleen' b/w 'Summer Love'. They signed up with George Goldner's [1, 2, 3, 4, 5, 6] Rama label in 1955, their first of eight plates for Goldner being 'Lily Maebelle'/'Falling for You' (#171). The Valentines gave their last performance in 1958 at the Apollo Theater in NYC, having never charted on Billboard. Barrett turned his attentions to managing Frankie & the Teenagers and became a record producer. He is credited with the discovery of the Chantels, Little Anthony & the Imperials, the Isley Brothers and the Three Degrees. He passed away on August 3 of 2006 in Gladwyne, Pennsylvania [*]. Issues by the Valentines at 1, 2. Barrett composed all titles below except as noted. The Valentines 1954 Side A Composition: A Side B Composition: B The Valentines 1955 Composition: George Goldner/Barrett/Raymond Briggs Composition: Raymond Briggs/Barrett/Tommy Vastola The Valentines 1956 Composition: Morris Levy/Barrett Composition: George Goldner/Barrett The Valentines 1957 Composition: Carl Hogan/Barrett/Morris Levy (Moishe Levy)
|
The Valentines Source: Discogs
|
|
| From Bronx, the
Wrens
[1,
2,
3] made their first four
recordings on November 21, 1954, for Rama Records. Those were: 'Love’s Something That’s Made For Two', 'Beggin’
For Love', 'Come Back My Love' and 'Eleven Roses'. Personnel having already
changed since the formation of the group in 1950, at the time of its first
issue the Wrens consisted of Francis Concepcion (original lead
baritone/tenor), George Magnezid (tenor), James Archer (bass) and Bobby
Mansfield (tenor). The Wrens never flew onto Billboard's wire before laying their
last egg per the Jan 1956 issue of 'C'est La Vie'/'C'est La Vie' (Rama 194).
Discos w various credits at
1,
2.
Bobby Mansfield sings lead on all titles below [Goldberg]. The Wrens 1954 Composition: Bobby Mansfield Composition: Jack Wachs Composition: Billy Mansfield (on label) Love's Something That's Made for Two Composition: Mansfield (on label) The Wrens 1955 What Makes You Do the Things That You Do Composition: Bobby Mansfield/Joseph Rocky Washington/Vastola
|
The Wrens 1954 Photo: Val Shively Source: Pelican Studio
|
|
| The
Cleftones
[1,
2,
3,
4] originally formed in 1955 as
the Silvertones at Jamaica High School in Queens. They recorded their first
song that same year, 'You Baby You' with 'I Was Dreaming'. 'Little Girl of Mine' peaked on Billboard's R&B at #8
in Feb 1956. In May of 1961 'Heart and Soul' scaled the chart to #10.
Personnel at that time were Gene Pearson, Charles James, Pat Spann, Warren
Corbin and Herb Cox (in order respective to the photo to the right). Spann,
the group's only female vocalist, had joined the Cleftones in 1959 and
departed in '67 to be, by then, the mother of a couple children. After
'Heart and Soul' the Cleftones pretty much ceased to chart, though various
configurations of the group continued into the new millennium. Herb Cox &
Cleftones released 'My Angel Lover'/You Lost The Game Of Love' as late as
1990. The album, 'Live Today', again with Cox, was released in 2002.
Discographies w various credits at
1,
2. Lead data below per Goldberg (1
bracketed above). The Cleftones 1955 Lead: Berman Patterson With the Jimmy Wright Orchestra Composition: On label (Gee 1000): Berman/Vastola/Patterson Vastola: Gaetano Vastola Lead: Herb Cox/Berman Patterson With the Jimmy Wright Orchestra Composition: Per Gee 1000: Berman/Vastola/Patterson Per Collectables 0111 and Music VF: Corbin/Levy/Patterson: Warren Corbin/Morris (Moishe) Levy/Berman Patterson The Cleftones 1956 Lead: Herb Cox/Berman Patterson Composition: George Goldner/Herb Cox Lead: Herb Cox Composition: George Goldner/Herb Cox The Cleftones 1957 Lead: Herb Cox Composition: Berman & Joan Patterson The Cleftones 1962 Lead: Herb Cox Composition: Hoagy Carmichael/Frank Loesser The Cleftones 1962 Lead: Herb Cox Composition: Hoagy Carmichael/Frank Loesser Herbie Cox/(likely Charles) James/Gene Pearson
|
The Cleftones 1961
Source: Kip's American Graffiti
|
|
|
The Alley Cats 1963 Source: Marv Goldberg |
It was 1955 when baritone vocalist
Brice Coefield
[*]
and Sheridan "Rip" Spencer [1,
2] formed the Sabers
[*] in Los Angeles with bass vocalist, Walter Carter,
and a first tenor known only as Herbie. They recorded 'Always Forever', then
recruited first tenor, Billy Spicer (Billy Storm).
The Sabers released 'Always Forever' b/w 'Cool Cool Christmas' on the
Cal-West label in 1955. Coefield sang lead on 'Cool Cool Christmas'. As that
issue affected little,
the Sabers rechristened themselves the Chavelles
[*], also recruiting Squires
[*] member,
Chester Pipkin. Coefield sang lead on 'Valley Of Love' b/w 'Red Tape',
released on Vita in '56. But the Chavelles affected little as well, so they
became the Gents in 1957, releasing 'Happenin' After School'/'My Unfaithful
Love' on both Aladdin and Lamp. As not a lot happened of that the Gents
became the Valiants
[1,
2]. They fared a little better, but after several releases
they still couldn't place on the R&B Top 40 so Keen Records terminated their
contract. It was at this time that Spicer changed his name to
Billy Storm,
got together with some Squires members and recorded
his first Top 40 song, 'I've Come of Age' (#28 US in April 1959). Coefield
meanwhile formed the Untouchables [1,
2], yet with Spencer, Pipkin and
Storm in the larger group. Coefield
sang lead on 'Raisin' 'Sugar Cane'/'Do Your Best' and 'You're On
Top'/'Lovely Dee' released in 1961. He also sang lead on 'Papa'/'My Baby
(Loves A Medicine Man)' in 1962 (sharing lead on 'Papa' with Chester Pipkin).
Unable to chart with the Untouchables, Coefield then
joined the Alley Cats
[1,
2]
in 1962 with Spencer and Gary Pipkin (not Chester) part of the larger group,
Spencer a
partner since the Sabers. Coefield finally made the Top 40 when the
Alley Cats' released, 'Puddin' n' Tain', placing at #21 in 1962, backed with
'Feel So Good'. In 1963 Coefield and Spencer, again with Chester Pipkin from
the Untouchables, released 'Summertime Nights'/'Papa, Shame' with the Happy
Tones ('Summertime Nights' recorded in '61). In 1966 Coefield sang lead on
'Mary Mary' with the Electras, Storm, Spencer and Chester Pipkin also in the
group. Coefield issued a solo record that year for Omen as well: 'Ain't That
Right'/'Just One More Night'. Coefield was found with Africa in the latter
sixties.
Storm, Spencer, and Chester and Gary
Pipkin were also part of the larger group. With Africa, Coefield sang lead
on 'Here I Stand'/'Widow' (1968) and 'From Africa with Love'/'Savin' All My
Love' (1969). Lead was shared with
Billy Storm on 'Here I Stand'. Coefield
has virtually disappeared since that time. Compositions and arrangements by
him at Discogs. More of the Valiants
and Untouchables under
Billy Storm who later died on September
5, 1983, in Los Angeles. Spencer lived until shot to death in his home in
Compton, CA, on December 9, 2009. Tracks
below are alphabetical, not chronological, by year. Lead data thanks to
Goldberg (Valiants 1 above). Brice Coefield 1955 With the Sabers Lead: Sheridan Rip Spencer Composition: Sheridan Rip Spencer With the Sabers Lead: Brice Coefield Composition: Bruce Morgan With the Chavelles Lead: Brice Coefield Composition: George Loper Brice Coefield 1958 With the Valiants Lead: Brice Coefield Composition: Brice Coefield Brice Coefield 1960 Composition: Hank Ballard With the Untouchables Lead: Brice Coefield Composition: Herb Alpert/Lou Adler With the Untouchables Lead: Coefield/Ed Wallace Composition: Herb Alpert/Lou Adler Brice Coefield 1961 With the Untouchables Lead: Brice Coefield Composition: Brice Coefield With the Untouchables Lead: Brice Coefield Composition: Coefield/Chester Pipkin With the Untouchables Lead: Brice Coefield Composition: Edward Warren/Leon Carr With the Untouchables Lead: Brice Coefield Composition: Coefield/Chester Pipkin Brice Coefield 1963 With the Alley Cats Recorded 1962 Lead: Coefield/James Barker/Bobby Sheen Composition: Alonzo Willis Arrangement: Jack Nitzsche Production: Phil Spector Brice Coefield 1966 Composition: Coefield/Chester & Gary Pipkin
|
|
|
The Diamonds Source: Discogs |
The
Diamonds
[1,
2] were a group formed in
1948 in Toronto. Leave it to a lot of Canadians in the northern boondocks of
the world to waltz into R&B just like that, no knowledge even of stage
makeup. The principle members of the strangely colored Diamonds (unlike the
earlier Diamonds based in Harlem
*) were Dave
Somerville (first tenor), Tedd Kowalski (second tenor), Phil Levitt
(baritone) and Bill Reed (bass). Coral Records released their first issue in 1955,
thought to be 'Black Denim Trousers and Motorcycle Boots' b/w 'Nip Sip'
(Coral 61502). Their first title to
chart was 'Why Do Fools Fall in Love',
reaching #12 on the Hot 100 in Feb of 1956. 'Little Darlin'' in 1957 reached Billboard's No. 2 spot
in both pop and R&B in March. 'Silhouettes' and
'The Stroll' later placed in the Top Ten in 1957 as well. Between 1956 and
1961 the Diamonds scored 15 Top Forty numbers. Upon Somerville's exit from
the group in 1961 the Diamonds had run their course, though later
configurations continued eternally
[*]. The group was inducted into the
Rockabilly Hall of Fame in 1995, the Vocal Group Hall of Fame in 2004 and
the Doo-Wop Hall of Fame in 2006. Discos of issues with various credits at
1,
2.
The Diamonds in visual media.
The Diamonds 1956 Composition: Frankie Lymon/Herman Santiago/Jimmy Merchant The Diamonds 1957 Composition: Maurice Williams The Diamonds 1958 Composition: Ben Raleigh/Sherman Edwards The Diamonds 1961 Composition: Bill Medley The Diamonds 1962 Composition: Uger/Stoll/Pasternak The Diamonds 1964 Composition: Clyde Otis/Nancy Lee
|
|
| From Brooklyn, the
Fi-Tones
[1,
2,
3,
4] were
originally the Cavaliers formed in 1952. They acquired Tommy Robinson for a
manager and released 'You Thrill Me So' b/w 'Dynaflow'' for Atlas in 1953.
(Atlas misspelled their name as the Caverliers.) Their first session had
been followed by another the same day in which they backed Roscoe Thorne on
'Dolores' and 'Peddler of Dreams'. At that time the Cavaliers consisted of
Leroy Randolph (lead), Cecil Holmes (1st tenor/baritone), Lester Gardner
(tenor/piano), Ron Anderson (bass) and Marlowe Murray (1st tenor). At the
time the Cavaliers became the Fi-Tones and recorded their first single,
original personnel consisted of Lloyd Davis (baritone/guitar), Cecil Holmes
(1st tenor/baritone), Gene Redd Jr. (tenor/piano), Ron Anderson (bass) and
Marlowe Murray (1st tenor). The Fi-Tones made their first
record release in September of 1955: 'Foolish Dreams' b/w 'Let's Fall In
Love'. They unleashed a stream of recordings into 1959 but never managed to
place on Billboard's national charts. The group was reconfigured in 1964 and
became the Lloyd Davis Orchestra in the seventies, employed as the house
band at the Blue Morocco Lounge in Bronx. Ron Anderson went another way,
forming the Versatiles. Fi-Tones catalogs with production and songwriting
credits at 1,
2.
Thanks to Goldberg (1 bracketed above) for lead vocal credits below. The Cavaliers 1953 Backing Roscoe Thorne Composition: Roscoe Thorne Lead: Cecil Holmes Composition: Dorsey/Terry/Art Shelton Backing Roscoe Thorne Composition: Churchill/Kohlman Lead: Lester Gardner Composition: Terry/Art Shelton The Fi-Tones 1955 Lead: Lloyd Davis Composition: Lloyd Davis Lead: Lloyd Davis Composition: Lloyd Davis Lead: Gene Redd/Ron Anderson Composition: Ted Koehler/Harold Arlen The Fi-Tones 1956 Lead: Gene Redd/Lowe Murray Composition: R. Stewart Lead: Gene Redd/Ron Anderson Composition: R. Mosley The Fi-Tones 1957 Lead: Lloyd Davis Composition: Lloyd Davis Lead: Lowe Murray Composition: Mattina/Cachoian The Fi-Tones 1958 Lead: Reggie Barnes Composition: Lowe Murray The Fi-Tones 1959 Lead: Lowe Murray Composition: Lowe Murray The Fi-Tones 1960 Lead: Reggie Barnes/Gene Redd Composition: Gene Reed (on label)
|
The Fi-Tones Source: Vocal Group Harmony |
|
| The
Five Satins
[1,
2] were originally
formed in New Haven, Connecticut, in 1953/54 as the Scarlets
[1,
2].
Wikipedia has that group consisting of Fred Parris, Lewis Peeples, Stanley
Dortch, Ed Martin, Jim Freeman and Nat Mosley [sic] before the Rosalsky
['Encyclopedia of Rhythm & Blues and Doo-Wop Vocal Groups'] configuration of
Fred Parris （lead), Sylvester Hopkins （tenor), Nate Mosely （tenor), Albert Denby
（baritone) and William Powers （bass). We go by mostly Rosalsky in this
account, and likewise treat the Scarlets and Five Satins as two distinct
groups, though both were led
by Parris and interblend enough to give bewitched Aunt Clara here a
flustering complex. Happily, 45Cat and Discogs below also help to keep one
from losing it altogether. The Scarlets released their first plate, 'Dear One'/'I've Lost' (Red Robin 128) in
1954. That had been recorded at Bobby Robinson's record shop in Harlem. The
Scarlets issued three more discs to their final 'Kiss Me'/'Indian Fever'
(Red Robin 138) in 1955, the latter recorded while all were on leave from
the Army. A few years later in '58 Parris, by then released from military
duty in Japan, recorded 'The Voice' and 'She's Gone' (Klik 7905) with
another configuration of the Scarlets. In the meantime the Five Satins had
been formed. With Parris in the military and recording on leave personnel
got shifty. We simplify with Rosalsky's bare bones crew of Parris, Al Derby
(tenor), Ed Martin (baritone) and Jim Freeman (bass). 45Cat and Discogs list
the Satins' first issue as 'All Mine'/'Rose Mary' in 1955 on Standord XEP
100 in 1955. Parris' composition, 'In the Still of the Nite'
[*], followed in '56
on Standord XEP 200 and Ember 1005 w 'The Jones Girl' flip side. 'In the Still of the Nite' reached
the No. 3 spot on
Billboard's R&B in September. That had been recorded by
the bare bones crew of four above. Denby then got separated by military service to
Germany, Peebles to join Parris' organization again. July of 1957 saw 'To the
Aisle' rise to #5 on Billboard, the Five Satins' second and last song to chart in the Top Ten.
The group's last titles of note on Billboard were 'Shadows' at #27 in Nov
1959 and 'I'll Be Seeing You' at #14 in 1960 [Wikipedia]. The Five Satins
appeared in the film, 'Sweet Beat', in 1959. 'In the Still of
the Nite' was issued again in 1960 [Music VF/Discogs 1961], but the Satins'
heydays were finished by then. They yet occasionally perform as of this writing nearly six decades
later, led by Fred Parris and (not specifically mentioned in Rosalsky) Rich
Freeman, the latter with Parris in time to put down 'She's Gone' in '58.
Discos w production and songwriting credits for the Scarlets at
45Cat and
Discogs. For the Five Satins at
45Cat and
Discogs. For Fred Parris, who had
performed with other groups like the Restless Hearts, at
45Cat and
Discogs. The Scarlets 1954 Composition: Fred Parris The Five Satins 1955 Composition: Fred Parris The Five Satins 1956 Composition: Fred Paris Composition: Five Satins: Jim Freeman/Jessie Murphy/Bill Baker Tommy Killebrew/John Brown Composition: John Brown The Five Satins 1957 Composition: Jessie Murphy/Jim Freeman The Five Satins 1960 Composition: Irving Kahal/Sammy Fain The Five Satins 1962 Johnny Green Orchestra Composition: George Grant
|
The Five Satins Source: Tunes Zone |
|
|
The Heartbeats Source: D00-Wop Blogg
|
Formed in 1953 in Jamaica Queens, the Hearts
changed their name to the Heartbeats
[1,
2,
3] to avoid confusion with a female doo
wop group by that name. They can nevertheless be confused with the
Heartbeats of Brooklyn
[*] also recording about that time.
The group's original members were Vernon Sievers (baritone),
Wally Roker (bass), Albert Crump (first tenor), Robbie Tatum (second tenor) and
lead vocalist, James Sheppard. 'Crazy For You' and
'Rockin-N-Rollin-N-Rhythm-N-Blues-N' was their first
release in September 1955. In December of 1956 the group released 'A
Thousand Miles Away' b/w 'Oh Baby Don't', the former to achieve a No. 5 spot
on Billboard's R&B in December. That was, however, the Heartbeats' last arrival
of note to
Billboards' national charts. A succession of issues into 1959 failed to affect
a lot, the Heartbeats hanging up the hat that year. Sheppard continued onward
to form the Limelites
[1,
2]. That group recorded until 1965
(Top Ten: 'Daddy's Home' '61 and 'Our Anniversary' '62) and performed until
Sheppard's death in Manhattan on January 24 of 1970 [
1,
2,
3].
Discographies of the Heartbeats w production and composing credits at
45Cat
and Discogs. Discographies of Shep's Limelite's at
1,
2. Shepard sings lead
on all titles below except as noted. The Heartbeats 1955 Composition: James Sheppard/William Miller The Heartbeats 1956 Lead: James Sheppard/Vernon Sievers Composition: William Miller/James Sheppard Lead: Wally Roker/James Sheppard Composition: Billy Dawn Smith/William Miller Composition: James Sheppard/William Miller The Heartbeats 1957 Everybody’s Somebody’s Fool Composition: Jack Keller/Howard Greenfield Composition: James Sheppard/Joe Thomas The Heartbeats 1958 Composition: James Sheppard The Heartbeats 1960 Shep & the Limelites 1961 Composition James Sheppard/Clarence Bassett/Charles Baskerville
|
|
| Lead tenor
Billy Storm (Billy Spicer)
was born in Dayton, Ohio, in 1938 [1,
2,
3,
4]. He began his recording career in 1955
with
Brice Coefield and
the Sabers [*]: 'Always Forever'/'Cool Cool Christmas'. Lead on those were Rip
Spencer and
Coefield respectively. He, Spencer,
Coefield and Chester Pipkin then formed the Chavelles
[*]. Rather swiftly
deciding that the Chavelles weren't the equation they were seeking, the four
then recorded 'Happenin' After School'/'My Unfaithful Love' in 1957 as the
Gents. They then
formed the Valiants
[1,
2]. In 1958 while with the Valiants Storm changed his name
from Spicer to Storm. During his time with the Valiants he also sang with
the Squires [*]. After several releases the Valiants couldn't rise to the
R&B Top 40, so the formula was changed yet again to the Untouchables
[1,
2]. (Jason
Ankeny at AllMusic has
Herb Alpert making his debut recording
on trumpet per 'Papa' in 1961.)
Judging by the track below, one wouldn't know it.) While singing with the
Untouchables Storm launched
a solo career, finally releasing his first Top 40 song, 'I've Come
of Age', in 1959. Storm sang with the Electras, a group formed by
Chester Pipkin, in 1961: 'You Lied'/'Ten Steps To Love'. (They were called
the Electras on the Infinity label, the Freedoms on Constellation.) In 1962
he recorded 'Just a Friend'/'Cap Snapper' with the Nuggets as William Jones.
1964 found him grooving 'Flamingo'/'Someone's in the Kitchen With Dinah'
on the Skylark label with a group called the Charades. Storm first recorded with Africa in 1966:
'Please Don't Mention Her Name'/'The Warmest Love'. (This Storm isn't
the same Billy Storm who recorded 'I Apologize' with the Tempests in '66 for
issue in '67 [*].) Storm appeared with the
Brothers and Sisters on the Bob
Dylan album, 'Dylan's Gospel', in 1969, fading into obscurity
thereafter.
