Dear fellow Doo-Woppers, sorry I've been gone so long, but I've had some health issues and was working on a project that left me no time for fun.
I am back an in need of some suggections for new material, so if there is a group that you would like to read about, please let me know and I'll do the leg work for you. I would like to write a blog once a week so make as many request as possible.
Thank you in advance and I will talk to you next week!!
Wednesday, September 8, 2010
Saturday, April 3, 2010
HOW AND WHY SONGS GOT COVERED
In this installment we'll look at how and why songs got covered.
Sometimes it was just a great song that would work in all genres, Country, R&B, Pop, Rock,ect, but most of the time it was plain and simple greed. You must remember that Race played a big part in how things were done in the music buisness.
Morris Levy, George Goldner and company controlled and had influence on as many as twenty different record labels, and their only goal was to make as much money as possible on the artist, and the song. It has been said that there were between 500 and 1,000 labels oprating in New York in those days, and each one trying to get their part of the action. At Brill Building, a song writers mecca, songs were being written and passed around on a daily basis. Some songs were stolen and writers credits changed before the song left the building. Every writer had a favorite group that they liked to write for, but if your song was better than mine and I needed a hit, I'd wait to hear the arrangement of your song and while you were recording with your group, I'd be down the hall recording the same song with my group.
There were some artist that made a good living by covering songs, so let's look at how it all works.
When it became clear that Blacks had created a genre of music that would last, the label owners, song writers, and producers started scheming as to how get as much out of a song as possible.
At some labels there were groups on standby just to cover whatever song that had potential. In many cases some songs would be covered while the original was being recorded. In other cases the cover was strictly about race. In the 50's no matter how good a song was some people would not buy it because the singer the was Black. Pat Boone even covered Little Richard's "Tutti Frutti", (It was terrible), because at the time the song was moving up the R&B chart, the rights to the song were being shopped around. LaVerne Baker was one of the most popular singers of her time, but a White singer named Georga Gibbs covered almost every song Baker recorded. It got so bad that when Baker went on the road, she took out a life insurance policy and sent it to Gibbs, with a note saying the policy was so that Gibbs wouldn't starve to death, if something were to happen to Baker.
Johnny Rivers, made a lot of money covering Chuck Berry. The buyers in the south liked Berry's music, but wouldn't buy it because of Berry's color, so Chess Records leased, loan and somtimes sold rights to Berry's songs to be covered by others. In many cases the record labels would have multiple artist on the same label record the same song, to get as much exposure as possible. This was a MOTOWN tactic, that Gordy used over and over again. Sometimes MOTOWN would have hits with two different versions of the same song. Case in piont: Marvin Gaye had recorded "I Heard It Through The Grape Vine" a year before Gladys Knight and The Pips, but MOTOWN wouldn't release it. Gladys and The Pips version was a hit and a little over a year later MOTOWN released Marvin's version and the song was a hit again. Even The Temptations had a version of the song. MOTOWN felt that everyone had their favorite MOTOWN group, so why not have your favorite group sing your favorite song, in many cases it worked. Brenda Holloway made a good living at MOTOWN covering the songs of the female artist at MOTOWN.
Many labels didn't have the financial resources to distribute songs to ensure wide exposure of a song, so once a song was released the label felt they had completed their obligation to the artist, so to get their money back they would shop the songs around to the highest bidder and songs got covered that way.
Sometimes the label would change one word in a song and claim writers credit for the song and have other artist record the song on subsidiary labels,
Some songs got covered many times becaus they were just good songs. Once of the most covered songs of all times is "Gloria". I'm not even going to try and name all the groups that recorded the song. Gloria was one of those songs that had everything a Doo-Wop group wanted in a song. The song was perfect for five part harmony. The song had space for the lead singer to stretch out and and show off. The background had room for everyone to do their thing. The first tenor could make vocal runs up and down the scale and still be inside the harmony. The baritone and second tenor could weave in and out of each other to make the background seem fuller, and last but not least is the bass. The bass could either rumble, and boom, boom, or do some nice blows, ooh's and ahh's with the rest of the background. The song has something for everybobdy! I've heard some great versions of the song but, I haven't heard a really bad version.
It seems that everyone who thought they could sing, covered songs from MOTOWN. Some covers were for race reasons, until young White America started buying MOTOWN and demanding the real thing. In my mind the one artist that made the most out covering MOTOWN songs is James Taylor. Taylor has covered more MOTOWN songs than anybody, he has won grammys covering MOTOWN. In many cases Taylor has been treated as if he created the songs himself. Even Oprah got caught up in the hype, she credited Taylor with creating and writing great songs, only to have to back track and state the fact that most of his music was covers of MOTOWN songs.
One of the greatest covers of all time is the Christmas classic "White Christmas" by The Drifters. The song is a note for note cover of the song as recorded by The Five Royales. It seems that at the time The Five Royales recorded the song, it seemed a little disrespectfull to Irving Berlin, who wrote the song for Bing Crosby, so the song wasn't distributed after release. One year later the climate had changed and there were many version of the song being recorded. The Drifters decided to try their luck. The song had a great intro with Bill Pinkney on bass, and Clyde McPhatter on lead and the usaual tight harmony of The Drifters. The Drifters version became one of the top selling Christmas songs of all times. The song is still a top seller today! Berlin said The Drifters version was not what he had in mind when he wrote the song, but he liked the arrangement.