More of the Valiants and Untouchables under
Brice Coefield. Storm discographies
w various credits at 1,
2.
Storm in visual media.
He sang lead on all tracks below except as noted. Data per Goldberg. Credits to Billy Jones =
Billy Storm. Titles are chronological
only by year, alphabetical thereafter. Billy Storm 1955 With the Sabers: Lead: Rip Spencer Composition: Sheridan Rip Spencer Billy Storm 1956 With the Chavelles Composition: Brice Coefield/Billy Jones Billy Storm 1957 With the Valiants Composition: John Marascalco/Robert Bumps Blackwell With the Valiants Composition: Billy Jones/BriceCofield Chester Pipkin/Rip Spencer Billy Storm 1958 With the Squires
Composition:
Fred Glickman
With the Valiants
Composition:
Billy Jones
With the Valiants
Composition:
Billy Jones/BriceCofield
Chester Pipkin/Rip Spencer
As Billy Jones & the Squires
on Deck 478
As Billy
Fortune & the Squires on Dice 478
Composition:
Dorinda Morgan
With the Valiants
Lead: Chester Pipkin
Composition:
Chester Pipkin
With the Squires
Composition:
Billy Jones/Jack Spicer
Teddy Drake/Warren Joyner
With the Valiants
Composition:
Billy Jones
Billy Storm 1959
With the Valiants
Lead: Chester Pipkin
Composition:
Chester Pipkin
Composition:
Kenny Jacobson/Rhoda Roberts
Composition:
Lou Stallman/Sid Jacobson
You Just Can't Plan These Things
Composition:
Bob Hilliard/Robert Allen
Billy Storm 1961
Composition:
Fred Parris
Goodnight Sweetheart, Goodnight
With the Untouchables
Composition:
Calvin Carter/James Hudson
With the Storms
Composition:
Roquel Davis/Russ Fratto
With the Electras
Lead: Warren Joyner
Composition:
Gary Hart (Gary Pipkin)
John Carson/John
Marascalco/Tony Kevin
Composition:
Andrew Jones/Leroy Kirkland
With the Electras
Lead: Warren Joyner
Composition:
John Marascalco/Linda Carr/Warren Joyner
Billy Storm 1962
Composition:
Jesse Stone
Composition:
Lydia Reed
With the Nuggets
Composition:
Warren Joyner
Composition:
Miklos Rozsa/Paul
Francis Webster
Composition:
Richard & Robert Sherman
Billy Storm 1966 Composition:
P. Vegas/G. McDaniels |
Billy Storm Source: Last FM |
|
|
Frankie Lymon
[1,
2,
3,
4,
5,
6,
7,
8,
9] from Harlem,
was born in 1942 to a maid and a truck driver. He was the elder brother of
Louie Lymon. According to Frankie, in an
interview with 'Ebony Magazine', he was pimping at age
ten to augment income earned as a bagger at a grocery store. Howsoever, he released his
first recording with the Teenagers at age 14 in December of 1955: 'Why Do Fools Fall In
Love'/'Please Be Mine (Gee 1002) [45Cat/Gonzales]. That was one of five singles he
placed on Billboard's R&B Top Ten
at #7 in 1956. The others were 'Who Can
Explain?' (#7), 'I Want You to Be My Girl' (#3), 'I Promise to Remember'
(#10) and 'The ABC's of Love' (#8). He continued into the Top Ten in 1957
with 'Out In the Cold Again' peaking at Billboard's #10 spot. That was the
year Lymon left the Teenagers for a solo career that wasn't nearly so
spectacular. Nor was that of the Teenagers, phantoms by the early sixties.
Drafted into the Army in 1965, Lymon was dishonorably discharged in 1967 for
multiple AWOL charges as he attempted to stay active with gigs. He had wed
Emira Eagle earlier that year. He died at the
age of only 25 on Feb 27 of 1968 of a heroin overdose in his grandmother's bathroom
in Harlem, having
first used the drug at age fifteen. Discographies of Frankie Lymon w various
credits at
1,
2,
3,
4.
Lymon and his Teenagers in visual media:
1,
2. Frankie Lymon 1956 Composition: Glen Moore/Milton Subotsky Composition: George Goldner With the Jimmy Wright Orchestra Composition: Buddy Kaye/Fred Spielman With the Jimmy Wright Orchestra Composition: George Goldner/Richard Barrett Composition: Frankie Lymon/Herman Santiago/Jimmy Merchant Frankie Lymon 1957 Composition: Ted Koehler/Rube Bloom Frankie Lymon 1958 Television performance Composition: Johnny Mercer/Matty Melneck
|
Frankie Lymon & the Teenagers Photo: Gee Records Source: Michael Jackson Zene |
|
|
The Turbans Source: Russ & Gary's |
It was 1955 in Philadelphia when the
Turbans
[1,
2,
3]
signed their first recording contract with Herald Records. These
Turbans are easily confused at multiple sources [including 2 above] with the group from Oakland
which issued 'Tick Tock a Woo'
in '55 [See
Rosalsky and
WayBackAttack]. Formed in 1953,
original Turbans personnel were Al Banks (lead tenor), Matthew Platt (second
tenor), Charlie Williams (baritone), and Andrew "Chet" Jones (bass). Their
first release was 'Let Me Show You' with 'When You Dance' on rear. That
climbed to Billboard's peak position in R&B, after which the Turbans never
charted again to speak of ('When You Dance' at #114). Shuffling from label to label to not a lot of affect,
the
Turbans issued their last recording, 'I Wonder'/'The Damage Is Done', in
1962. Issues catalogs w composing and production credits at
1,
2. See also
*. Al Banks sings lead on all tracks below. The Turbans 1955 Let Me Show You (Around My Heart) Composition: Alicia Evelyn/Leroy Kirkland Composition: Andrew Jones/Leroy Kirkland The Turbans 1956 Composition: Robert Riley Composition: D. Clowney/L. Kirkland The Turbans 1960 Composition: West Tyler The Turbans 1962 Composition: G. Forest/E. Levy
|
|
| The
Chips
[1,
2] (not to
be confused with the later Chips who became the
Astors [*]) were among the briefest-lived
groups in doo wop. They came and went so fast that the photo to the right is
out of focus. Forming in NYC to consist of Charles Kinrod Johnson
(lead/baritone), Nathaniel Epps (falsetto), Paul Fulton (bass), Sammy Strain
(first tenor) and Shedrick Lincoln (second tenor), they recorded 'Rubber Biscuit'/'Oh
My Darlin'' (Josie 803) in 1956, toured for a
while, then broke up in 1957. Only Sammy Strain
[Classic Urban Harmony: 1,
2,
3,
4] continued to pursue a
musical profession, later joining the
Imperials, then the
O'Jays, then the
Imperials again until retirement in 2004.
Multiple sources including Discogs, Itunes and Rocky52 have these Chips
issuing 'Darling (I Need Your Love)'/'You're on My Mind' in 1961, that
contested at 45Cat, AllMusic, etc.. 'Doo-WopCentrism' (Anthony Gribin/Matthew
Schiff) has that plate released by a California group
[*].
It is nowhere mentioned at Classic Urban Harmony, though the latter
has the Chips reforming again in 1979 after the cover of 'Rubber Biscuit' by
the Blues Brothers that year. That Chips consisted of all its original
members except Strain who was working with the
O'Jays at the time, his slot
filled by Dave Eason. They released 'When I'm With You'/'Everyone's
Laughing' (Clifton 45-54) in 1980 [45Cat]
but evaporated soon thereafter. The Chips 1956 Composition: Johnson Epps/Fulton/Johnson/Lincoln/Strain Also credited to Johnson only Composition: Johnson The Chips 1980 Composition: Calvin Carter
|
 The Chips Photo: doo-wop.blogg.org Source: Doo-Wop Blogg |
|
|
The Coasters Source: Russ & Gary's |
R&B group, the Coasters [1, 2, 3, 4, 5, 6, 7, 8], originally consisted of Carl Gardner, Billy Guy, Bobby Nunn, Leon Hughes and guitarist, Adolph Jacobs (leaving in '59). Young Jessie replaced Hughes on a couple of early recordings. The Coasters made their studio debut with Atco Records in January of 1956. That February they issued 'Down in Mexico' b/w 'Turtle Dovin'. 'Down in Mexico' peaked at #8 on Billboard's R&B in March 1956. 'One Kiss Led to Another' reached the #11 tier in September. The Coasters were one of doo wop's more successful groups. In 1957 they topped Billboard's R&B twice with 'Searchin' and 'Young Blood' released back to back. 1958 saw 'Yakety Yak' reach #1, followed by 'Charlie Brown' at #2. 'Poison Ivy' reached Billboard's #1 spot in 1959. Leiber & Stoller's 'Yakety Yak' had been the inspiration for Boots Randolph's famous 'Yakety Sax' the same year ('58). The Coasters' last tune to disturb the Top Twenty was 'T'ain't Nothin' to Me' in March of 1964 at #20, that the month after the Beatles first arrived to the United States in Feb, and three months before the Rolling Stones in June. By that time doo wop had seen its heydays, the Coasters fading away with the rest of doo wop into the latter sixties but for oldies circuits and revivals, antiquated all of itself after ten years or so of popularity upon R&B moving the direction of soul and Motown due largely to producer, Berry Gordy Jr. [1, 2, 3]. Rock otherwise became preoccupied with the British Invasion, the Beatles bringing a whole new sound to rock called Mersey beat while the Stones brought their own interpretations of R&B. Come the seventies there were several groups performing as the already ancient Coasters, though the only sanctioned was Carl Gardner's whose wife, Veta, yet owns the Coasters name. Leon Hughes is the last surviving member of the original Coasters, yet performing as of this writing [*]. Discos of the Coasters w production and songwriting credits at 1, 2. The Coasters in visual media. All titles below were composed by the songwriting team, Leiber & Stoller [1, 2, 3], except as noted. The Coasters 1956 The Coasters 1957 The Coasters 1958 Tenor sax: King Curtis The Coasters 1965 Composition: Nickolas Ashford/Valerie Simpson/Josephine Armstead
|
|
|
The Del Vikings Source: 7tor |
The
Del Vikings
(also the Dell Vikings)
[1,
2,
3,
4,
5,
6,
7,
8] originally consisted of
Clarence Quick, Kripp Johnson, Don Jackson, Samuel Paterson, Bernard
Robertson and Clarence Harvey Ringo. The group was formed in 1955 by four
airmen in the Air Force. This initially made it difficult on the group due
to changes in tours of duty. Though their original baritone (Samuel
Patterson) had to be replaced by Norman Wright they managed to adhere enough
to make their first recordings for Fee Bee Records
[*] in 1956: 'Come Go with
Me'/'How Can I Find True Love'. Issued in December, 'Come Go with Me' reached Billboard's #2 R&B
tier (#4 Hot 100) early the next year. Kripp Johnson's Dell-Vikings were created in 1957 when
he was dropped out of a contract arranged with Mercury Records
[*]. Mercury
wanted the Del-Vikings but they were on paper to Fee Bee. Turns out that
only Kripp Johnson was of legal age (21) when he signed up with Fee Bee. The
others were released from their contract and moved to Mercury, retaining the
Del-Vikings name. Johnson hung with Fee Bee with the new Dell-Vikings. The
Del Vikings (not Dell Vikings) saw the Top Ten twice more in 1957 with
'Whispering Bells' (#5 R&B) and 'Cool Shake' (#9 R&B). They then relatively
disappeared from the national spotlight, though they continued recording in
one formation or another as late as 1977: 'Hollywood and Vine'/'Welfare
Blues' (with Kripp Johnson). None of the original members of the Del Vikings
were yet alive when Clarence Quick died in 1983 except Kripp Johnson, who
followed in 1990. One of the Del Vikings' later formations performed on the
PBS Broadcast of 'Doo Wop 50' in 1999. The group yet performs with much
altered personnel as of this writing. Discos w production and songwriting
credits at 1,
2.
The Del Vikings in visual media.
Lead data below per Goldberg (1 bracketed above). The Del Vikings 1956 Lead: Norman Wright Composition: Clarence Quick The Del Vikings 1957 Composition: Clarence Quick Lead: Kripp Johnson Composition: Clarence Quick/Fred Low(e)ry Lead: Chuck Jackson The Del Vikings 1958 Composition: Clarence Quick Lead: Clarence Quick Composition: Clarence Quick The Del Vikings 1961 Lead: Willie Glenn Composition: Kenney Seymour/Edward Ellen Lead: Kripp Johnson Composition: Kripp Johnson The Del Vikings 1963 Lead: Kripp Johnson Composition: Jimmy Krondes With the Sonnets Lead: Kripp Johnson Arrangement/Conducting: Richard Wolfe Composition: Fred Anisfield (Not Paul Dukas' symphonic poem of 1897) Lead: Kripp Johnson Arrangement/Conducting: Chuck Sagle Composition: Fred Anisfield
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The Falcons 1957 Source: Marv Goldberg |
The
Falcons [1,
2,
3,
4] first
came together in Detroit in 1955,
comprised of Eddie Floyd (lead), Bob Manardo, Arnett Robinson, Tom Shetler
and Willie Schofield. There being numerous groups called the Falcons, they
are easily confused with such as the Falcons of Columbus, OH, which issued 'My Only Love/Now That It's Over'
in 1957 on Falcon 1006 [* (discrepancy appearing at
*)/See
also 45Cat and Discogs]. These
Falcons released their first vinyl in 1956: 'Baby That's It' with 'This Day'.
It took the Falcons another three years to place on
Billboard, 'Just
For Your Love' rising to #26 on the R&B in 1959. They followed that
the same year with 'You're So Fine' peaking at #2. Their next and last to
chart in the Top Ten was 'I Found a Love' in 1962. The Falcons saw their
demise in 1963, though a later configuration with entirely different
personnel arose to wear the name, releasing 'Standing On Guard' in 1966.
They largely vanished from history after that. Discographies w production
and songwriting credits at
1,
2. Lead data below per Goldberg
(1 bracketed above). The Falcons 1956 Lead: Eddie Floyd Composition: Eddy & Rachael Floyd The Falcons 1958 Lead: Eddie Floyd Composition: Bob Hamilton The Falcons 1959 Lead: Joe Stubbs Composition: Lance Finney/Robert West/Willie Schofield Lead: Eddie Floyd Composition: Willie Schofield Lead: Joe Stubbs Composition: Willie Schofield/Robert West Lead: Joe Stubbs Composition: Lance Finney/Willie Schofield The Falcons 1960 Lead: Joe Stubbs Composition: Dave Braithwaite/Eddie Powell The Falcons 1962 Lead: Wilson Pickett Composition: Wilson Pickett/Willie Schofield/Robert West
|
|
| The Four Tops
[1,
2,
3,
4]
were among the first of what would come to be called the Motown sound, a
subgenre of R&B in the sixties and disco in the seventies. The Motown sound
came to be due much to record producer, Berry Gordy Jr. [1,
2,
3], who founded Tamla, then
Motown Records, in Detroit in 1959. Numerous Motown groups besides the Four
Tops would be handled by Gordy at Motown:
Smokey Robinson & the Miracles, the
Contours, the
Supremes, the
Temptations,
Martha & the Vandellas, to name
but several. The Four Tops were formed in high school in Detroit with
baritone, Levi Stubbs, as lead. They first recorded in 1956 on the
Chess label as the Four Aims [*]:
'If Only I Had Known'/'She Gave Me Love' (Grady 012). The Aims soon changed their name to the Four Tops
to avoid confusion with a pop group called the Ames Brothers, then released
their debut plate, 'Could It Be You?'/'Kiss Me Baby' (Chess 1623). As
rival to the
Temptations, the Four Tops were among the
most successful and enduring four-part harmonies of early rock n' roll. But it would take
them until 1964 to begin placing in the
Top Ten, 'Baby I Need Your Loving'
reaching No. 4. 'I Can't Help Myself' topped both the R&B and US charts in
May of 1965. 'Reach Out I'll Be There' did the same in September of 1966. Above
twenty visits to Billboard's Top Ten were made until 1981 when 'When She Was My Girl' claimed No. 1 on the R&B. They would thereafter
have to be satisfied with the Top Forty in the States, their last to so rise
in 1988 being 'If Ever a Love There Was' at #31. 1988 also saw their last to
score in the Top Ten in Great Britain with 'Loco In Acapulco' rising to #7.
Among the factors that made the Four Tops such a huge success is that they
stuck together. Their original personnel of
Levi Stubbs [*],
Abdul Fakir [*],
Renaldo Benson [*] and
Lawrence Payton [*] remained the same for the several years
that they got nowhere while honing their craft, and they performed together
until 1997 when Payton died
[*], personnel changes thereafter occurring into the
new millennium. The Four Tops were elected into the Rock and Roll Hall of
Fame in 1990 and the Vocal Group Hall of Fame in 1999. Benson died in 2005
[1,
2], Stubbs in 2008 [1,
2]. The
Four Tops were elected
into the newly formed R&B Hall of Fame in 2013. 'Billboard' magazine has
placed them at #77 on their Top 100 Artists of All Time. 'Rolling Stone' has
placed them at #79 on their 100 Greatest list. Fakir yet tours the United
States as of this writing, also maintaining a
Facebook page.
Four Tops discos w production and songwriting credits at
1,
2,
3. See also
*.
Four Tops in visual media.
Per below, D/H & H refers to the wrting partnership of Lamont Dozier/Brian &
Eddie Holland [1,
2,
3]. The Four Tops 1956 Composition: Roquel Davis Composition: Roquel Davis The Four Tops 1960 Composition: Al Kasha/Ira Kosloff The Four Tops 1964 Composition: D/H & H The Four Tops 1965 Composition: D/H & H The Four Tops 1966 Filmed live Composition: D/H & H 'Ed Sullivan Show' Composition: D/H & H The Four Tops 1967 Composition: D/H & H Composition: Tim Hardin The Four Tops 1968 Composition: Tim Hardin Michael Brown/Bob Calilli/Tony Sansone The Four Tops 1970 Album The Four Tops 1972 Composition: Brian Potter/Dennis Lambert Album: 'Keeper of the Castle' The Four Tops 1977 Live on 'Soul Train' Composition: Dee-Dee McNeil/Fred Bridges/Lawrence Payton The Four Tops 1981 Live on 'Fridays' Composition: Larry Gottlieb/Marc Blatte The Four Tops 1987 Composition: Sandy Linzer/David Wolfert
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The Four Tops Source: Inside the Rock Era |
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The G-Clefs Source: Marv Goldberg |
Their were
several groups named after the
clef symbol,
such as the Clefs [*],
the Four Clefs [*],
the
Teen Clefs [*] and the
G-Clefs [1,
2,
3,
4,
5,
6], originally the Bob-O-Links
formed in Boston circa 1952. Initial personnel were Ray Gipson (first tenor)
and Joe Jordan (bass), with the brothers, Chris (second tenor), Teddy
(baritone) and Tim Scott (baritone/bass/guitar). The G-Clefs
gave their first public performances at a skating rink converted into a
dance hall on Friday nights. They made their first demo in 1953 ('Ka-Ding Dong' and 'I'll Remember All Your
Kisses'), but didn't release a record until 1956. Their first release was 'Ka-Ding
Dong' with 'Darla, My Darlin'' on back. 'Ka-Ding Dong' took up residence on
Billboard's R&B on the ninth floor [Music VF]. They appeared at the Apollo Theater in
NYC for the first time in September of '56 ($500 for the week with a hotel
bill for $750, notes Goldberg). The G-Clefs notched Billboard's pop chart at No. 9 in 1961 for 'I Understand', after which
'A Girl Has to Know' peaked at a negligible #81 in 1962 before the group
dropped off Billboard altogether. But the G-Clefs didn't need Billboard to
continue performing. In 1967 they recorded the live album, 'The G-Clefs on
Stage', and pressed it on their own Spotlite label. Their first tour to
Europe occurred the following year. They toured there again in 1970, as well
as Japan in '70 and '71. The group performed into the new millennium as Ray
Gipson (first tenor) with the brothers, Chris (second tenor), Teddy
(baritone), Tim (baritone/bass/guitar) and Arnold (with the group since 1957
or '58). Ray Gipson died on January 4, 2015. G-Clefs discographies with
production and songwriting credits at
1,
2.
Lead data below per Goldberg (1 bracketed above). Robert Jordan = Joe Jordan. The G-Clefs 1956 Lead: Teddy Scott Composition: Jack McDermott/Robert Jordan Lead: Ray Gipson/Joe Jordan Lead: Ray Gipson Composition: Robert Jordan The G-Clefs 1957 Lead: Joe Jordan Composition: Vellante/Tavares/Yakus Lead: Ray Gipson Composition: Robert Jordan/Teddy Scott The G-Clefs 1962 (There Never Was a Dog Like) LAD Lead: All Composition: Johnny Marks
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|
| Originally the Charlemagnes, that group
became the Blue Notes in 1954 with Harold Melvin its lead singer
for a time. Melvin was a self-taught pianist born in 1939 in Philadelphia
[1,
2,
3],
which would become a hub for soul music as Melvin reached his prime years.
He is among the numerous on this page who began their careers with doo wop
before moving onward to other R&B, soul and disco as well in Melvin's case. The
Blue
Notes released their first single in 1956: 'If You Love Me'.
Melvin's Blue Notes at that time consisted of Bernard Williams, Roosevelt
Brodie, Jesse Gillis Jr. and Franklin Peaker at lead. It would be another
four years until the group charted on
Billboard's R&B in 1960 with 'My Hero'
reaching No. 19. Not until the seventies did the Blue Notes arrive to their
glory days. Part of that equation was the replacement of lead singer since
the mid sixties, John Atkins, with Teddy Pendergrass in 1970. Pendergrass had been a
drummer with the
Cadillacs. In 1972 'I Miss You' peaked at
#7 on Billboard's R&B. 'If You Don't Know Me By Now' topped that chart the
same year. 'The Love I Lost' topped the chart in 1973. That was followed in
July of '75 with 'Hope That We Can Be Together' featuring Sharon Paige at
#1. Come 'Wake Up Everybody'
in Nov 1975. The meanwhile releasing other Top Ten singles, their last was
'Reaching for the World' in 1977. Pendergrass, become the group's main draw,
had left the Blue Notes in '77 prior to that to pursue a solo career. He'd
been replaced by David Ebo, with whom the group released its last Top Forty
as well, 'Playin'', in 1980. Gil Saunders assumed Ebo's place at lead from
'82 to '92, but by then the Blue Notes had seen their day. Ebo died on
November 30 of 1993, only age 43. Melvin endured a
stroke in 1996, dying the next year in March
[*].
Pendergrass, who had enjoyed a
spectacular career into the nineties, died relatively young as well, at age
59 in January of 2010 of respiratory failure. Discographies of issues with
production and songwriting credits at
1,
2. See also
*.
Melvin and his Blue Notes in visual media:
1,
2.
G & H below = the partnership of Kenny Gamble and Leon Huff
[1,
2,
3]. Harold Melvin & the Blue Notes 1956 If You Love Me (Really Love Me) Composition: Edith Piaf/Geoffrey Parsons/Marguerite Monnot Harold Melvin & the Blue Notes 1960 Harold Melvin & the Blue Notes 1967 Composition: Harold Melvin Harold Melvin & the Blue Notes 1972 Live on 'Soul Train' Composition: G & H Harold Melvin & the Blue Notes 1973 Composition: G & H Harold Melvin & the Blue Notes 1974 Composition: G & H Harold Melvin & the Blue Notes 1975 Composition: G & H Harold Melvin & the Blue Notes 1977 Composition: Kenny Gamble/Leon Huff/Cary Gilbert Harold Melvin & the Blue Notes 1981 Album: 'All Things Happen In Time' Composition: Harold Melvin/Martin O'Cornwell
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Harold Melvin Source: Inside the Rock Era |
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|
The Linc-Tones 1955 Source: Neil Sedaka |
From Brooklyn, the
Linc-Tones
[1,
2] were formed in
1956 by high school students Hank Medress,
Neil Sedaka. Eddie Rabkin and
Cynthia Zolitin. They released their first recordings in 1956 ('While I
Dream/I Love My Baby' their debut), after which they reshaped into the
Tokens
[1,
2] (as in "tokens of affection"). It
took them several years to begin appearing on
Billboard's charts. 'Tonight I
Fell In Love' placed at #15 On Billboard's US in 1961. Later that year 'The
Lion Sleeps Tonight' [*] topped Billboard's US #1 (Billboard's R&B at #7). That
was a major success tough to follow. The group sporadically placed in the
Top Forty until 1969, 'She Let's Down Her Hair' the last to do so, peaking
at #34 on Billboard's AC (Adult Contemporary). The Tokens were another of those doo wop groups that evolved through
so many personnel changes that one requires quantum computing to keep track
of it. Someone at RateYourMusic endeavored to make that easy at a glance
before a fizzling system shutdown. It's Ok to
look but don't attempt such
yourself, especially if alone without a whistle. Suffice it to say that, of the original Linc-Tones, the core members of
the Tokens were Medress and
Sedaka, the latter soon leaving
to pursue a solo career. The group had well run its course by the time Medress
left in 1973. New configurations of the group arose into the new millennium,
notably that formed by Jay Siegel, with the group since 1956. The Tokens yet
perform as of this writing. Included below are a
couple tracks by Darrell & the Oxfords, a group formed by Mendress and
Tokens member, Jay Siegel. The latter yet tours as of this writing,
maintaining a Facebook page. Discographies
of the Tokens w production and composing credits
at 1,
2.
The Tokens in visual media.
Per H. Jamiph 1964 below, that = the Tokens as decoded at Discogs: H. (Hank)
Ja(y) mi(tch) ph(il). They also composed as J. Amiph (J.[ay] [H]a[nk] mi[tch]
ph[il]) and J. Hamiph (J.[ay] Hank mi[tch] ph[il]). The Tokens 1956 Composition: Neil Sedaka/Howard Greenfield Unissued Lead: Hank Mendress Composition: Neil Sedaka/Howard Greenfield Lead: Eddie Rabkin Composition: Neil Sedaka/Howard Greenfield Lead: Cynthia Zolotin Lead: Neil Sedaka Composition: Neil Sedaka/Howard Greenfield Darrell & the Oxfords 1959 Composition: Mel Mitchell/Rita Mann Composition: Mel Mitchell/Rita Mann The Tokens 1961 Composition: Solomon Linda/Hugo Peretti Luigi Creatore/George David Weiss/Albert Stanton Composition: Hank Medress/Mitch Margo The Tokens 1964 Composition: Mitch & Phil Margo/Hank Medress/Jay Siegel Composition: Mitch & Phil Margo/Hank Medress/Jay Siegel Composition: H. Jamiph The Tokens 1967 Composition: Mitch & Phil Margo/Hank Medress/Jay Siegel Composition: Barry Mann/Cynthia Weil Composition: Cyril Ornadel/David West The Tokens 1968 Composition: Mitch & Phil Margo/Hank Medress/Jay Siegel The Tokens 1969 Composition: Leon Carr/Paul Vance
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The Tokens Source: Blog de Rock en Mexico |
|
Lewis Lymon & the Teenchords Source: Discogs
|
Lewis Lymon
[1,
2,
3,
4,
5]
grew up in Harlem with his elder brother,
Frankie Lymon. He made his first recordings with the Teenchords in 1956: 'I'm So
Happy' with 'Lydia' flip side. Frankie had preceded Lewis to the recording
studio in 1955, but Lewis who was two years younger, born in 1944, was
quick at his heels in all but the audience he could draw. Having never
placed on a Billboard chart, the Teenchords made their last recording in
1958 for the Juanita label: 'Dance Girl'/'Them There Eyes'. Lymon bowed off
into the sunset after a release with the Townsmen in 1961, singing lead on
only the first side: 'I Can't Go On'/'That's All I'll Ever Need'. Lymon's
induction into the Army in the early sixties put the brakes on his career.
He reincarnated the Teenchords in the seventies, and performed on occasion
into the new millennium in some or other capacity. He is since deceased as
of 2013. Discos of Lymon and his Teenchords w various credits at
45Cat and
Discogs. Louie Lymon 1956 Composition: Bobby Robinson Composition: Lewis Lymon Louie Lymon 1957 Composition: Les Cooper Composition: Richard Barrett/Bobby Robinson Composition: Barrett/Lymon/Robinson Composition: Bobby Robinson/Les Cooper
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The Quintones Photo: Phil Schwartz Source: Rocker Stomp |
Originally the
Quintones first recorded in
1956, backing Jimmy Witherspoon's 'Still In Love'
and 'My Girl Ivy'. At that time the group was comprised of Freddy Brown
(first tenor), Donald Lawrence (first/second tenor), Dusty Moye (second
tenor), Gerald Johnson (baritone) and Leon McClain (bass). They changed
their name to the Quinns
[1,
2,
3]
in 1957 to avoid confusion with other bands called the Quintones. Their first release as the Quinns was 'Oh Starlight'
b/w 'Hong Kong'. At that time personnel was Freddy Brown, Donald Lawrence,
Richie Brown, Gerald Johnson and Leon McClain. Neither the Quintones nor the Quinns gained position on a Billboard chart
before abandoning ship in 1965. Discographies at
1,
2. Lead data below per
Goldberg (1 bracketed above). The Quintones 1956 With Jimmy Witherspoon Composition: Doc Pomus The Quinns 1957 Lead: Donald Lawrence Composition: Quinns/Coleman/Winley Lead: Freddy Brown/Donald Lawrence Composition: Quinns/Coleman/Winley The Quinns 1960 Lead: Freddy Brown Composition: Browns I confess. Sorry. But you can't blame a kid for that [1, 2]. Lead: Frenchie Concepcion
|
|
| The
Schoolboys [1,
2] were a group of Harlem
kids consisting of Leslie Martin (lead), Roger Hayes (tenor), James McKay
(baritone) and Renaldo Gamble (bass) upon formation in 1956. Gonzales has
'Please Say You Want Me' and 'Shirley' recorded on November 1 that year, issued
on November 26 per Okeh
7076. Music VF has the former peaking on Billboard's R&B at #13, the latter at #15. Which werre the
last the Schoolboys saw of the national charts, releasing only three more
records: 'Mary'/'I Am Old Enough' and 'Pearl'/'Carol' in 1957, then 'Angel of Love’ b/w 'The Slide' in 1958. They then forged a pink Permission to Be
Absent slip and went back to class. Discos w credits at
45Cat and
Discogs. The Schoolboys 1956 Composition: Donald Hayes/Irving Nahan Composition: Gene Redd Sr. The Schoolboys 1957 Composition: Donald Hayes/Schoolboys Composition: Gene Redd Jr./Lowe Murray Composition: Polk/McDaniel The Schoolboys 1958 Composition: Donald Hayes
|
 The Schoolboys Source: Doo-Wop Blogg |
|
| The
Velours, from Brooklyn
[1,
2,
3,
4],
were originally the Troubadours, formed in 1953. They changed their name to
the Velours in 1956. They released their
first dish, 'My Love Come Back' with 'Honey Drop' flip side, in July 1956
on Onyx 501. At that time the group consisted of Jerome Ramos
(tenor), John Cheatdom (first tenor), Donald Haywoode (second tenor), Marvin
Holland (bass) and Kenneth Walker (lead tenor). Personnel changes would
rapidly occur, including the addition that year of piano player, Calvin
McClean, the replacement at baritone by John Pearson, and at bass by Charles
Moffitt [membership at a glance/See also *]. The Velours claimed Billboard's US chart at No. 83 twice in 1957
and 1958 with 'Can I Come Over Tonight' and 'Remember'. They wouldn't chart
again. By 1961 things were getting discouraging, group members falling away.
By 1967 it was Ramos, Haywoode, John Cheatdom and new tenor, Richard Pitts.
The end of the Velours that year was a surprise, finding themselves billed
as the Fabulous Temptations on a tour to the UK. They billed themselves as
the Fantastics on their next tour there the next year, also beginning to
record as such in 1968 per 'Baby Make Your Own Sweet Music'/'Who Could Be
Loving You' (MGM 1434/13982). Pitts left in 1972. Goldberg lists the
Fantastics' last plate as 'Ten Minutes That Changed the World'/'Take Away
the Feeling' (Bus Stop 1032) in 1975. Moffitt resurrected the Velours
that year, running the group until he was shot to death in Dec 1986. Eulis Mason
assumed his place until his death on October 31 of 2016. As for Cheatdom, after the Fantastics he went on to put the Realistics together in
1976, touring internationally until 1983. He issued his autobiography,
'Keeping Doo Wop Alive', in 2018. Velours discographies w credits at
1,
2. The Fantastics at
*.
Lead data below per Goldberg (1 bracketed above). The Velours 1956 Lead: Donald Haywoode Composition: Marvin Holland/Jerome Ramos Lead: Jerome Ramos Composition: Marvin Holland/Jerome Ramos Lead: Jerome Ramos Composition: John Cheatdom/Donald Haywoode The Velours 1957 Lead: Jerome Ramos Composition: Donald Haywoode/Jerry Winston Lead: Jerome Ramos Composition: Donald Haywoode/Jerry Winston The Velours 1959 Lead: Keith Williams Composition: Bernie Wayne/Lee Morris 1950 Lead: All The Velours 1967 Composition: Angelo Cifelli/Mike Petrillo
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The Velours 1957 Source: Marv Goldberg |
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|
The Belmonts [*] portion of Dion and the Belmonts [1, 2, 3, 4] were so named because two pairs of the group lived near a Belmont Avenue, one in Bronx, the other in Brooklyn. Dion DiMucci [1, 2, 3] was himself born in Bronx in 1939. DiMucci gave his first performance at age fourteen in Philadelphia on the 'Teen Club' television show. In 1957 DiMucci bought some studio time to record four singles for his mother as a Valentines Day gift. Those caught the attention of Irv Spice at Mohawk Records who teamed DiMucci with a group called the Timberlanes [*]. Mohawk released 'The Chosen Few' with 'Out In Colorado' in 1957 for air time, then handed it over to Jubilee for distribution. Also releasing their first record with Mohawk that year was a trio called the Belmonts. Consisting of Freddie Milano (2nd tenor with Dion), Carlo Mastrangelo (bass/baritone with Dion) and Angelo D'Aleo (1st tenor with Dion), they issued 'Teenage Clementine'/'Santa Margherita' with Milano as lead on 'Teenage Clementine' and D'Aleo as lead on 'Santa Margherita'. Dimucci hadn't known the Timberlanes when he recorded with them. Thinking them not his style, he was teamed with the Belmonts for their first release in 1957 as Dion & the Belmonts: 'We Went Away'/'Tag Along', also for Mohawk. The group then moved to Laurie Records where 'I Wonder Why' reached Billboard's #22 spot in 1958, after which they found themselves on Dick Clark's 'Saturday Night Beechnut Show'. 'No One Knows' reached Billboard's #12 in R&B the same year. The group enjoyed two Top Ten singles in 1959: 'A Teenager in Love' at #5 and 'Where Or When' at #3. The Belmonts split from DiMucci in 1960, their first issue for Laurie apart from him was 'We Belong Together'. DiMucci continued onward to a solo career, releasing the album, 'Alone With Dion', in 1960. In 1961 DiMucci saw 'Runaround Sue' go gold, topping Billboard at #1. He then left the band to go solo, using the Del Satins for a backup group. He then began to tour internationally and entered his blues period in the latter sixties. DiMucci reunited with the Belmonts in 1966 for the release of the LP, 'Together Again', in 1967, to small success. They reunited again in 1972, recording a live album at Madison Square Garden. A final reunion was held at Nassau Coliseum on Long Island in 1973. DiMucci turned to Catholicism in 1979, releasing gospel into the eighties. He was back with rock in 1987 for a concert at Radio City Music Hall in NYC (released on CD in 2005). In 1988 Dimucci issued his autobiography, 'The Wanderer', written with assistance from Davin Seay. In 1989 he was elected into the Rock & Roll Hall of Fame per his solo career. (He'd placed nine songs on Billboard's US Top Ten between 1961 and 1968.) Dion & the Belmonts were inducted into the Vocal Group Hall of Fame in 2000. DiMucci has performed well into the new millennium, releasing 'Tank Full of Blues' [*] in 2011 and 'New York Is My Home' [*] in 2016. Dion had contributed to the composition of several Top Ten releases by the Belmonts. Three of those were co-written with Ernie Maresca: 'Runaround Sue' (#1 '61), 'Lovers Who Wander' (#3 '62) and 'Donna the Prima Donna' (#6 '63). His own composition, 'Little Dianne', had risen to #8 on the pop chart in July 1962. November of '62 saw 'Love Came to Me' reach #10, that coauthored with John Falbo. Various other credits per discos of Dion's Belmonts at 1, 2. Of Dimucci. Dion and the Timberlanes 1957 Composition: Allan Mirchin Composition: Sigler/Gold Dion and the Belmonts 1957 Lead: Angelo D'Aleo Composition: Fred Patrick Lead: Freddie Milano Composition: Patrick/Weiner/Glen Dion and the Belmonts 1958 Composition: Melvin Anderson/Ricardo Weeks Dion and the Belmonts 1959 Composition: Helmy Kresa/Carroll Love 1956 'Saturday Night Beech-Nut Show' Composition: Doc Pomus/Mort Shuman Studio Version Composition: Doc Pomus/Mort Shuman Dion and the Belmonts 1961 Composition: Buzzy Helford (Helfand)/Don Carter Dion 2011 Composition: Mike Aquilina/Dion DiMucci Album: 'Tank Full of Blues' Dion 2016 Music video w Paul Simon Composition: Mike Aquilina/Dion DiMucci/Scott Kempner Album: 'New York Is My Home'
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The Belmonts Source: Bons Tempos |
|
|
The Bobbettes [1, 2, 3, 4, 5, 6, 7, 8] were among a number of doo wop bands hailing from Harlem in the fifties. The group included Reather Dixon, Laura Webb, Helen Gathers and sisters, Emma and Jannie Pought. They first came together as the Harlem Queens. Upon finding a manager, James Dailey, he changed their name to the Bobbettes before signing up the girls with Atlantic. They released their first single, 'Mr. Lee' [1, 2] in June of 1957, backed with 'Look At the Stars' (1144). 'Mr. Lee' topped Billboard's R&B chart and placed at #6 on the Hot 100. The Bobbettes aired on Dick Clark's 'American Bandstand' on September 2 of '57 [IMDb]. Several other releases made their way into the Top 100, 'I Don't Like It Like That' their last in 1961 at #72. The group eventually disbanded in 1974 to tour the oldies circuit. As of this writing Emma Pought remains the last surviving member of the Bobbettes. Discographies w various credits at 1, 2. The Bobbettes 1957 Composition: Bobbettes Composition: Emma Pought/Helen Gathers/Reggie Obrecht The Bobbettes 1958 Composition: Bobbettes Composition: Emma Pought/Reggie Obrecht The Bobbettes 1960 Composition: Bobbettes The Bobbettes 1961 Composition: Bobbettes Composition: Gene DePaul/Sammy Cahn The Bobbettes 1962 Composition: Sidney Barnes/Teddy Vann
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The Bobbettes 1960 Source: Marv Goldberg |
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The Chantels Source: Old School Music Lover
|
Arlene Smith, hailing from the Bronx, was composer and lead singer of the female doo wop group, the Chantels [1, 2, 3, 4, 5, 6, 7, 8]. Together with Smith the original group was comprised of Sonia Goring, Rene Minus, Jackie Landry Jackson and Lois Harris [membership over the years at a glance]. The girls had gone to school at St. Anthony of Padua in Bronx, naming themselves after a rival school, St. Frances de Chantal. The Chantels released their first record, 'He's Gone', in August of 1957. It placed on Billboard's pop chart at #71. 'Maybe' climbed to #2 on Billboard's R&B in 1958. 'Every Night' and 'I Love You So' reached the Top Twenty in 1958 as well (#16 and #14 respectively). Smith left the group in 1959 for a solo career, as well as Harris to go to college. Temporarily left as a trio, Sonia, Jackie and Lois joined Richard Barrett of the Valentines for 'Come Softly to Me'/'Walkin' Through Dreamland' (Gone 5056). Sonia and Lois joined Barrett on 'Summer's Love'/'All Is Forgiven' (Gone 5060). Though Smith was replaced by Annie Smith (no relation) for a brief time, the group continued as a quartet filled by various in addition to Sonia, Jackie and Lois. In 1959 'Look In My Eyes' peaked at #6 on Billboard's R&B. 'Well, I Told You' (a response to Ray Charles' 'Hit the Road, Jack') sold well in 1961, hanging out at #29 on Billboard. Personnel began shifting around again in the early sixties, its mainstays during that decade being Jackie Landry, Sonia Goring and Renee Minus. Arlene Smith released one single with the same in 1970. Smith reformed the Cnantels for a time in the seventies but her solo career took priority. The Chantels were resurrected in 1995 with Noemi Ortiz at lead. Smith sang with the Chantels the last time on a 1999 PBS broadcast called 'Doo Wop 50', singing 'Maybe'. The Chantels with Ortiz yet perform as of this writing, consisting of Sonia Goring Wilson, Lois Harris Powell, Renee Minus White. Issues discographies of the Chantels w various credits at 1, 2. The Chantels in visual media. The Chantels 1957 Composition: Arlene Smith/George Goldner The Chantels 1958 Composition: George Goldner Composition: On label: Casey/Goldner Also credited: Richard Barrett/Arlene Smith
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The Charts 1957 Source: Marv Goldberg
|
Originally called the Thrilltones upon
formation in 1956, the Charts
[1,
2,
3]
were a Harlem group that released its first single, 'Deserie', in
May of 1957. The original ensemble consisted of Joe Grier (lead), Stephen
Brown (first tenor), Glenmore Jackson (second tenor), Leroy Binns (baritone)
and Ross Buford (bass). Grier was drafted into the Army in 1958, after which
he pursued the saxophone (featured on 'Wobble Wobble' in 1962 by the Soul
Rockers). Brown and Binns kept the Charts, which never charted, performing
into the eighties. Grier resurrected the group with new members in 1985. He
and Binns performed with another version of the group on the PBS broadcast
of 'Red, White and Rock' in 2002. Discos w various credits at
1,
2. Grier
sings lead on titles below. The Charts 1957 Composition: Les Cooper Composition: Clarence Johnson/Les Cooper Composition: Clarence Johnson/Joe Grier
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The Crests Source: Discogs |
Johnny Maestro
(John Mastrangelo)
[1,
2,
3] joined the
Crests as their
lead vocalist in 1956
[1,
2,
3].
Together with Maestro, the Crests were originally a quintet consisting of
Talmadge Gough （tenor), Harold Torres （baritone), J.T. Carter
（baritone/bass) and Patricia Van Dross （tenor). The last dropped out early
when her mother wouldn't allow her to tour. The Crests released their first discs for
Joyce Records [*]
the following year: 'My Juanita/'Sweetest One' and 'No One To
Love'/'Wish She Was Mine'. 'Sweetest One' managed to reach the #86 spot on
Billboard's US pop chart
[*]. Pat
dropped out of the group before it shifted over to the Coed label [
*] in 1958
because her mother wouldn't allow her to tour. The Crests were then a
quartet to record 'Twenty-One Candles', released as 'Sixteen Candles', and
peaking at #2 on the Hot 100, #4 on
the R&B. They never duplicated that success but managed to place a few songs in the Top
Thirty to 1960, 'Trouble In Paradise' their last at #20.
Maestro left the Crests in 1961 to pursue a solo career. He gained a couple
spots on the Top Forty that year with 'Model Girl' (#20) and 'What a
Surprise' (#33) [*], but wouldn't do so well again until 1968 when he was with
the Brooklyn Bridge: 'Worst That Could Happen' filling Billboard's #3
spot [*]. The Crests continued in one configuration or another into the new
millennium [*]. Founder of the Crests and bass vocalist, JT Carter, yet preforms
as of this writing [*]. As for Maestro, he continued recording with the Brooklyn
Bridge as late as 1988, a span of two decades. But beyond 'Worst That Could
Happen' in '68 the only other release by Brooklyn Bridge to reach a Top
Forty chart was 'Free As the Wind', peaking at #36 in 1970 on Billboard's AC
(Adult Contemporary). Maestro died of cancer at his home in Cape Coral,
Florida, in March of 2010
[*].
Crests discos w production and songwriting credits at
45Cat and
Discogs.
Maestro and his Crests in visual media.
The Crests 1957 With the Al Browne Orchestra Composition: Al Browne/Mastrangelo With the Al Browne Orchestra Composition: Al Browne/Mastrangelo The Crests 1958 Composition: Bert Keyes/Billy Dawn Smith Composition: Barry Mann Composition: Allyson Khent/Luther Dixon The Crests 1959 Television performance Composition: Billy Dawn Smith/Sid Faust The Crests 1960 Composition: Bob Schell/Fred Weismantel Composition: Allyson Khent/Billy Dawn Smith/Miriam Lewis Composition: Billy Dawn Smith/Ollie Jones Johnny Maestro 1960 Composition: Call Mann/Dave Appell The Crests 1962 Composition: Gus Kahn/Harry Akst/Richard Whiting 1931
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The Dubs 1957 Source: Marv Goldberg |
It was 1956 when the
Dubs
[1,
2,
3,
4,
5,
6] released their
first record as the Marvels ('I Won't Have You Breaking My Heart'/'Jump Rock
and Roll')
[*].
Those Marvels were from Harlem, not to be confused with the later Washington DC
gang [*]. The Dubs' original members were Richard Blandon (lead),
Cleveland Still (first tenor), Billy Carlisle (second tenor), James Miller
(baritone) and Thomas Gardner (bass), replaced in 1957 by Tommy Grate. Their first releases as the Dubs were 'Don’t Ask Me
to Be
Lonely' and 'Could This Be Magic'. 'Could This Be Magic' was their only song
to place strong on Billboard at No. 23 on the Hot 100. The Dubs
wrapped up business in November of '58, though Blandon, who was singing with
the Vocaleers, reconfigured the group in '59, various formations occurring
into the nineties even after Blandon's death in 1991. Blandon sings lead on
all titles below but as noted. Dubs discos with various credits at
1,
2. The Marvels 1956 I Won't Have You Breaking My Heart Composition: Johnson/Relnick/Miller Composition: Johnson/Relnick/Miller The Dubs 1957 Composition: Richard Blandon Composition: Richard Blandon The Dubs 1958 Lead: Leslie Anderson Composition: Hiram Johnson/Thomas Gardner Composition: Richard Barrett/Stuart Wiener Composition: Billy Myles
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|
The Isley Brothers Source: Shady Dell Music |
The Isley Brothers
[1,
2,
3,
4,
5,
6] were a little unusual as doo wop goes in that they not only remained intact, approaching sixty years
now, but have been a stellar soul group nigh the whole time. The Brothers
were originally a gospel group, but as doo wop recordings go they rocked
from the begin, eventually developing into one of soul music's supergroups.
They originally consisted of four: O'Kelly, Rudolph, Ronald and Vernon,
until Vernon died at age thirteen (struck by a car as he was riding his
bicycle). The group began releasing records in 1957 ('The Cow Jumped Over
The Moon'/'Angels Cried' for Teenage Records). Their first big
national splash was 'Twist and Shout' in 1962, reaching #2 on
Billboard's R&B. From that time until 2001 the Isley Brothers placed 26
songs in the R&B Top Ten alone (their last being 'Contagious' in 2001), not
including Billboard's Hot 100 or the UK charts. Their first to top
Billboard's R&B
at No. 1 was 'It's Your Thing' in 1969. That was composed by Kelly, Ronald
and Rudolph Isley, all of the Isley brothers to contribute to
top titles. Younger brothers, Ernie and Marvin,
as well as brother-in-law, Chris Jasper, were made members in 1973. 'Fight
the Power' topped the R&B chart in 1975, 'The Pride' in 1977. 'Take Me to
the Next Phase' reached Billboard's top tier in R&B in 1978, followed by 'I Wanna Be With You' in 1979. The Isley Brothers did it again in 1980 with
'Don't Say Goodnight'. O'Kelly died in 1986. In 1989 Rudolph quit the group
to become a minister. Ronald, the last surviving original Isley, yet
performs as of this writing with Ernie Isley
[*].
Compositions by the Isley Brothers at
*.
Discos of Isley Brothers releases w various credits at
1,
2,
3. See also
*.
Isley Brothers in visual media.
All
tracks below from 1985 onward are music videos. See also
*. The Isley Brothers 1957 First release Composition: Caesar Petrillo/Don Canton/Ira Kosloff First release Composition: Billy Gordon/Ronald Isley Composition: Ronald Isley The Isley Brothers 1958 Composition: R. Isley/Kelly Isley Composition: Isley Brothers The Isley Brothers 1959 Composition: Kelly, Ronald & Rudolph Isley Studio version Composition: Kelly, Ronald & Rudolph Isley Live on the 'Saturday Night Beech-Nut Show' Composition: Kelly, Ronald & Rudolph Isley The Isley Brothers 1960 Composition: Harry Smith/Victor Herbert Composition: Kelly, Ronald & Rudolph Isley The Isley Brothers 1966 Composition: Holland–Dozier–Holland/Sylvia Moy (Brian Holland/Lamont Dozier/Eddie Holland) The Isley Brothers 1973 Live on 'Soul Train' Composition: Jim Seals/Dash Crofts The Isley Brothers 1974 Composition: Isley Brothers including Chris Jasper Album: 'Live It Up' The Isley Brothers 1976 Album The Isley Brothers 1980 Composition: Isley Brothers (Including Chris Jasper and Marvin Isley) Album: 'Go All the Way' The Isley Brothers 1983 Composition: Isley Brothers (Including Chris Jasper and Marvin Isley) Album: 'The Isley Brothers Live!' The Isley Brothers 1985 Composition: Ernie Isley/Chris Jasper/Marvin Isley The Isley Brothers 1986 Composition: Chris Jasper/Ernie Isley/Marvin Isley The Isley Brothers 1996 Composition: Robert Kelly Composition: Babyface (Kenneth Brian Edmonds) The Isley Brothers 2001 Composition: Robert Kelly The Isley Brothers 2003 Composition: Robert Kelly
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The Jesters 1958 Source: Discogs |
The
Jesters
[1,
2]
were the formation of a group of junior high school students who made their
way from singing beneath an elevated train station in Harlem to their first
record releases in 1957. The original group consisted of Lenny McKay (lead),
Adam Jackson (lead), Anthony Smith (second tenor), Leo Vincent (baritone)
and Noel Grant (bass). The Jesters' initial releases were ''So
Strange'/'Love No One But You' (Winley 218) and 'Please Let Me Love You'/'I'm Falling in
Love' (Winley 221). Try as they might, the Jesters never could prank Billboard into a
decent spot, not even on April Fools' Day, the day that I myself became famous
[1,
2,
3,
4]. (You've not heard of me because I had to make a nationwide
apology whilst admitting that I wasn't really famous at all. My fame was then
rescinded and everywhere expunged to properly reflect that it had been a
trick, that is, false news.) The Jesters ventured their final release in
1961 per Winley 252: 'Uncle Henry's
Basement'/'Come Let Me Show You'. Other groups recording as the Jesters on
other labels aren't to be confused. The Jesters performed together
sporadically into the seventies. They did release a disc for Starlight in
1986: 'What Now My Love'/'The Beating Of My Heart'. Jackson died in 1994.
Catalogs of issues w various credits at
45Cat and
Discogs.
Lead data below thanks to Unca Marv (1 bracketed above). The Jesters 1957 Lead: Adam Jackson Composition: Ethel Byrd/George Jackson/Paul Winley Lead: Lenny McKay/Adam Jackson Composition: David Clowney Lead: Lenny McKay/Adam Jackson Composition: Ethel Byrd/George Jackson/Paul Winley Lead: Lenny McKay/Adam Jackson Composition: David Clowney The Jesters 1958 Lead: Adam Jackson Composition: Jackson/Winley The Jesters 1960 Lead: Adam Jackson Composition: Strong/Eubank/Hunter/Gutierriez/Edwards
|
|
 The Kodaks Source: Doo-Wop Blogg |
Formed in Newark, New Jersey, someone might
have been serving cheese when the Kodaks
[1,
2] decided
what to call themselves. The original quartet was Jimmy Patrick (lead/first
tenor), William Franklin (second tenor), Larry Davis (baritone) and William
Miller (bass) until Pearl McKinnon replaced Patrick as lead, making the
Kodaks a quintet [other later members:
*]. The Kodaks
released their first record in late 1957 with the Fury label: 'Teenager's Dream' with 'Little Boy and
Girl' flip side. Their second release, "Oh Gee, Oh Gosh" b/w "Make Believe
World," was in the spring of 1958. That summer Davis and Franklin were
replaced by Richard Dixon and Harold Jenkins, present on 'My Baby and Me'
b/w 'Kingless Castle' and 'Runaround Baby' b/w 'Guardian Angel'. The Kodaks
never attained to national recognition, remaining an East Coast act not
large enough for Kodak to sue if it was even aware of the group using its
name. They
made two more attempts in '58 with 'My Baby and Me'/'Kingless Castle' and
'Guardian Angel'/'Runaround Baby' before Patrick
left the group to briefly join the
Monotones. Then McKinnon ran off to
get married in 1959. The Kodaks continued onward with the J&S and Wink
labels but dissolved in 1961. McKinnon formed Pearl & the Deltars in '61,
recording a single for Fury to small success. She later became lead singer for a reformation of
the
Teenagers in the seventies.
Discos of Kodaks releases w various credits at
45cat and
discogs. The Kodaks 1957 Composition: Bobby Robinson Composition: Pearl McKinnon The Kodaks 1958 Composition: Pearl McKinnon Composition: Bobby Robinson
|
|
| The
Mello-Kings
[1,
2,
3] were a white quintet formed
in high school in 1956. Called the Mellotones at first, they consisted of
brothers Jerry and Bob Scholl, Eddie Quinn, Neil Arena and Larry Esposito.
The Mello-Kings released their
first record, 'Tonite Tonite' with 'Do Baby Do' (Herald 502), in April 1957
[45Cat]. Some thousand
copies had been released as the Mellotones before discovery that that name
was taken by Jerry Carr's group ('Rosie/I'll Never Fall In Love Again'
Gee GG 1037), the Mellotones thereat changing their identity. 'Tonite Tonite' shook
little fruit from Billboard's tree at #77 on the Hot 100. Several recordings
afterward saw little harvest as well, even as the group aired on 'American
Bandstand' on Sep 3 of '57 [IMDb]. Personnel was already beginning to alter in
'58, thereafter on a continual basis. The group was a trio by the time it
released 'But You Lied'/'Walk Softly' in October of '62, after which they acknowledged the writing on the wall. Flashback and Lana Records each later
released one disc of earlier recordings to no affect in '65 and '66. The
Mello Kings were refashioned in 1966 by Eddie Robbins (Eddie Rabinowitz),
performing, though not recording, until 1973. Discos of issues w credits at
45Cat and
Discogs. The Mellotones 1957 Composition: Billy Myles The Mello-Kings 1957 Composition: Billy Myles Composition: F. Slay/B. Crewe The Mello-Kings 1959
Composition: Dick Levister/Edward Quinn Jr. |
The Mello-Kings Source: Tickets Inventory |
|
|
The Monotones Source: Doo-Wop Blogg |
The
Monotones [1,
2,
3,
4] first got together in Newark,
New Jersey in 1955. They assumed the name to indicate one voice from out of
their multiplicity, originally consisting of Charles Patrick (lead),
Warren Davis (1st tenor), George Malone (2nd tenor), Frankie Smith (bass),
John Ryanes (2nd bass) and Warren Ryanes (baritone). In 1956 they claimed first prize on the Ted Mack Amateur
Hour with a rendition of the Cadillac's 'Zoom'. They released their first
single for Mascot (Hull subsidiary) in December of 1957,
'Book of Love'. When it was recognized that 'Book of Love' was a big fish
the song was reissued on Chess in February the next year to handle
distribution. The song peaked at #3 on Billboard's R&B in March of '58.
Unfortunately that was the Monotones' last appearance on Billboard. One chart out of a
multiplicity of issues meant the plugging of their leak by the time of their
last recording session in 1962: 'Book Of Dance' and 'Toast to Lovers'
released on a Hull album that year, titled 'Your Favorite Singing Groups'.
The Monotones have been infinitely reconfigured since then, one such
formation yet active into the new millennium. Discos of issues w credits at
1,
2.
The Monotones in visual media.
The Monotones 1957 Composition: Monotones Composition: Monotones The Monotones 1959 Composition: Rose Marie McCoy/Charlie Singleton
|
|
|
Norman Fox & the Rob Roys
[1,
2,
3,
4] took their name
after the cocktail (scotch, vermouth, bitters). Though popular on the East
Coast the group never arrived to the national spotlight. Formed in 1956 in the Bronx,
the Rob Roys consisted of Norman Fox (lead), Bob Trotman (first tenor),
Andre Lilly (second tenor), Robert Thierer (baritone) and Marshall Helfand
(bass). They issued a total of three plates during their existence, other
recordings released much later in the eighties and nineties. Their first record in 1957
issued on Backbeat 501: 'Tell Me Why' b/w 'Audry'. 1958 witnessed 'Dance
Girl Dance'/'My Dearest One' (Backbeat 508). Their last disc, 'Pizza Pie'/'Dream Girl', released
on
Capitol 4128 in 1959, but was pulled midissue due to contractual dispute
with Backbeat. In 1962 Fox and his group recorded 'Aggravation' and 'Lonely
Boy' as the Tradewinds for Bob Shad's Time label, those unissued. One version or another of the Rob Roys reunited
on rare occasion to as late as the nineties. The recorded 'Rainy Day Bells'
in 1974/75. Four released
songs for Starlight appeared in '91, revisions of 'Dream Girl', 'Pizza
Pie' and 'Tell Me Why' plus a cover of the
Heartbeats' 'Your Way'. 1993 saw
revisions of 'Dance Girl Dance' and 'Lover Doll' with other covers. Fox and Robert Thierer
kept the group performing into the new millennium, the Rob Roys website
listing performances to as late as April 2015. Issues discos w various
credits at
1,
2. Norman Fox & the Rob Roys 1957 Composition: Andre Lilly/Don Carter Composition: Buzzy (Marshall) Helfand/Don Carter (Don) Carter also credited on label Norman Fox & the Rob Roys 1958 Composition: Robert Thierer/Don Carter/Bob Trotman Recorded '58 Unissued Composition: Norman Fox Recorded '58 Unissued Composition: Norman Fox Norman Fox & the Rob Roys 1959 Pulled midissue Composition: Norman Fox Norman Fox & the Tradewinds 1962 Recorded '62 Unissued Norman Fox & the Rob Roys 1974 Recorded '74 Unissued Composition: Neil Sedaka/Howie Greenfield
|
The Rob Roys Source: White Doo-Wop Collector |
|
|
The Shells Source: Music AmneZia |
Based in Brooklyn, the
Shells [1,
2,
3] gathered
together in 1957 as Nate Bouknight (lead) Randy Shade Alston (tenor), Bobby
Nurse (tenor), Danny Small (bass) and Gus Geter (baritone). They released
their first record the same year on Johnson 104: 'Baby oh Baby' with 'Angel
Eyes' behind. 'Baby Oh Baby' charted on Billboard's US at #23. And that was
it. The group issued 13 more records until the summer of '63 [1 above/lists at 45cat and
discogs
not entire], also sharing an LP with the
Dubs that year. But the bear wouldn't
yield any honey so the Shells disappeared before appearing overmuch, which
has happened several times in the history of rock according to
1,
2. The Shells 1957 Composition: Hiram Johnson/Nathaniel Bouknight/Walter Coleman The Shells 1960 With Roy Jones Composition: L. Jones/Hiram Johnson The Shells 1961 Composition: Shade Alston Composition: Nathaniel Bouknight/Hiram Johnson Recorded 1957 Composition: Nathaniel Bouknight/Hiram Johnson The Shells 1962 Composition: Bob Staunton Composition: Bob Staunton Composition: Bob Staunton/Carl Fisher The Shells 1963 Composition: Gus Geter/Danny Small Composition: Peter Alonzo/Vincent Catalano Scratch My Name Off the Mail Box With Gene Holiday Composition: Florence Weisenfreund The Shells 1976 Lead: Nathaniel Bouknight
|
|
| The forming of the
Silhouettes
[1,
2,
3,
4,
5,
6] returns to
1954 with the Balladeers which, amidst personnel
changes, became the Gospel Tornadoes, then the Thunderbirds, then finally
the Silhouettes: Rick Lewis, Earl Beal, Bill Horton and Raymond Edwards.
Their first release occurred in November 1957 on the Junior label: 'Get a
Job' and 'I Am Lonely'. 'Get a Job' foretold their future when it reached
the top of Billboard's R&B the next year. But they didn't believe in signs
and stubbornly persisted, not again to chart nationally, though releasing
numerous recordings into 1968. In
1961 Horton and Edwards quit the group, the Silhouettes reemerging in 1962
with Cornelius Brown and John Wilson filling their spots. No luck. But they
still wouldn't get a job. Not until their last disc in '68 for
Goodway Records ('Not Me Baby'/'Gaucho Serenade') did they finally concede
to the possibility of getting a job. Even Horton, who'd begun a solo career
in '64, admitted about the same time that a job might work better. Can't
blame them, want ads eternally depressing. And yet the Silhouettes remained
rebellious, reforming in 1982 to release an album of original material
titled (what else?) 'Workin' Hard'. The group last performed together in
1993. None of the original Silhouettes are yet living. As for Brown, he
passed away in 1991. John Wilson became a minister in 2009. Discographies w
production and songwriting credits at
1,
2.
The Silhouettes in visual media.
All titles below were composed by the Silhouettes. Lead data thanks to Marv
Goldberg. The Silhouettes 1957 Lead: Bill Horton The Silhouettes 1958 Lead: Bill Horton Live on 'American Bandstand' Lead: Bill Horton Lead: Ray Edwards Lead: Bill Horton The Silhouettes 1963 Lead: John Wilson Lead: John Wilson The Silhouettes 1962 Lead: John Wilson
|
The Silhouettes 1990 Source: Marv Goldberg |
|
|
The Slades
Source: Brian Lee's Colorradio
|
Most doo wop groups were from the
Northeast,
but the Slades
[1,
2,
3,
4] were from Austin, Texas.
Comprised of Don Burch, Bobby Doyle, John Goeke and Tommy Kasper, the Slades first recorded with Atlantic
Records as the Spades in 1957: 'Baby' b/w 'You Mean Everything to Me'. Unfortunately,
though their calling card referred to the playing card there were objections
to their name registered by various radio stations (racial connotations). Atlantic made what it
thought to be the less expensive decision, stopped press, then reissued the
record with the group renamed the Slades. Mattered not. The Slades never
could grab a spot on Billboard's national Top Forty, though 'You Cheated'
came close at #42 in 1958. In 1961 the Slades shook it up a bit, recording
with Joyce Harris. 'I Cheated' with
Harris is thought to be their
last record release. As of this writing all the original Slades are yet
living except Doyle, who was blind, dying in July of 2006 in Austin. Discos
with production and songwriting credits at
1,
2. The Spades 1957 Composition: Tommy Kaspar The Slades 1958 Composition: Don Burch Composition: Ray Campi Composition: Theo Theobalt The Slades 1959 Composition: Don Burch The Slades 1961 Do You Know What It's Like to Be Lonesome With Joyce Harris Composition: Joyce Harris With Joyce Harris Composition: Joyce Harris/Don Burch
|
|
|
Tom & Jerry Source: Discogs |
Tom and Jerry (who were Tom Graph and Jerry Landis, who were Paul Simon and Art Garfunkel) were a doo wop collaboration [1, 2] formed in 1957. They released their first plate of collaborative compositions that same year: 'Hey School Girl' with 'Dancin' Wild' flip side. Other titles they co-wrote were 'Our Song' ('58), 'That's My Story' ('58) and '(Pretty Baby) Don't Say Goodbye' [sessions]. In 1961 Landis (Simon) met a group of musicians called the Crew-Cuts with whom he and Graph (Garfunkel) formed the band Tico (Mickey Borack) and the Triumphs [1, 2], releasing 'Motorcycle' in 1962. Tom & Jerry issued their final record, 'I'm Lonesome' b/w 'Looking At You', in 1963. [1, 2, 3, 4, 5, 6.] The pair would become Simon and Garfunkel in 1964 (see A Birth of Folk Music). Tom and Jerry 1957 Side A Composition: Graph/Landis Side B Composition: Graph/Landis Tom and Jerry 1959 Composition: Melvin Schwartz Tom and Jerry 1962 Side A With Tico and the Triumphs Composition: Jerry Landis Side B With Tico and the Triumphs Composition: Jerry Landis
|
|
| Based in the Bronx, the
Tonettes (not
to be confused with the later Tonettes issuing on Volt in 1962) [1,
2] first
recorded in 1957 as the Claremonts: 'Why Keep Me Dreaming' with 'Angel of
Romance' back side. By 'Oh! What a Baby' in 1958 they were the Tonettes. Consisting
of Diana and Sylvia Sanchez with Josephine Allen, they got together with
Vince Castro in 1958 to release several records, beginning with 'Bong Bong'.
The Tonettes made their last recordings in 1958, retiring in 1962. Though
well-known on the East Coast they never rose to national acclaim nor
Billboard's Hot 100. Tonettes discography w credits at
Discogs. The Claremonts 1957 Composition: Diane Sanchez/Lou Ezzo Composition: Diane Sanchez/Lou Ezzo The Tonettes 1958 Composition: Josephine Allen/Lou Ezzo Composition: Diane Sanchez/Lou Ezzo Composition: Diane Sanchez/Lou Ezzo With Vince Castro Composition: Charles Merenstein/Vince Castro With Vince Castro Composition: Vince Castro With Vince Castro Composition: Jimmy Stokley/Marlon Hargis/Sonny Lemaire With Vince Castro Composition: Lou Ezzo/Vince Castro
|
The Tonettes Source: Bob Reuter |
|
|
The Aquatones Source: SirBasildeBrush |
The
Aquatones [1,
2,
3] came
gurgling up in 1956 per Dave
Goddard (piano), Larry Vannata (alto and tenor sax) and Gene McCarthy
(clarinet), adding 17-year old soprano Lynne Nixon in 1957. They burbled
their first single for Fargo in 1958: 'You' b/w 'She's the One for Me'.
'You' was composed by Vannata and charted on Billboard's R&B at No. 11, the
Hot 100 at No. 21. The Aquatones never could blub their way to another
dry spot on Billboard's chart, their eighth
and last bubbles for Fargo in 1961: 'Say You´ll Be Mine' b/w 'My Treasure'.
Fargo tossed them a ring buoy in the form of an album of previously recorded material in 1964, but the Aquatones
were drowned by then. Issues discos with various credits at
1,
2. The Aquatones 1958 Composition: Dave Goddard/Larry Vannata Composition: Dave Goddard/Larry Vannata The Aquatones 1959 Composition: Dave Goddard/Larry Vannata
|
|
| The
Edsels
[1,
2,
3] were originally called the Essos,
after the oil company. The group consisted of George Jones Jr. (lead), Larry
Green (first tenor), James Reynolds (second tenor), Harry Green (baritone)
and Marshall Sewell (bass). Their first release in 1958 came off the
press erroneously titled 'Lama Rama Ding Dong'. But the educated public wouldn't have
it until it was spelled right. It was released again in 1961
with the correct title, 'Rama Lama Ding Dong', and rose to the #21 spot at Billboard.
By that time the group had aired on Dick Clark's 'American Bandstand' on Dec
7 of 1960. The Edsels released several more records into 1962, but they were a beached
whale by then. They released a couple discs of new material in 1965,
then flapped one last fin one last time in 1968 for Tammy Records: 'Hide and
Seek'/'Another Lonely Night'. Reynolds performed with his sons as recently
as 2006 on their CD, 'The Reynold Brothers'. The current group, Eddie & the
Edsels, has no relation to these Edsels. Discos of issues w various
credits at 1,
2. The Edsels 1958 Composition: George Jones Jr. The Edsels 1960 Composition: George Jones Jr./Larry Green The Edsels 1961 Composition: Edsels The Edsels 1962 Composition: Marshall Sewell Composition: George Jones Jr.
|
The Edsels Source: Rock Is Power |
|
| Formed in 1957, the
Elegants
[1,
2,
3,
4,
5,
6]
consisted of Vito Picone (lead singer), Carman Romano (baritone), James
Moschella (bass), Arthur Venosa (first tenor) and Frank Tardogano (second
tenor). Picone and Romano had known one another since first grade of
elementary school, and had formed group called the Crescents w Pat Cordel in
1955. A singing contest won them a recording contract, whence they issued
two compositions by Picone in 1956, 'My Tears'/'Darling Come Back'' (Club
1011/Michele 503/Victory 1001). Once they put together the Elegants they
issued 'Little Star'/'Getting Dizzy' (APT 25005) in June of 1958, 'Little
Star' to top both
Billboard's R&B and pop charts the next month. That was, however, the last they saw of
Billboard, even though they aired on 'The Dick Clark Show' on August 9 of
'58 [IMDb]. After the issue of 'Belinda'/Lazy Love' in
1965 the Elegants released no records until Picone reformed the group to
issue 'It's Just A Matter Of Time'/'Lonesome Weekend' in 1974 on the Bim Bam
Boom label. The group then released nothing until Picone decided their first
and only album was due per 'A Knight With the Elegants' for the Crystal Ball
label in 1981. In 1982 'Ghetto Slide'/'Hypnotized' was released by Real
Music. There have been personnel
changes but the Elegants have done the distance, performing at Radio City
Music Hall eight times. They are yet active today with Picone leading the
group. Issues discos of the Elegants w production and songwriting credits at
1,
2. Tracks
below are in alphabetical by year. The Crescents 1956 With Pat Cordel Composition: Vito Picone With Pat Cordel Composition: Vito Picone The Elegants 1958 First issue Composition: Elegants Composition: Arthur Venosa First issue Composition: Arthur Venosa/Vito Picone Composition: Vito Picone The Elegants 1959 Composition: Arthur Venosa The Elegants 1961 Composition: Arthur Venosa The Elegants 1963 Composition: McWain/Heard/Keeling/Aycock Composition: Arthur Venosa The Elegants 1965 Composition: John Illum/Timm Bo Madsen Composition: Barbara Baer/Eliot Greenberg/Robert Schwartz
|
The Elegants Source: Deco Sound |
|
| The
Equadors [1,
2] were
formed in Philadelphia in 1955 as the Chants, consisting of Al Turner (lead), Oscar Drummond
(first tenor), Rilly Foreman (second tenor), Lynn Thomas (baritone) and
Reginald Grant (bass). The group also employed Mitchell Robinson on guitar
and Billy Davis on drums. The Chants made an unreleased demo with 'Linda'
and 'Daddy Rock' before changing their name to the Equadors. The existence
of other groups called the Equadors make them
easy to confuse with the group
from Chicago which issued 'Let Me Sleep Woman'
in 1959 with
Chuck Berry. Gonzales lists
yet another Equadors, possibly a Michigan group, issuing 'You're My Desire'
on the Miracle label in 1961. In any case, Goldberg nowhere refers to
anything about
either. 45Cat and Discogs treat them as separate entities as well. The first issue
of these Equadors was an EP in 1958 with
'Sputnick Dance'/'I´ll Be The One' A side and 'A Vision'/'Stay a Little
Longer' B side
[*]. Release on an EP made it a pain in the neck for DJs to
play only the first song on either side. That might have been a good way to
get the second song on either side played. Then again, it may have gotten
the group less airtime due to presenting disc jockeys with a hassle.
Howsoever, that problem was addressed by RCA Victor upon issuing "A Vision'
with 'Sputnik Dance' on a regular 45, released with the same EP number (EPA
4286). The Equadors were renamed the Modern Ink Spots in 1960 by the Jolly Joyce Booking Agency
to play supper clubs. In 1962 they took up bassist, Gary Evans, who would
sing lead as well. Also that
year Billy Davis was replaced by Claude Higgs on drums. Saxophonist, Charlie
Gilbert, would also join the group that year. The only record the group
released as the Modern Ink Spots was 'Spotlight Dance'/'Together (In Your
Arms)' (Rust 5052) in 1962. Booked for gigs in
Quebec, the existence of another Canadian group called the Modern Ink Spots
forced them to change their name to the Cardinals, after the earlier
Cardinals. They recorded 'Why Don't
You Write Me'/'Sh-Boom' (Rose 835) as such before leaving Canada to become the Modern
Ink Spots again. The group eventually folded in 1965 when lead, Al Turner,
decided to become a policeman (yet a sergeant as of this writing). The group
continued without Turner about another year, then dispersed.
Equadors discography w
credits at Discogs. Per below, lead
on all titles are sung by Al Turner except as noted. The Equadors 1958 First issue Composition: Al Turner First issue Composition: Al Turner Composition: Leroy Kirkland/Rose Marie McCoy Composition: Al Turner The Modern Ink Spots 1962 Lead: Gary Evans Composition: Modern Ink Spots Composition: Modern Ink Spots The Cardinals 1963 Composition: Laura Hollins
|
||
|
The Fascinators Source: Discogs
|
The
Fascinators [1,
2] were a Brooklyn group
(not to be confused with the Los Angeles Fascinators who issued 'Can't Stop' on Blue Lake 112 in May of '55,
nor several other Fascinators in Disco-File)
comprised of Tony Passalaqua (lead), Angelo La Grecca (aka La Green and
Lagreca - baritone), Nick Trivatto (tenor), Ed Wheeler (tenor) and George Cernacek (bass). The Fascinators grooved
their first record
for Capitol in 1958: 'Chapel Bells' with 'I Wonder Who'. They issued 'Who Do
You Think You Are'/'Come to Paradise' and 'Oh Rose Marie'/'Fried Chicken and
Macaroni' in 1959, but ran out of fuel by the time Capitol reissued 'Chapel Bells'/'I Wonder Who'
in 1961. Passalaqua had meanwhile changed his name to Tony Richards and made
his first release with the Twilights in 1960 ('Please Believe in Me'/'Paper
Boy') [*]. 'Shout My Name'/'Summer Is Coming', also for Colpix Records, were released the following year. Richards then briefly joined the Dedications.
Not until 1970 did Richards (Passalaqua) find himself on a Billboard chart,
singing with the
Archies on their last release in 1970, 'Who's Your Baby'
peaking at #40 in 1970. Fascinators discos w credits at
45Cat and
Discogs. The Fascinators 1958 Composition: Anthony Passalacqua Composition: Anthony Passalacqua The Fascinators 1959 Composition: Jesse Stone Composition: George Cernacek/Nick Trovato Angelo La Grecca/Anthony Passalacqua/Ed Wheeler Composition: George Cernacek/Nick Trovato Angelo La Grecca/Anthony Passalacqua/Ed Wheeler Composition: Anthony Passalacqua
|
|
|
The Fiestas Source: Mental Itch |
From Newark, New Jersey, the original
Fiestas
[1,
2,
3,
4,
5,
6,
7] were Tommy Bullock (lead vocals), Eddie Morris (tenor), Sam Ingalls
(baritone) and Preston Lane (bass). Their first record release in 1958 was
actually two, one version of
'So Fine'/'Last Night I Dreamed' with piano introductions and a ZTSP number
on the label, another the same year without piano introductions
and missing a ZTSP number. Be as may, 'So Fine' reached the #3 spot on
Billboard's R&B, #11 on the pop chart. 'Broken Heart' peaked at the #18 spot in
R&B in 1962, which is the last the Fiestas danced onto Billboard's Hot 100.
That, however, wasn't the end of the Fiestas, continuing to record in one
manifestation or another as late as 1978, 'ESP'/'One More Chance' and
'Thanks for the Sweet Memories'/'One More Chance' for Arista that year.
Bullock was the last original member with a later reformation of the group
in 1996. Another configuration, none original, were active in 2002. Discos
of the Fiestas with production and songwriting credits at
1,
2. The Fiestas 1958 Composition: Johnny Otis by lawsuit (uncredited on label) Composition: Jim Gribble The Fiestas 1961 Composition: Eddie Morris/Randall Stewart Composition: Eddie Morris/Randall Stewart The Fiestas 1962 Composition: Gene Redd/Ronald Moseley Composition: Otis Blackwell/Winfield Scott The Fiestas 1963 Composition: Gene Redd/Lowe Murray The Fiestas 1986 Recorded 1958 Erroneously credited to the Chimes
|
|
| From Brooklyn, the
Five Discs
had the problem of being the Five Discs
[1,
2].
Formed as the Flames in 1954, they originally consisted of Mario DeAndrade (lead), Andy Jackson
(bass), Joe Barsalona (baritone), Paul Albano (first tenor), Tony Basile
(second tenor) and Joe Brocco. Joe Albano was an ambulance driver who became
the group's manager. The Flames recorded their
first demo in 1957, but changed their name to the Five Discs before their
first release for Emge Records in 1958: 'I Remember' b/w 'The World Is a
Beautiful Place'. 'I Remember' charted in NYC at #28 and Boston at #2.
Though charting regionally, the Five Discs never
charted nationally. The group began shifting personnel in 1960, Lenny Hutter and John Russell replacing DeAndrade and Andy Jackson respectively.
That trend continued [*], the addition of
Eddie Pardocchi in 1962 particularly notable. The Five discs tried recording
on every label on the East Coast, also changing their manager in '63 to Herb
Kessler. But neither were of assistance. The
Five Discs simply weren't popular. So they tried to fool the world into
thinking they were the Boyfriends in 1964. Because you have to be popular to
be a boyfriend. But they were found out, so not allowed to go national. When
Albano, Barsalona and Pardocchi put another quintet together in 1972 they
made the mistake, yet again, of admitting that they were the Five Discs. But not even being
honest about it helped. That group quickly disbanded, only for another Five
Discs to arise in 1980 per Pardocchi, disband in 1982, then arise yet again
in the nineties per Pardocchi. Five Discs catalogs with various credits at
1,
2. The Five Discs 1958 Recorded 1957 [Gonzales] Issued on Crystal Ball 136 1980 Composition: Joe Arbano The Five Discs 1959 Composition: Levinthal/DeAndrade The Five Discs 1962 Composition: Five Discs Composition: George Pafundi/Wilmar Walker The Five Discs 1963 Recorded 1963 [Doo-wop.blogg.org] Issued on Crystal Ball 141 1981 The Boyfriends 1964 Composition: Harold Arlen/Ted Koehler
|
The original Five Discs Source: Doo-Wop Blogg |
|
|
Formed in 1958 in Brooklyn, the Impalas [1, 2, 3], named after the Chevrolet car, consisted of Joe Frazier, Richard Wagner, Lenny Renda and Tony Carlucci. Not to be confused w several other Impalas listed in Gonzales' Disco-File, such as those of Washington DC: 'For the Love of Mike'/'I Need You So Much' on Checker 999. Both Doo-wop.blogg.org and Discogs document issues in 1958 which Gonzales lists separately from an other Impalas without linking references, such as 'First Date' on Hamilton 60026 and 'Gotta Girl' w Bobby Byrd on Corvet 1018. As Jay Warner's 'American Singing Groups', thus Rosalsky also, list 'First Date' as by these Impalas we include it with reference to 1, 2, 3. Other sources make no mention of it. The Impalas were discovered by DJ, Alan Freed [1, 2, 3, 4], who helped the group sign up with MGM Records on its Cub label. Their first issue, if not 'First Date', is thought to have been 'Sorry (I Ran All the Way Home)' b/w 'Fool, Fool, Fool' (Cub K 9022) in 1959. 'Sorry' went gold, #2 on Billboard's pop chart, #14 on it's R&B, #28 in the UK. (The British themselves produced very little doo wop, an essentially American genre. See, however, the Southlanders, Neville Taylor and the Cutters and Emile Ford and the Checkmates [1, 2, 3].) But the Impalas (and their namesakes) were one of doo wop's numerous drive-by groups, disbanding the next year. Frazer went on to join Love's Own in 1973. He resurrected another version of the Impalas in 1980 with which he toured. Impalas discographies w credits at 45Cat and Discogs. The latter's inclusion of 'Why?'Gotta Girl' w Byrd would seem mistaken, there no other reference found to indicate that it was recorded by the same Impalas. The Impalas 1958 Possibly an other Impalas Composition: Mango/Beltz/Pappas The Impalas 1959 Composition: Arthur Zwirn/Harry Giosasi Sorry (I Ran All the Way Home) Composition: Arthur Zwirn/Harry Giosasi
|
The Impalas Source: Mental Itch
|
|
| In 1957 there existed a group in
Brooklyn
called the Chesters consisting of Clarence Collins, Tracy Lord, Nathaniel
Rogers, and Ronald Ross. They were joined by
Anthony Gourdine
(b '41) as lead, who
had sang with the Duponts. The Chesters released 'The Fires Burn No
More'/'Lift Up Your Head' in 1957 for Apollo Records. The group became the
Imperials in 1958 [1,
2,
3,
4,
5,
6,
7], Gourdine christened Little Anthony by DJ, Alan Freed
[1,
2,
3].
Little Anthony and the
Imperials
recorded 'Tears on My Pillow' in '58. The song achieved the #2 spot on
Billboard's R&B, #4 on the Hot 100. The Imperials would become
a world-class doo wop and soul group, rivaling those so prominent as the
Isley Brothers. They visited the Top
Ten again in 1964 with 'I'm On the Outside' reaching #8 on the R&B, followed
by 'Goin' Out of My Head' at #6. The group's last to visit the Top Ten was
'Hurt So Bad' in 1965 at #3. That was also the year of their last Top Forty
on the Billboard US, at #34 with 'I Miss You So'. Their last Top Forty on
the R&B was 'I'm Falling in Love with You' at #25 in 1974. Not until 2002 did the
Imperials issue a live album: 'Up Close & Personal', the album, 'Pure Acapella', also released that year. Among other awards, the group was
inducted into the Rock and Roll Hall of Fame in 2009. Though the Imperials have seen not a few
personnel changes over the decades they're yet active touring with Gourdine
yet at helm. Discographies of releases w various credits at
45Cat and
Discogs.
Anthony and the Imperials in visual media. The Chesters 1957 Composition: Anthony Gourdine Composition: Anthony Gourdine Little Anthony & the Imperials 1958 Composition: Sylvester Bradford/Al Lewis Little Anthony & the Imperials 1959 Composition: Bob Smith Little Anthony & the Imperials 1964 Composition: Bobby Weinstein/Teddy Randazzo I'm on the Outside (Looking In) Composition: Teddy Randazzo/Bobby Weinstein Composition: Burt Bacharach/Hal David Little Anthony & the Imperials 1965 Composition: Teddy Randazzo/Bobby Weinstein Little Anthony & the Imperials 1985 Filmed live Composition: Sylvester Bradford/Al Lewis Little Anthony & the Imperials 2008 Live on the 'Dave Letterman Show' Composition: Teddy Randazzo/Bobby Weinstein
|
Little Anthony & the Imperials Source: Our Rock And Roll Hall Of Fame |
|
|
The Impressions Source: Google Play |
Sam Gooden, Richard Brooks and Arthur Brooks
left Chattanooga for Chicago where they formed the original
Impressions with
Jerry Butler and composer, Curtis Mayfield
[1,
2,
3,
4], releasing their first
titles in April of 1958 on both shellac and vinyl: 'For
Your Precious Love'/'Sweet Was the Wine' (Falcon 1013). 'For Your Precious Love'
reached #3 on
Billboard's R&B, #11 on its
Hot 100.
The group appeared on 'The Dick Clark Show' on 12 July, 1958
[*]. It's
first of five appearances on Clark's 'American Bandstand' to as late as 1974
was on Sep 4 of '58. Jerry Butler left the
Impressions in 1960, leaving Curtis Mayfield
as lead singer on 'Gypsy Woman', reaching the #2 tier on Billboard's R&B in
1961. They then proceeded to become among the most prominent R&B groups for
the next thirty years. Endeavoring to list the number of songs they placed
in the Top Ten is futile because I can't count that high. Titles that topped Billboard's R&B at No. 1
were 'It's Alright' in
1961, 'Keep On Pushing' and 'Amen' in 1964, 'We're a Winner' in
1967 and 'Choice of Colors' in 1969. The Impressions were still making the Top Forty in
1977 with 'This Time' at #40 on the R&B. The group's first LP had been 'The
Impressions' as of 1963. Mayfield
left the group after its recording of the album, 'Check Out Your Mind', in
1970, after which personnel altered fairly often, Sam Gooden the mainstay to
this day. The group released their first single in over three decades in
2013 with Daptone Records: 'Rhythm!' on a 7" with 'Star Bright' back side
[*]. (Daptone
records on analogue tape.) Discos of Impressions issues at
1,
2,
3,
4. Songwriting
credits at 1,
2. The Impressions 1958 Composition: Clyde Otis/Roy Hamilton Composition: Arthur Brooks/Richard Brooks/Jerry Butler The Impressions 1961 Composition: Curtis Mayfield The Impressions 1963 Composition: Curtis Mayfield The Impressions 1965 Live on 'Hollywood A Go Go' Composition: Curtis Mayfield Composition: Curtis Mayfield The Impressions 1967 Composition: Curtis Mayfield Television performance Composition: Curtis Mayfield The Impressions 1975 Composition: Ed Townsend/Chuck Jackson/Marvin Yancy
|
|
| It was 1955 in Detroit where
Smokey Robinson
[1,
2,
3]
came together with what would later become the Miracles.
The career of Robinson & the Miracles coincides with what would come to be
called the Motown sound, a subgenre of R&B in the sixties and disco in the
seventies. The Motown sound came to be much due to record producer, Berry
Gordy Jr. [1,
2,
3], who founded Tamla, then Motown Records, in Detroit in 1959. Numerous
Motown groups would be handled by Gordy at Motown: the Four
Tops, the
Contours, the
Supremes, the
Temptations,
Martha & the Vandellas, to
name but several. At first called the Five
Chimes, original members were William "Smokey" Robinson, Pete Moore, Ronald White,
Clarence Dawson and James Grice. They soon changed their name to the
Matadors
and recorded an acetate demo in 1955. (That found release in the sixties on
an album titled 'Roadhouse Presents The Great Unreleased Group Sounds',
credited as Smokey and Group.) The
Silhouettes made a big fuss in
January of 1958 with 'Get a Job'. A lot of responses were recorded: 'I Found
a Job' by the
Heartbeats, 'I Got a Job' by the
Tempos and 'I Got Fired'
('59) by,
my kind of group, the Mistakes. In 1958 the Miracles
released their own response with their first single for End Records: 'Got a Job'.
By that time the group consisted of Smokey Robinson, Pete Moore, Ronald
White, Bobby Rogers and Claudette Robinson, the last whom Smokey would wed
in November 1959. (Other
members of the Miracles into the new millennium.) The Miracles placed in Billboard's Top 100 but the month
before with 'Bad Girl' at #93. 'Shop Around' topped Billboard's R&B in 1960,
#2 on the US. Happy day for Berry Gordy who had founded Motown Records only
the year before, 'Shop Around' to sell a million copies. (Gordy had founded Tamla Records in 1959 prior to Motown.) From that point onward the Miracles
became one of the brighter burning stars in the rhythm and blues galaxy.
Like most groups, an appearance on Dick Clark's 'American Bandstand' was
requisite to going national. Dick Clark decided many a career, an arbiter of
who was or wasn't the best talent, exercising huge prestige in the industry.
Coinciding with such publicities was the billing of the Miracles as the
"Motown" (Detroit) sound, to become a subgenre of R&B. By 1965 it required
the release of a double album, 'From the Beginning', to compile the
Imperials'
greatest hits. The group was grossing about $150,000 a year about that time
from investments and royalties. They were commanding between $100,000 and
$250,000 a night on tour. The Miracles consistently placed
in the Top Ten and Forty until 1975 when 'Gemini' peaked at only #43. But
they still reached #5 on Billboard's R&B that year with 'Love Machine' (#1
on the US). Their list of Top Ten songs in R&B alone would too bloat this
paragraph, perhaps to bursting. For safety purposes I will risk mention of only
of those which topped at No. 1: After 'Shop Around' came 'You've Really Got
a Hold On Me' in 1962. 'I Second That Emotion" topped in 1967. 'The Tears of
a Clown' followed in 1970, also peaking at #1 on the US. Smokey left the
Miracles in 1972 along with Claudette. His final concert performances with
the Miracles were released by Tamla on an album titled 'Smokey Robinson
& The Miracles: 1957–1972'. The Miracles continued onward with Bobby Rogers,
Pete Moore, Ronnie White and Billy Griffin to release the album
'Renaissance' in 1973. Griffin had a solo career to return to in 1980 and
Moore wanted off the road. Rogers and White carried on with Dave Finley and
Carl Cotton as the New Miracles until 1983. In 1993 Rogers, White and Finley
reformed with Sydney Justin. White died in 1995 of leukemia but the Miracles
performed in one formation or another into the new millennium. Bobby Rogers
died in March 2013. As for Robinson, his career after leaving the Miracles
in 1973 was as remarkable as it had been with the Miracles. He started that
year with 'Sweet Harmony' at #31 on
Billboard's R&B. Then 'Baby Come Close'
placed at #7 later that year. Only to list all the songs Robinson placed in
the Top Ten of R&B alone (his last being 'Everything You Touch' in 1990
peaking at #4) courts danger alike filling a tire with too much air. Again,
for safety purposes I hazard only Robinson's No. 1 titles on Billboard's R&B
(certainly not the pop charts): 'Baby That's Backatcha' was spelled
poorly but topped the R&B in 1975 anyway. 'Being With You' followed in 1981.
'Just to See Her' topped Billboard's AC (Adult Contemporary)in 1987.
Ranking at #20 on the 'Rolling Stone' list of 100 Greatest Singers of All
Time, Robinson was inducted into the Rock n Roll Hall of Fame that year as well.
As recently as 2014 Robinson peaked on Billboard's album chart at #12 with
'Smokey & Friends', a suite of duets with such as
Elton John,
Linda Ronstadt
and
James Taylor. He yet
tours the
United States as of
this writing while maintaining pages at
Facebook and
Twitter. Robinson was responsible for
numerous compositions employed by
both the Miracles and other artists. Titles written for such as
Mary Wells include
'Operator' ('62), 'My Guy' ('64) and 'When I'm Gone' ('66). He authored such
as 'As Long As I Know He's Mine' for issue by the
Marvelettes in '63 and
'Automatically Sunshine' for the
Supremes in '72. Among titles Robinson composed for
the Miracles were 'Christmas Everyday' ('63), 'Would I Love You' ('64) and
'More Love' ('67). See also compositions in
visual media. Discographies of issues with various other credits at
1,
2,
3,
4,
5.
Robinson & the Miracles in visual media.
Smokey Robinson & the Miracles 1958 Composition: Curtis Mayfield Berry Gordy/Tyrone Carlo/William Robinson Smokey Robinson & the Miracles 1959 Composition: Berry Gordy/Smokey Robinson Composition: Berry Gordy/Smokey Robinson Composition: Berry Gordy/Smokey Robinson Smokey Robinson & the Miracles 1960 Composition: Berry Gordy/Smokey Robinson Smokey Robinson & the Miracles 1964 'Shindig' Composition: Smokey Robinson 'T.A.M.I Show' Composition: Smokey Robinson Smokey Robinson & the Miracles 1965 Composition: Marvin Tarplin/Robert Rogers Warren Moore/Smokey Robinson 'Ready, Steady Go'
Composition: Warren Moore/Smokey Robinson
Composition:
Marvin Tarplin/Warren Moore/Smokey Robinson
Smokey Robinson & the Miracles 1966
Save Me
Composition:
Robert Rogers/Warren Moore/Smokey Robinson
Smokey Robinson & the Miracles 1970
Television performance
Composition:
Henry Cosby/Stevie Wonder/William Robinson
|
Smokey Robinson & The Miracles Source: What's Going On Now |
|
|
The Shields Source: Discogs |
The
Shields,
[1,
2,
3] as in
shielded from audience, consisted of Frankie Ervin (lead), Jesse Belvin
(falsetto/tenor), Johnny Watson (bass), Mel Williams (2nd tenor) and Buster
Williams (2nd tenor). The group was put together with the
intention of producing a single studio record, a cover of the recently released
Slades' tune, 'You Cheated'. The
Shields' version
of 'You Cheated' proved more popular than what the
Slades were selling. 'You
Cheated' by the
Slades reached the #42 spot on Billboard
in August of '58. The rendition
performed by the Shields reached #12 on the Hot 100 and #11 on the R&B the same
month. The Shields first released 'You Cheated' with 'That's the Way It's Gonna Be' back side for Tender Records. It quickly passed to Dot for
distribution, backed with 'Nature Boy'. Attaining to greater success than was first
envisioned, it was decided that the Shields ought continue making records.
Unfortunately Ervin was pretty dissatisfied that he received neither credits
for arranging 'You Cheated', singing lead on 'You Cheated', nor royalties.
Such resulted in Ervin taking a swing at producer and
manager, George Motola (owner of Tender Records who had named the group), who then replaced Ervin
with Johnny White. Matola then had trouble keeping a Shields group together
for tours, running through above ten personnel replacements in the brief
time that the Shields name existed without any actual group. Motola owned
the lot and he wasn't going to divvy with a group in which he had no real
interest. The Shields were an entirely different ensemble
by the time it made its last release in 1960 (released by both
Transcontinental and Falcon): 'The Girl Around The
Corner'/'You'll Be Coming Home Soon'. The Shields released only eight
singles during its brief career. Who knows what they might have done by
retaining Ervin, but the group went poof due to mismanagement on the cheap
intentionally absent of future vision. Discographies with credits at
45Cat
and Discogs. Tracks below are alphabetical, not chronological, by year. The Shields 1958
Composition: George Motola/Hal Winn
Composition: M. Boyd
Composition: George Motola/Eddie Brandt
Composition: Don Burch
The Shields 1959 Composition:
Don Burch |
|
|
The Shirelles Source: Great Song
|
Female doo wop group, the Shirelles, never topped Billboard's R&B charts, but they came pretty close with eight songs rising to the Top Ten between 1960 and '64, and twice topped Billboard's pop chart. They were formed in 1957 for a high school talent show by Shirley Owens, Doris Coley, Addie Harris and Beverly Lee. The Shirelles released their first record, 'I Met Him On a Sunday' in 1958 for Decca Records. The song charted on Billboard's Hot 100 at #49 that April. In 1959 the Shirelles traded Decca for Alan Freed's Scepter label. The group's initial Top Ten was 'Will You Love Me Tomorrow' in 1960, topping Billboard's pop chart and reaching #2 on the R&B. The Shirelles rose three times to the #2 spot on Billboard's R&B in 1961 with 'Dedicated to the One I Love', 'Mama Said' and 'Bog John'. 'Baby It's You' found the #3 tier that year as well. In 1962 the Shirelles topped the pop chart with 'Soldier Boy', #3 on the R&B. 'Foolish Little Girl' rose to the fourth tier on the Hot 100, #9 on the R&B. The group's last to enter the Top Ten was 'Tonight You're Gonna Fall in Love with Me' in 1964 at #4. Their last to achieve the Top Twenty was also that year, 'Sha-La-La' peaking at #15. 1964 was the last time the Shirelles saw the Top Forty as well, with 'Are You Still My Baby' rising to #37 on the R&B, though 'Last Minute Miracle' came close in 1967 at #41 (#99 on the Hot 100). All to say that the Shirelles made a pretty big fuss despite their major rival, the Supremes. Coley left the group in 1968 to attend to family, after which the Shirelles continued as a trio. Coley returned in 1975 to replace Owens who was moving onward to a solo career that year. Harris died of heart attack in 1982 at the Hyatt Regency after a performance in Atlanta. Coley died of breast cancer in 2002 in Sacramento. Beverly Lee, eventually coming to own the Shirelles trademark, remains the mainstay of the group, yet performing as of this writing. Discographies w various credits at 45Cat and Discogs. The Shirelles in visual media. References: 1, 2. 3, 4, 5, 6. DooWopHeaven: 1, 2, 3, 4. The Shirelles 1958 Composition: Shirelles: Addie Harris/Beverly Lee/Doris Coley/Shirley Owens The Shirelles 1959 Composition: Florence & Stan Greenberg The Shirelles 1960 Composition: Luther Dixon/Wes Farrell The Shirelles 1961 Composition: Burt Bacharach/Mack David/Barney Williams Will You Still Love Me Tomorrow Composition: Gerry Goffin/Carole King The Shirelles 1962 Composition: Luther Dixon/Florence Greenberg
|
|
| In 1958 lead vocalist, Jimmy Beaumont, got
together with Wally Lester, Jack Taylor, Joe Verscharen and Janet Vogel [1,
2] to
form the Crescents in Pittsburgh, which name was changed to the
Skyliners
[1,
2,
3,
4,
5,
6]
briefly
before making their first record release in December of 1958 for Calico,
owned by Lennie Martin.
The group was named by its manager, Joe Rock, after the song, 'Skyliner', by
Charlie Barnet. Though all the
Skyliners contributed to composition, main writers were Beaumont and Rock
with orchestral arrangements by Martin. The Skyliners' initial
issue, 'Since I Don’t Have You' (b/w 'One Night, One Night') peaked at #3 on
Billboard's R&B (#12 on the US) in February of '59. Later that year 'This I
Swear' saw #20 on the R&B, #26 on the pop chart. 'Pennies From Heaven' charted on
the Hot 100 at #24 in May of 1960. 'The Loser' peaked at #34 in 1965, which is
the last the Skyliners saw of Billboard. Taylor was the first original
member to leave the Skyliners, drafted into the Army in 1965. Lester and
Verscharen hung with group until 1972. The album, 'The Skyliners', was
released in 1978. At that time the group consisted of Jimmy Beaumont, Janet
Vogel, Jimmie Ross and Bobby Sholes. Vogel committed suicide in 1980 (age
37). Longtime manager and producer, Joe Rock, died in 2000 upon unsuccessful
heart surgery. Verscharen passed away in 2007 of cancer. Lester died of
pancreatic cancer in April 2015. Beaumont died of cancer ten years later on October 7, 2017
[*], the last
formation of the Skyliners having consisted of Nick Pociask, Rick Morris and Donna Groom as of
this writing. Donna Groom's husband, Mark Groom, had been a drummer with the Skyliners a quarter of a century.
Skyliners discographies w credits at
45Cat and
Discogs.
Skyliners in visual media.
The Skyliners 1958 Composition: Joe Rock/Skyliners Unissued until 'Pre Flight' on Relic 5053 1985 The Skyliners 1959 Composition: Rodgers & Hammerstein Composition: Joe Rock/Skyliners The Skyliners 1960 Composition: Richard Barrett Composition: Arthur Johnston/John Burke The Skyliners 1961 Composition: Chuck Willis Composition: Billy Reid 1945 Lyrics revised by Buddy Kaye 1947 The Skyliners 1963 Composition: Joe Rock/Skyliners The Skyliners 2005 Live Composition: Joe Rock/Skyliners
|
The Skyliners Source: Jazz Wax |
|
 The Students Source: Marv Goldberg |
Joining together in 1956 in Cincinnati, the
Students [1,
2,
3,
4] consisted of Leroy King
(lead), Dorsey Porter (first tenor), Roy Ford (second tenor), John Bolden
(baritone), Richard Johnson (bass) and Ralph Byrd (guitar). The Students
released their debut single in 1958: 'I'm So Young' b/w 'Every Day Of The
Week'. That didn't grab a lot of attention until its reissue on Argo Records
in 1961, peaking at #26 on Billboard's R&B. But the several brief years that the Students went to school
as vocalists were apparently not that
great, or there were other factors, as they dropped out in 1962. Not the most prolific of recording
artists, with issued plates one could count on one hand, their only other
original tracks after '58's 'I'm so Young' were
'My Vow to You' b/w 'That's How I Feel' in 1959. They had also backed Jimmy Coe
on 'Wazoo!!' in '58. Johnson yet performs with the newest
formation of the Students as of this writing [Russ & Gary's], still eluding
their
Chaperones after all these years. Discographies w credits at
1,
2. The Students 1958 Composition: Joe Rock/Skyliners Arrangement/Conducting: Jimmy Coe Composition: Joe Rock/Skyliners Arrangement/Conducting: Jimmy Coe Composition: Students The Students 1959 Composition: Students
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The Chaperones Source: Joe Troiano |
Unfortunately, the
Students from Cincinnati were
unable to behave. Therefore, the Chaperones
from Long Island [
1,
2,
3]. The Chaperones were
originally the Sharptones and Fairlanes, said to have changed their name to better
associate with a dance and prom theme. Original members were Tony Amato
(lead), Roy Marchesano (first tenor), Tommy Ronca (second tenor), Nick
Salvato (baritone) and Dave Kelly (bass). It is believed the Chaperones cut
their gums in the recording studio backing up Lee Adrian on 'Barbara, Let's
Go Steady' in 1959. Their debut release on their own was 'Cruise to the
Moon' b/w 'Dance With Me' in 1960, Rich Messina replacing Kelly as bass. The Chaperones
released their last recordings in 1961: 'Blueberry Sweet'/'The Man From The
Moon'. Their only other record issue had been 'My Shadow And Me'/'Shining
Star' in 1960, following 'Cruise to the Moon'. All said, the Chaperones
might have released a single or so more than their charges, the
Students, but they never placed a
title on Billboard. The Chaperones nevertheless remained active performing
at nightclubs.
Ronca
currently lives in Maricopa, AZ, as a record producer, caring not a whit about the
Students.
Salvato,
who owns the Chaperones trademark
since 1987, which rights he shares among original members, yet ramrods the
latest edition of the Chaperones, none of whom care about the
Students either. Amato had died in
1990. Marchesano died in 1994. Chaperones discos w various credits at
1,
2. The Chaperones 1959 With Lee Adrian Composition: Schwartzberg (Lee Adrian) The Chaperones 1960 Composition: Chaperones Composition: Chaperones The Chaperones 1961 Composition: Chaperones Composition: L. Jordan/S. Belle The Chaperones 1962 With Lou Jordan Composition: Vinnie Catalano/Pete Alonzo With Lou Jordan Composition: Lou Jordan/Sally Belle The Chaperones 1963 Composition: Saul Davis
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|
| The
Eternals
[1,
2,
3,
4,
5] were five Puerto Ricans from
the Bronx. The original members
of the group were Charlie Girona (lead), Ernie Sierra (2nd tenor), Alex Miranda
(bass), Fred Hodge (1st tenor),
and Arnie Torres (baritone). The Eternals (not to be confused with the later Canadian
group) were originally the Gleamers and the Orbits, changing to the Eternals
upon hiring Bill Martin as manager toward the release of their first record on the Hollywood label in April of 1959: 'Rockin'
in the Jungle'
with 'Rock & Roll Cha Cha' on back. 'Rockin'' peaked at #78 on
Billboard's R&B in July of 1959, after which the Eternals disappeared from
the charts, 'Babalu's Wedding Day'/'My
Girl' also released in 1959. Jay Warner ['American Singing Groups'] has that
pulled from distribution due to lawsuit brought by the Eternals' manager
(unidentified, perhaps Martin)
against unspecified booking agents. Warner also comments
upon what must have been a surprising experience circa 1960 when the group had
to lip-sync an entire unidentified title at a concert at 33 rpm instead of
45. 'Blind Date'/'Today' (Warwick 611) saw issue in Dec of 1960. Singing
lead was new member, George Villanueva. Rosalsky has the Eternals
discouraged by a lawsuit between Hollywood Records and Warwick which
prevented them from recording for two years, they shutting up shop in '62
[Warner].
The Eternals were reformed in 1972 by original members, Sierra and Torres.
The newest configuration, yet performing as of this writing, is led by
Sierra with George Villanueva, Herman Velez, Tito Santiago and Freddie Clavel
(bass) [*]. Eternals discos w
credits at
45Cat and
Discogs. The Eternals 1959 Composition: Martin/Hodge/Sierra Arrangement/Conducting: Joe René Composition: Bill Martin/Charlie Girona Composition: Bill Martin/Charlie Girona The Eternals 1961 Composition: Charlie Girona/Arnie Torres Composition: Charlie Girona
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The Eternals Source: White Doo-Wop Collector
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The Impacts Source: White Doo-Wop Collector |
The original members of the
Impacts
[*] were
Steve Liebowitz, Horace Brooks, Robert Barber, Kenneth Seymour and Helen
Powell. Liebowitz and Powell would marry. The Impacts are thought to have
released their first record on the Watts label in May of 1958 [Gonzales]:
'Now Is the Time' b/w 'Soup'. That was followed, with Charles Mattocks
replacing Liebowitz, by 'Croc-O-Doll'/'Bobby Sox Squaw' and 'Canadian
Sunset'/'They Say' in 1959. Powell and Baber were replaced by Paul Fulton
and Sammy Strain (both from the
Chips) to release 'Help Me Somebody'/'Darling Now You're Mine' in
1961. The group reconstituted as the Blue Chips
[*]
for about a year in 1961 with Bert Can replacing Fulton. Their initial
record as such was 'Puddles Of Tears'/'The Contest', followed by 'Let It
Ride'/'Adios Adios', also in 1961. In 1962 the Blue Chips released 'Promise'
b/w 'One Hen'. Seymour then replaced George Kerr later that year in the
Imperials for a brief time. A new formation of the Impacts issued 'Just
Because'/'Pigtails' and 'Wishing Well'/'Heartaches' in 1965. Their next and
last issue was 'Could You Love Me'/'My World Fell Down' in 1967. Other
members of the Impacts had been Harold "Curly" Jenkins (from the
Kodaks and would later work with the
Imperials), Renaldo Gamble (bass from
the
Schoolboys and the
Kodaks) and Allen Morton (from the
Chips).
Impacts
discography. Blue Chips discography. The Impacts 1958 Composition: Seymour/Liebowitz/Willard Composition: Johnny Wesley The Impacts 1961 Composition: Barrett Composition: Barrett/Evans The Blue Chips 1961 Composition: Edward Ellen The Blue Chips 1962 Composition: Hugo/Luigi/George Weiss
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|
| The
Mystics
[1,
2,
3,
4,,
5] were formed in Brooklyn in 1958,
releasing their first recording in 1959: 'Hushabye' backed by 'Adam and
Eve'. 'Hushabye' peaked at #20 on Billboard's US that May. At that time the
group was composed of Al Contrera (bass), Al Cracolici (baritone), Phil
Cracolici (lead), George Galfo (2nd tenor) and Bob Ferrante (1st tenor).
'Don't Take the Stars' reached #98 on the US in October of '59, after which
the Mystics dropped off Billboard's Top 100 for good. Both
Paul Simon and Jay Traynor would sing lead with the Mystics in
1960, but both would soon leave to pursue their careers otherwise,
Simon to
resume his partnership with
Art Garfunkel as
Tom and Jerry, Traynor to form
Jay
& the Americans. The Mystics were another of numerous doo wop
groups very popular on the East Coast while existing in stealth beneath the
national spotlight. You'd might not have heard of them if you lived in
Flagstaff, Arizona. But if you lived in NYC and followed music you'd have
definitely known who they were. Their last release for Laurie was 'Sunday
Kind of Love'/'Darling I Know How' in 1961, after which they exchanged
nightlife for day jobs, all but Galfo becoming recording engineers. A later
reformation of the group by the Cracolici brothers and Al Contrera released
'Now That Summer Is Here'/'Prayer To An Angel' in 1982. Those were included
on the album of the same year, 'Crazy For You'. Original member, George
Galfo, released a CD in 2004 titled 'Hushabye Again' with a later
configuration of the group. As of this writing he and Phil Cracolici yet
perform with the newest manifestation of the
Mystics including Rocky Marsicano and Ralph Varrone
[*].
Mystics discos w various credits at
45Cat and
Discogs. The Mystics 1959 Composition: Ken Hana Jr. Composition: Doc Pomus/Mort Shuman Composition: Beverly Ross/Jeff Barry The Mystics 1961 Composition: Ralph Lizano
|
The Mystics Source: Doo-Wop Blogg |
|
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The Radiants Source: Rock Tour Database |
Not to be confused with Cleve
Duncan & the Radiants, this
Radiants [1,
2,
3] originally formed as a gospel group in
Chicago in 1960. (Cleveland Duncan was lead singer for the
Penguins. He released a couple records
in '59 and '60 with his own formation of the Radiants. There was also a Jan
& the Radiants, a Randy & the Radiants and a Maurice & the Radiants, only
the last of any relation to this Radiants.) Consisting of Maurice
McAlister (lead), Wallace Sampson (baritone), Jerome Brooks (second tenor),
Elzie Butler (bass) and Charles Washington (first tenor), the Radiants released their first record in 1962: 'Father
Knows Best' b/w 'One Day I'll Show You'. 'Father Knows Best' attained to the
#100 tier on Billboard's Hot 100. Personnel began switching in 1964, McAlister
and Sampson continuing with Leonard Caston Jr.. That formation issued 'Voice
Your Choice' in 1964 (R&B #10) and 'Ain't No Big Thing in '65 (R&B #14).
Caston was replaced by James Jameson in 1965 to issue "Baby You've Got It'.
The group was comprised of Sampson, Jameson, Mitchell Bullock and Victor
Caston when it issued 'Don't It Make You Feel Kinda Bad' in 1967 (R&B #47).
The group also took the R&B #37 spot with 'Hold On' in 1968, their last
release. The Radiants continued performing until 1972. Radiants discos w
credits at
1,
2. The Radiants 1962 Composition: L. Jackson/Maurice (Smokey) McAlister The Radiants 1964 Composition: Gerald Sims(s) Composition: Gerald Sims/Maurice McAlister The Radiants 1965 Television performance Composition: Maurice McAlister/Terry Vail (Don't It Make You) Feel Kind of Bad Composition: Billy Davis/Carl Smith/Raynard Miner Arrangement: Phil Wright
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The Chiffons Source: Doo-Wop Blogg |
The
Chiffons [1,
2,
3,
4,
5] were
named after a sheer fabric in a plain weave, upgraded from "old rag" in
French: chiffe. Those hand-me-up girls were originally a trio of Judy
Craig, Patricia Bennett and Barbara Lee, formed at James Monroe High School
in Bronx in 1960. Sylvia Peterson was added and the group made its first
release in 1960: 'Tonight's the Night'. That rose to only #76 on the
Billboard Hot 100 that September. (The
Shirelles' version did much better the
same month at #14 on the R&B and #39 on the Hot 100.) But in February of 1963 the
Chiffons nearly squashed Billboard's R&B when 'He's So Fine' plopped on top,
reaching #1 on the Hot 100 as well. Billboard's R&B was crushed from the 6th
level down in June that year upon 'One Fine Day', the song at #5 on the Hot
100.
The Chiffons tried to flatten the charts altogether in November as well, but
Billboard's R&B resisted at level 6 again, #36 on the Hot 100. As if that weren't
bad enough, the album, 'He's So Fine', sumoed both the R&B and pop charts at
#1. Who knows that the Chiffons didn't
eat spinach
or chew
Doublemint Gum, for they were a
double group in 1963 as well, releasing 'My Block'/'Dry Your Eyes' and 'When
The Boy's Happy'/'Hockaday Part 1' for the Rust label as the Four Pennies.
They may or may not have chewed on 'Bubble Gum' by the Vacels in '62
[*].
Nevertheless, not real successful as the Pennies, they continued as the Chiffons, smashing
Billboard's Hot 100 from the 10th level down (#31 UK) with 'Sweet Talkin Guy'.
So much Play-Doh to the Chiffons, Billboard wearied of having to rebuild all
the time so it wouldn't let them near the Top Forty evermore in the United
States. In the UK, however - where they thought they were safe upon Judy
Craig being the first to abandon the group in 1970, leaving the Chiffons
only a trio as it continued into the seventies - they didn't see it coming
when an overseas issue of 'Sweet Talkin Guy' crunched the UK Singles Chart from the
4th tier down in 1972. The group has variously resurrected with a lighter touch
since then, Judy Craig
yet performing on the East Coast. Barbara Lee passed away of heart attack in
May of 1992. Discographies for the Chiffons at
45Cat and
Discogs.
The Chiffons in visual media. The Chiffons 1963 As the Four Pennies Composition: Carl Spencer/Jimmy Radcliffe Composition: Maxwell Anderson/Ricardo Weeks Composition: Ronald Mack Composition: Carole King/Gerry Goffin The Chiffons 1964 Composition: Hank Medress/Jay Siegel Mitch Margo/Phil Margo The Chiffons 1966 Composition: Bob Miranda/Dave Libert Composition: Ellie Greenwich/Jeff Barry/Tokens Composition: Doug Morris/Eliot Greenberg Composition: Doug Morris/Eliot Greenberg The Chiffons 1968 Composition: Ritchie Adams/Wes Farrell/Larry Kusik
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| The
Cruisers, from Philadelphia
[1,
2],
were among multiple street corner (doo wop) groups so named, such as those from Washington DC [*], and
those from Texas who issued 'An Angel Like You'
in 1962. Nor is there any relation with the Cruisers of the 1983 film, not
about doo wop, 'Eddie and Cruisers'. So far as known, there never was an
actual group called Eddie and the Cruisers beyond the film itself. These
Cruisers consisted of Eugene Williams (lead), McKinley
Anthony (2nd tenor), Paul Long and Randy Hamilton. Their initial vinyl was
in 1960 on the V-Tone label: 'Miss Fine' b/w 'If I Knew' and 'Don't Tease
Me' b/w 'Crying Over You'. 'If I Knew' reached the #102 tier on Billboard's
Hot 100, after which the Cruisers never visited the national charts again. The
Cruisers performed on the East Coast another seven years before making their
next recording in '67, now on the Gamble label: 'I Need You So'/'Take a
Chance'. They then waited two years to issue their last release in 1969,
also on Gamble: 'Picture Us'/'Mink and Sable Mable'. The Cruisers then faded
into obscurity but for little more on the internet than these discos with
credits: 1,
2. The Cruisers 1960 Composition: Eugene Williams Composition: Paul Long The Cruisers 1967 Composition: Tommy McLain The Cruisers 1969 Composition: Bunny Sigler/Gene Dozier/Phil Hurtt Composition: Bunny Sigler/Gene Dozier/Phil Hurtt
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The Cruisers Source: Doo-Wop Blogg |
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The Dialtones Source: Randy & the Rainbows
|
Have I reached the party to whom
I am speaking [1,
2,
3,
4]? Apparently not if the Dialtones
[1,
2] are still on the phone.
Between Gonzales, Discogs and references above it
wouldn't appear that these Dialtones from Queens are the same as
those who issued 'Don't Let the Sun Shine on Me' on Dial 4054 in 1967.
This
group consisted of Rosalie Calindo (lead), Frank Safuto (first tenor),
Dominick Safuto and Eddie Scalla. They released their first vinyl in 1960, 'Til I Heard It From You' with
'Johnny' B side. Formed in 1959 when Dominick Safuto was only 12 years old,
the Dialtones were yet another brief-lived doo wop ensemble,
wrapping it up in 1961 upon backing Billy Daye on 'Twenty Four Hours'. Dominick, then in high school, would go on to
form other groups such as the Encores, the Counts and Randy (Dominick) & the Rainbows
[1,
2,
3]. The Dialtones 1960 Composition: Joe DeAngelis/Johnny Sardo Demo Composition: Joe DeAngelis/Johnny Sardo Composition: Joe DeAngelis/Johnny Sardo
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|
| Formed in 1959 in Yonkers, the
Dreamers are
easy to confuse with multiple groups called the same, such as
Donnie & the Dreamers, the
Dreamers of Philadelphia [*]
or the British band (not doo wop) Freddie & the Dreamers [1,
2].
These Dreamers scratched their debut vinyl for Golddisc in Sep 1960
per 'Natalie'
b/w 'Teenage Vows of Love', released in Dec 1960 [Gonzales/Rosalksky]. At that time the group consisted of Frank Cammarata (lead), Bob Malara (tenor), Luke Beradis (baritone/tenor), Dominic
Canzano and John Trancynger. Berardis and Canzano were replaced by Frank
Nicholas and Frank DiGilio before releasing 'Because of You'/'Little Girl'
in '62. Rosalsky has the Dreamers recording four more unspecified tunes
before separating in 1965. Gonzales [Disco-File] has them recording more
than that on unspecified dates which went toward the album, 'Yesterday, Once
More', issued in 1987 on Dream DRT223 [Discogs]. Gonzales has Cammarata,
Nicholas, Trancyger, Tony Federico and Bruce Goldie on those. As for the Dreamers at
Discogs, they are listed issuing 'Oh Yeah'/'Only Your Love' as early as 1958
on the Canadian label, Delta. 45Cat has the Dreamers from Bronx issuing
those on Bullseye in the States. Since Bronx is just south of Yonkers (these
Dreamers) we hazard
those aren't the same group as this. (45Cat, however, also lists 'Because of
You' and 'Little Girl' by the Dreamers of Bronx.) Gonzales doesn't list them
together and Rosalsky doesn't mention those titles. As for '(That's Why) I
Sing This Song' on Apt Records [at Discogs], Rosalsky comments those aren't the same
Dreamers, and those titles are absent from Gonzales altogether. The Dreamers 1960 Composition: Dreamers Composition: Neil Stevens/Arthur Ripp/Nick Smith The Dreamers 1962 Neil Stevens/Arthur Ripp/Nick Smith
|
The Dreamers Source: Doo-Wop Blogg
|
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Jordan & the Fascinations Source: Doo-Wop Blogg
|
There were actually kind of two Jordan & the Fascinations.
The first
was formed in Akron, Ohio, by Jordan Zankoff (Jordan Christopher) [1,
2,
3]
with Gene Blackford, Darrel McDonald and Phill DiMascio, all students at
Buchtel High School. That group released one 45 on the Sure label in 1960:
'It's Midnight'/'Doom Bada Doom'. Prior to that a group in Queens, New York, called the Debonairs
had
became the Boulevards, releasing 'Delores'/'Chop Chop in the Wall' in 1959
for the Everest label [1,
2]. The Boulevards had recruited Zankoff upon his moving to
NYC in 1961 (removing his mustache with his last name, becoming Jordan
Christopher). The second Jordan & the Fascinations was created with members,
Frankie Zazzo, Lou Adessa and Jim Alessandria. Their
first release is thought to have been: 'I'll Be Forever Loving You'/'My
Imagination' in 1961, followed by 'My Baby Doesn't Smile Anymore'/'Love Will
Make Your Mind Go Wild' and 'Give Me Your Love'/'Once Upon A Time'. The
group completed its total catalogue of eight singles in 1962 with 'If You
Love Me Really Love Me'/'I'm Goin' Home'. Zankoff then moved onward to join
the Wild Ones playing at the Peppermint Lounge in NYC. The Wild Ones, with
Zankoff, would issue 'Wild Thing' in 1965, though it was the
Troggs who topped Billboard's chart with it
the next year. Christopher (Zankoff) then made a career of acting, before
dying of heart attack in New York City on January 21, 1996. Discographies of
Fascinations issues at
1,
2. Of Jordan Christopher at
1. The Boulevards 1959 Composition: Lou Adessa Composition: Jim Allesandria The Fascinations 1960 Composition: Gene Blackford Jordan & the Fascinations 1961 Composition: Lou Adessa Composition: Leon Arnold/Ted Daniels Love Will Make Your Mind Go Wild Composition: Curtis Williams Composition: Paul Poveromo/Peter Zanfardino Jr. Composition: Lou Adessa Jordan & the Fascinations 1962 Composition: Marguerite Monnot/Geoffrey Parsons/Édith Piaf Composition: Lou Adessa
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|
| The
O'Jays from Canton, Ohio
[1,
2,
3,
4,
5],
drew their name from DJ, Eddie O'Jay, who named them after himself. They had small clue when they formed as the Triumphs in 1958 that they would
become one of R&B's most successful groups. Originally consisting of Eddie Levert (lead), Walter Williams, Bobby Massey, Bill Isles and William Powell
on drums, they changed their name from the Triumphs to to the Mascots
[*] to
make their first recordings for King: 'Story Of My Heart'/'Do The Wiggle'
and 'Lonely Rain'/'That's The Way I Feel'. The group was already recording
as the O'Jays by the time of their release in 1961. Dispute remains as to
the release of their first recordings as the O'Jays. Our best guess is that
'Miracles'/'Can't Take It' was first released on Daco in Detroit in 1960,
then reissued in 1961 by Apollo. The O'Jays made their first move on
Billboard's Top 100 in 1963, placing 'Lonely Drifter' at the #93 spot on
their US chart. Their first to rank on Billboard's R&B Top Forty was 'Let It
All Hang Out' in 1965 at #28. Their initial Top Ten in R&B was 'I'll Be
Sweeter Tomorrow' in 1967 at #8. Numerous tunes by the O'Jays ranked in the
Top Ten. Those that
topped the charts at No. 1 were "Backstabbers' in 1972, 'Love Train' in 1973
and
'Give the People What They Want' in 1975 followed by 'I Love Music'. 1976
saw three of their efforts at the top of the R&B: 'Stairway to
Heaven', 'Livin' for the Weekend' and 'Message in Our Music'. 'Darlin'
Darlin' Baby' stood atop the R&B in 1977, then 'Used to Be My Girl' in 1978.
'Lovin' You' reached No. 1 in 1987, then 'Have You Had Your Love Today' in
1989. The O'Jays didn't issue their last Top Ten title until 1991 with 'Keep On Lovin' Me' peaking on the R&B at #4. That was the
O'Jays' 25th title to rank in the Top Ten. Their last to
achieve the Top Forty wasn't until 1997 with 'Baby You Don't Know' at #34.
The O'Jays kept in the Top 100 until their last in 2004 with 'Make It Up'
reaching the #74 spot. Apparently not limited by linear space-time, the O'Jays
yet perform as of this writing with Eric Grant and original members,
Levert and Williams. (Isles and Massey left the group in 1972. Powell died
of cancer in 1977.) Among composers who helped put the O'Jays on the map
were Ken Gamble and Leon Huff [*], Richard and Robert Poindexter [*], Jackie Members [*]
and Dwain Mitchell [*].
Terry Stubbs [*] collaborated with Levert and Williams on 'Don't Let Me
Down' and 'Keep on Lovin' Me' in 1991. The O'Jays were inducted into the Rock and Roll Hall of
Fame in 2005. O'Jays discos w various credits at
1,
2,
3. The O'Jays 1958 Composition: Davis The O'Jays 1963 Composition: O'Jays The O'Jays 1964 Composition: O'Jays The O'Jays 1965 Lipstick Traces (On a Cigarette) Composition: Naomi Neville Arrangement: Harold Battiste The O'Jays 1970 Live on 'Soul Train' Composition: Gamble & Huff The O'Jays 1972 Composition: Gamble & Huff/Bunny Sigler Live on 'Soul Train' Composition: Gamble & Huff Composition: Gamble & Huff Composition: Gamble & Huff/Bunny Sigler The O'Jays 1973 Composition: Gamble & Huff Arrangement: Norman Harris The O'Jays 1975 Composition: Gamble & Huff Composition: Gamble & Huff Composition: Gamble & Huff/Cary Gilbert Composition: Leon Huff The O'Jays 1978 Filmed Live Composition: Joseph Jefferson/Charles Simmons The O'Jays 1984 Composition: Bunny Sigler/Marvin Morrow Composition: James Sigler The O'Jays 1987 Composition: Gerald Levert (son of Eddie) The O'Jays 1989 Composition: Dwain Mitchell/Eddie Levert Terry Stubbs/Walter Williams The O'Jays 1993 Composition: Dwain Mitchell/Eddie Levert Sherena Wynn/Walter Williams
|
The O'Jays Source: Penny Liberty |
|
|
The Del Satins Source: White Doo-Wop Collector |
Formed in Manhattan in 1958, the original
five Del Satins
[1,
2,
3,
4] took their name in honor of the doo wop groups, the
Dells and
the
Five Satins. The original group had already going through rapid
personnel changes by the time of its first release in Sep 1961 [Disco-File]. It was Stan Ziska
(lead), Fred Ferrara (baritone), brother Tom Ferrara (bass), Leslie Cauchi
(first tenor) and Bobby Failla (second tenor) who appeared on the group's
debut record, 'I'll Pray for You'/'I Remember the Night' (credited to the
Dell Satins on End 1096). The group began backing Dion DiMucci of
Dion & the Belmonts fame in
1961, DiMucci having left that group for a solo career. Of the numerous
titles the Del Satins released, none saw Billboard's national charts. They
did, however, chart with
Dion as the uncredited backup on
'Runaround Sue' (#4 R&B #1 Hot 100), 'The Majestic' (#36 Hot 100) and 'The Wanderer'
(#2 Hot 100) in 1961. The Del Satins issued it's last 45 in 1967: 'Love, Hate,
Revenge'/'A Little Rain Must Fall'. By the time they issued their debut
album, 'Out to Lunch', in 1972 the group had long since been through
multiple personnel changes. One says "debut album" because Stan Zisca
reshaped the Del Satins and released the LP, 'Still Wandering', in 1991. He
would go on to form the group, Tangerine. Zisca, Cauchi, and brothers Fred
and Tom Ferrara, occasionally reincarnated the Del Satins over the years.
They yet tour to this day (Facebook) with the exception of Fred who died
on October 21 of 2011.
Del Satins discos w various credits at
1,
2. The Del Satins 1961 Composition: Stan Siska Composition: Stan Siska Backing Dion DiMucci Composition: Ernie Maresca The Del Satins 1962 Composition: Stan Vincent Arrangement/Conducting: Glen Stuart The Del Satins 1963 Backing Dion DiMucci The Del Satins 1965 Composition: Mitch & Phil Margo Hank Medress/Jay Siegel
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|
|
Donnie & the Dreamers Source: Joe Troiano
|
Donnie & the Dreamers
[1,
2]
were one of the many doo wop groups from Bronx. They were formed in
1961 by Louis Burgio (lead), Peter Vecchiarelli, Andy Catalano (tenor) and
Frank Furstaci (baritone). 'Count Every Star' b/w 'Dorothy' was their first
release in 1961 for the Top Rank label. It broke into the Top Forty at #35.
'My Memories of You' squeaked like my tiny bathtub duck at #79. The
Dreamers didn't have time to walk a mile for a Camel [1,
2] since their career was
only three months and three plates long. The group did make another
attempt that year as Kenny & the Whalers with 'Life Is But a Dream'. But
Ahab would have none of it and made them walk the plank. Glub glub, bubbles,
the whole thing, while making tasty dishes for hungry fishes. After that
drifted past the group made a final attempt with 'I Won't Cry
Anymore'/'Because of You' in 1962 as Vinny Catalano & the Day Dreams. But
the big Billboard sign faded away into a fog as the Dreamers vanished into
consciousness with
it. Louis Burgio (Donnie) died on May 2 of 2012 in Danbury, Connecticut [*]. Catalogs w various credits at
1,
2. Donnie & the Dreamers 1961 Composition: Joe Francavilla/Tommy Austin Composition: Bruno Coquatrix/Sammy Gallop Composition: V. Downs/J. Burgio As Kenny and the Whalers Composition: Raoul Cita Composition: Peter Vecchiarelli/Vinny Catalano Composition: Goldman/Vincent Catalano Vinny Catalano & the Day Dreams 1962 Composition: Al Frisch
|
|
| Larry Chance
[*] chose the name, the
Earls, at
random from a dictionary. The Earls [1,
2,
3,
4,
5/not
*] had earlier been the Hi-Hatters. From Bronx, the Hi-Hatters
were singing in front of a subway station in New York City in 1959 when
Johnny Powers of Rome Records asked them to record some tracks. They
recorded four, were paid, but little else came of it. Not until 1961 did the
Hi-Hatters, now the Earls, release their first single, 'Life is But a Dream'
b/w 'It's You". To small fanfare that, the group issued 'Remember Then'
in '62, which peaked at #29 on Billboard's R&B, #24 on the Hot 100. The Earls
issued numerously thereafter, their last 45 thought to be in 1977: 'Tonight'
b/w 'Meditation'. Discogs has them issuing the album, 'Live!', in 1987 on
Rainbow Records
[*]. The Earls didn't make a giant spectacle. but after
numerous configurations over the decades they
yet perform as of this
writing while maintaining a page at
Facebook.
Discography w credits at
Discogs. Per below, 'Borders, Language, Culture', is performed live with radio
opinion monger, Michael Savage. The Earls 1961 Composition: Larry Figueiredo/Robert Deldin
Composition: Hy Weiss/Raul Cita
Composition: Morra/Georgian
Composition: Curtis/Golder
Composition: E. J. Stevens
The Earls 1962
Composition:
Tony Powers/Beverly Ross/Stan Vincent
The Earls 2007
Filmed live with Michael Savage |
The Earls 1962 Source: All Music |
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| Formed in Brooklyn, the
Jive Five [1,
2,
3,
4,
5] released
their first record, 'My True Story' b/w 'When I Was Single' in 1961. 'My True Story' rose
to #1 on Billboard's
R&B, #3 on the Hot 100. The group put three more titles in the Top Forty during
its career: 'These Golden Rings' (1962 #27 R&B), '' (1965 #26 R&B #36 Hot
100)
and 'Sugar' (1968 #34 R&B #119 Hot 100). The Jive Five's last 45 release was in
1970: 'I Want You to Be My Baby', reaching only the #50 spot on Billboard's
R&B. Original members were Eugene Pitt [*], Jerome Hanna, Richard Harris, Thurmon Prophet and Norman Johnson. The group has naturally seen
personnel
changes over the decades. Pitt performed with his Earls into the new
millennium until his death on June 29, 2018
[*]. The Earls maintain a
Facebook
page. Issues discos w various credits at
1,
2. The Jive Five 1961 Composition: Eugene Pitt/Oscar Waltzer/Joe Rene Production: Joe Rene The Jive Five 1962 Composition: Dossie Terry/Leslie (Lester) Butler/Malou Rene Composition: Eugene Pitt Composition: Eugene Pitt/Malou Rene Composition: Bob Feldman/Jerry Goldstein/Richard Gottehrer The Jive Five 1964 Composition: Clarence Johnson/John Hicks/Lawrence Robinson The Jive Five 1966 Composition: M. Curtis/J. Meyer The Jive Five 1992 Filmed Live Composition: Eugene Pitt/Oscar Waltzer/Joe Rene Filmed Live Composition: Eugene Pitt/Malou Rene
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The Jive Five Source: Amazon |
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The Marcels Source: Doo-Wop Blog
|
First formed in 1959 in Pittsburgh, the
Marcels [1,
2,
3,
4,
5,
6,
7] became rich upon their very first record release in 1961, a cover of 'Blue
Moon' that topped the R&B, Hot 100 and UK charts. 'Blue Moon' was a ballad originally
composed by Richard Rodgers and Lorenz Hart in 1934. The Marcels issued one
more title to place in the Top Ten that year, 'Heartaches (#19 R&B #7 Hot
100),
then began to fade into obscurity. The Marcels were named after a hairstyle
called the Marcel wave, accomplished with a curling iron, that was popular in the
twenties along with the bob cut. Original members were Cornelius Harp
(lead), bass Fred Johnson (bass), Gene Bricker, Ron Mundy and Richard Knauss.
The group began splintering in August of 1961, thereafter to embrace
multiple
personnel over the years as it continued recording into and
throughout the eighties. Gene Bricker died in 1983. Harp, Johnson, Knauss
and Mundy appeared on the PBS special, 'Doo Wop 50' in 1999. The Marcels
were elected into the Vocal Group Hall of Fame in 2002. Lead singer, Harp,
died on June 5 of 2013 [*]. The Marcels continue to
tour as a
quartet with a couple of its older members. Though none original, current
member, Richard Harris, has been with the Marcels since 1962. Discographies
of Marcels releases w various credits at
1,
2. The Marcels 1961 Composition: Richard Rodgers/Lorenz Hart 1934 Music: Al Hoffman 1931 Lyrics: John Klenner The Marcels 1962 Loved Her the Whole Week Through Composition: Hoffman/Isle The Marcels 1963 Composition: Charles Strouse/Lee Adams
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|
| The Monterays, one of countless
groups so named, formed in the Bronx in 1958
consisting of Guy Villari, Sal Cuomo, Chuck Fassert and Ernie Maresca
[1,
2,
3,
4]. That
year they demoed 'Santa Claus (He Gained More Weight)'
with 'Christmas Time Angel' for Seville Records, gone unissued. They couldn't catch fish with that so they
changed their name to the Desires
[*]
to record 'I Ask You' with 'Story
of
Love' flip side. Likely recorded in 1958 (for Seville), that record wasn't released
until June of 1962. Not to be confused with the Los Angeles Regents
[*], this
Regents
[*]
consisted of Guy Villari (lead), Sal Cuomo (first tenor), Charles Fassert
(second tenor), Danny Jacobuccia (baritone) and Tony Gravagna (bass) at the
time of their first record release in 1960 on Kayo 101 C-O: 'That's What
I Call A Good Time' b/w 'No Hard Feelings'. In 1961 'Barbara-Ann' peaked #7
on the R&B chart, #13 on the US. Two months later in July 'Runaround'
reached #30 on the R&B, #28 on the US. The
Regents began recording as the Runarounds [not
*] in 1961, releasing 'Mashed Potato
Mary' b/w 'I'm All Alone'. In 1962
the Runarounds were a quartet spelled Run-A-Rounds consisting of Guy Villari,
Chuck Fassert, Ronnie Lapinsky and Sal Corrente. The group recorded
'Unbelievable'/'Hooray For Love', after which Corrente dropped out. The
Run-A-Rounds issued one more 45 in 1963, 'Let Them Talk'/'Are You Looking
For a Sweetheart'. Perhaps "Run-A-Rounds" required too many dashes, as it
was the Runarounds that released 'Carrie (You're an Angel)'/'Send Her Back'
in 1964. Be as may, the Runarounds issued only two more 45s: 'Perfect
Woman'/'You're a Drag' in 1966 and 'You Lied'/'My Little Girl' in 1967. The
Regents have been twice resurrected by Villari with new members in 1973 and
1995. He passed away on Sep 21 of 2017 [*]. Discos of Regents issues w various credits at
1,
2.
The Runarounds at
1,
2,
3. The Monterays 1958 Unissued demo Release unknown Composition: Ernie Maresca Unissued demo Release unknown Composition: Ernie Maresca The Regents 1961 Composition: Fred Fassett Composition: Sal Cuomo Composition: Don Jacabucci/Sal Cuomo Composition: Sal Cuomo Composition: Sal Cuomo Composition: Ernie Maresca The Regents 1962 As the Desires Composition: Ernie Maresca Composition: Ernie Maresca As the Desires Composition: Ernie Maresca The Run-A-Rounds 1963 Composition: Thomas Bogdany Composition: Ernie Maresca/Pete Barron The Runarounds 1964 Composition: Thomas Bogdany
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The Regents Source: Doo-Wop Blogg
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| The
Blenders from
Chicago
[*] are thought to have released their first plate in 1962 for Cortlandt
Records: 'Everybody's Got A Right'/'What Have You Got'. The group consisted of Harold Jones, Albert Hunter, Goldie Coates,
Delores Johnson and Gail Mapp singing lead. (Though the group released
records as Baby Jane & the Blenders and Goldie Coates & the Blenders, Gail
Mapp remained lead.) In 1963 'Daughter' made Billboard's US chart at No. 67.
They issued several more records that went nowhere, also recording as the Candles on a disc for Nike Records
in 1964. The group's last release is thought to be 'Love Is a Good Thing
Going'/'Your Love Has Got Me Down' in 1966 for Mar-V-Lous Records. Discos of
issues at
1,
2. Not to be
confused with other groups by the same name such as the much earlier NYC
Blenders. The Blenders 1957 Composition: Lowell Kirby The Blenders 1962 Composition: Bill Erman The Blenders 1963 Composition: Hilliard Jones Composition: Hilliard Jones The Blenders 1964 As the Candles Composition: Colbert The Blenders 1966 Composition: Jimmy Jones
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The Blenders Source: Discogs |
|
| The
Corvairs [1,
2] were
comprised of Joe Shepard (tenor), Nelson Shields (second tenor), Prince
McKnight (tenor), Ronald Judge (baritone) and Billy Faison (bass). The car
after which they named themselves is a portmanteau of Chevrolet's Corvette
and Bel Air. The group had evolved out of the earlier Leaders [1,
2,
3]
which had consisted of Harry Burton (1st tenor), Edward "Snipper" Alston
(2nd tenor), Nelson Shields (2nd tenor), Ronald Judge (baritone) and Charles
Simpson (bass). Among eight titles recorded for Glory Records were three
issued plates in '55 and '56: 'Stormy Weather'/'A Lover of the Time' (Glory 235), 'Nobody
Loves Me'/'Dearest Beloved Darling' (Glory 239) and 'Can't Help Lovin' That
Girl of Mine'/'Lovers' (Glory 234). 'Dry Your Eyes' and 'I Almost Lost My
Mind' went unreleased. In 1960 Judge and Shields formed the
Corvairs to release to release first record in
1962: 'True True Love' b/w 'Hey, Sally Mae' (Comet 2145). The Corvairs released 'Don't
You Know'/'No Tears Left For Crying' (Leopard 5004/United Artists 600) in
April 1963, accidentally credited to the West Siders
[*]. 'Ain't No Soul (In These Old Shoes)' b/w 'Get
a Job' (Columbia 43861was the
Corvairs last release in 1966 for a total of eight titles in their
catalogue of issues plus two as the Westsiders. 'I Don't Wanna Be Without
You Baby'/'Girl with the Wind in Her Hair' had been released in '63 on
Leopard 5005, 'Swinging
Little Government'/'Love, Love My Friend' on Columbia 43603 in '66.). The Corvairs, though,
had trouble making wind. Maybe it was their car [1,
2].
Leaders issues w credits at
45Cat. Corvairs at
Discogs.
Lead data below thanks to Goldberg. The Leaders 1955 Lead: Edward Alston Composition: Harold Arlen/Ted Koehler Lead: Harry Burton Composition: Harry Burton/Edward Alston The Corvairs 1962 Lead: Nelson Shields Composition: Floyd McRae/Frank Moore/Gerald Perkins Lead: All Composition: H. Karas/Harvey Ackerman The Corvairs 1963 Girl with the Wind in Her Hair Lead: Nelson Shields Composition: Casey Spencer Arrangement/Production: Joe Rene I Don't Wanna Be Without You Baby Lead: Joe Sheppard Composition: Eugene Pitt/Malou Rene Arrangement/Production: Joe Rene The Corvairs 1966 Ain't No Soul (In These Old Shoes) Lead: Nelson Shields Composition: A. Resnick/J. Levine
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The Corvairs Source: Discogs |
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|
The Duprees Source: Blog de Rock en Mexico |
The original members of the
Jersey City
Duprees
[1,
2,
3,
4,
5] were
Michael Arnone, Joe Santollo, John Salvato, Tom Bialoglow and lead singer,
Joey Canzano (Joey Vann). Personnel changes would ensue, notably Vann's replacement in
1964/65 by Mike Kelly current with their switch from Coed to Columbia
[Warner]. The Duprees had released their first recording, 'You Belong to Me'
b/w 'Take Me As I Am' in
1962. 'You Belong to Me' peaked at #7 on Billboard's Hot 100 chart that August.
The group landed three other singles in the Top Ten as well: 'My Own True
Love' (October 1962 #2 AC #13 Hot 100), 'Why Don't You Believe Me' (August 1963
#10 AC #37 Hot 100), and 'Have You Heard' (November 1963 #8 AC #18 Hot 100). From '63
throughout the sixties the Duprees issued numerous titles to disappointing
results, thus renaming themselves the Italian Asphalt and Pavement Company (I.A.P.
Co.) in 1970 to release 'Check Yourself' on Colossus C 110DJ and Colossus CS
110. Despite rotation of
personnel the Duprees yet perform as of this
writing, though with none of their original members
[*]
inducted into the Vocal Group Hall of Fame in 2006. Santollo had long since died
on June 4, 1981. Vann, who had left the Duprees to pursue a solo career,
issuing 'Try to Remember'/'My Love, My Love' (Coed CO 606) in '65
[*], died on February 28, 1984.
His last tracks with the Duprees had been with the Coed label ('I'm
Yours'.'Wishing Ring' CO 596), Kelly taking his place upon their move to
Columbia with 'Around the Corner'/'They Said It Couldn't Be Done' (4-43336).
Kelly had resigned from the Duprees in 1977. Arnone,
who in 1990 had largely exchanged singing with the Duprees for
managing them,
passed away on October 27, 2005. Kelly followed on August 12, 2012
[*]. Salvato
had left the group in the early eighties and became a booking agent. Bialoglow,
who had left the Duprees in latter '63, lmaking it a quartet, later formed a group called Twilight
Time and has performed with Joe Zisa [1,
2,
3,
4].
The current Duprees are run by Tony Testa, longtime guitarist for the
Duprees. Pages are maintained at Facebook for both the
original and
present-day Duprees. Duprees discographies with various credits at
45Cat and
Discogs.
The Dprees in visual media. The Duprees 1962 Composition: Chilton Price/Pee Wee King/Redd Stewart The Duprees 1963 Composition: Lew Douglas/Frank LaVere/LeRoy Rodde Composition: Fred Weismantel Composition: Richard Himber/Sylvester Sprigato/Frank Warshauer Composition: Canzano (Vann)/Mike Mazzeo/Rodger Genger Composition: Chester Shull/George Hoven Composition: Canzano (Vann)/Santollo The Duprees 1964 Composition: Jimmy McHugh/Harold Adamson The Duprees 1970 As the Italian Asphalt & Pavement Company Composition: Kenny Gamble/Leon Huff The Duprees 1975 Composition: David Anthony Weiner
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Chip (left) and the Quartertones Source: White Doo-Wop Collector |
Chip Kopaczewski first recorded with the
Quartertones
[1,
2.
3] in 1964. That group didn't last as long as the list of its
original members: Chip Kopaczewski (lead), Tony Galantino (baritone/bass),
Jimmy Murkens (1st/2nd tenor), Dick Curry (baritone/2nd tenor) and Jimmy
Gleason (1st tenor). The Quartertones released 'You Were My Baby'/'Simple
Simon' on Carlton 604 into the Philadelphia region in '64. Which came to be their entire
catalogue, 'He's in Love with Sandra' and 'She Walked Away' unissued. The
group was abandoned in the summer of
'65 as Kopaczewski and fellow member, Tony Galantino, joined the Intentions
[1].
(45Cat lumps together another Philadelphia Intentions with this one which
consists of, so far as identified in Disco-File, different personnel. Tracks
in question: 'Mr Misery' and 'Summertime Angel' on Jamie 1253. RateYourMusic
similarly lists an Intentions which is a different group in Gonzales, moot
titles being 'Don't Forget That I Love You'/'The Night Rider' on Philips
40428.) Other Intentions members were Eddie Sachetti (lead/1st tenor), Albert
DiPrieto (baritone) and Charlie Votta (1st tenor). That group released 'I'm
in Love With a Go Go Girl'/'Wonderful Girl' on Melron 5014 in 1965, the same year their
musical venture was finished. Kopaczewski, Galantino and Votta then attended
Cheney University in Pennsylvania together, not to enter into the music
business again. By Kopaczewski's time doo wop had been losing air. That wasn't
due to the British Invasion, as one might
variously read, since that was a
largely different audience. What eroded away doo wop was producers like
Berry Gordy
[1,
2,
3,
4,
5,
6], who was taking R&B the soul and Motown direction
while such as Phil Spector was aligning vocal harmony with rock
[1,
2,
3,
4,
5,
6]. Chip Kopaczewski 1964 With the Quartertones Composition: Frederick/Kopaczewski With the Quartertones Composition: Frederick/Gleason Chip Kopaczewski 1965 With the Intentions Composition: Scip Kopaczewski
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| We
suspend this history of doo wop with Chip Kopaczewski.
|
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