The cover of one song almost wiped one group off the map. Noland Strong (Smokey's mentor) and his group The Diablos recorded a song called "The Wind", the song didn't get the exposure it should have. A year or so later a group called The Jesters covered the song and it became a hit. The Diablos version was re-released and was some what discredited because Noland Strong sounded so much like Smokey, that some people thought that Strong was a Smokey wanna be, not knowing that Strong came first with his style of singing and the song "The Wind".
Etta James took a country song and covered it almost note for note with an R&B feel, because the song told a great story.
One of readers, Victoria asked about the song "Hearts Of Stone". The song "Hearts Of Stone" was written by Rudy Jackson a member of a Doo-Wop group out of San Bernardino, California. The group was called The Jewels, (No relations to The Jewela of D.C.), this was a male group. The Jewels recorded "Hearts Of Stone" in 1954, for The R&B label. The group later changed their name to The Marbles. The Jewels verison of the song didn't move on the charts.
In 1955 an East Coast group called Otis Williams and The Charms, (not the Otis of The Temptations), covered the song, and moved it up the charts to #1 on the R&B charts and #15 on the pop charts. As the Charms version moved up the charts the Jewels version was foregotten, or ignored by most writers and DJ's.
I couldn't find any written record as to why the song was covered, except it was a great song.
Dr. Nick, the doo-wop doctor suggested that I write about the kiddie groups of doo-wop. These are the groups that came before The Jackson Five.
Please send in your comments and suggestions.
Victoria posted three comments, but ony one came through, if you're out there Victoria, please send them again.
Thanks everybody and I'll talk to you next time.
Sometimes it was just a great song that would work in all genres, Country, R&B, Pop, Rock,ect, but most of the time it was plain and simple greed. You must remember that Race played a big part in how things were done in the music buisness.
Morris Levy, George Goldner and company controlled and had influence on as many as twenty different record labels, and their only goal was to make as much money as possible on the artist, and the song. It has been said that there were between 500 and 1,000 labels oprating in New York in those days, and each one trying to get their part of the action. At Brill Building, a song writers mecca, songs were being written and passed around on a daily basis. Some songs were stolen and writers credits changed before the song left the building. Every writer had a favorite group that they liked to write for, but if your song was better than mine and I needed a hit, I'd wait to hear the arrangement of your song and while you were recording with your group, I'd be down the hall recording the same song with my group.
There were some artist that made a good living by covering songs, so let's look at how it all works.
When it became clear that Blacks had created a genre of music that would last, the label owners, song writers, and producers started scheming as to how get as much out of a song as possible.
At some labels there were groups on standby just to cover whatever song that had potential. In many cases some songs would be covered while the original was being recorded. In other cases the cover was strictly about race. In the 50's no matter how good a song was some people would not buy it because the singer the was Black. Pat Boone even covered Little Richard's "Tutti Frutti", (It was terrible), because at the time the song was moving up the R&B chart, the rights to the song were being shopped around. LaVerne Baker was one of the most popular singers of her time, but a White singer named Georga Gibbs covered almost every song Baker recorded. It got so bad that when Baker went on the road, she took out a life insurance policy and sent it to Gibbs, with a note saying the policy was so that Gibbs wouldn't starve to death, if something were to happen to Baker.
Johnny Rivers, made a lot of money covering Chuck Berry. The buyers in the south liked Berry's music, but wouldn't buy it because of Berry's color, so Chess Records leased, loan and somtimes sold rights to Berry's songs to be covered by others. In many cases the record labels would have multiple artist on the same label record the same song, to get as much exposure as possible. This was a MOTOWN tactic, that Gordy used over and over again. Sometimes MOTOWN would have hits with two different versions of the same song. Case in piont: Marvin Gaye had recorded "I Heard It Through The Grape Vine" a year before Gladys Knight and The Pips, but MOTOWN wouldn't release it. Gladys and The Pips version was a hit and a little over a year later MOTOWN released Marvin's version and the song was a hit again. Even The Temptations had a version of the song. MOTOWN felt that everyone had their favorite MOTOWN group, so why not have your favorite group sing your favorite song, in many cases it worked. Brenda Holloway made a good living at MOTOWN covering the songs of the female artist at MOTOWN.
Many labels didn't have the financial resources to distribute songs to ensure wide exposure of a song, so once a song was released the label felt they had completed their obligation to the artist, so to get their money back they would shop the songs around to the highest bidder and songs got covered that way.
Sometimes the label would change one word in a song and claim writers credit for the song and have other artist record the song on subsidiary labels,
Some songs got covered many times becaus they were just good songs. Once of the most covered songs of all times is "Gloria". I'm not even going to try and name all the groups that recorded the song. Gloria was one of those songs that had everything a Doo-Wop group wanted in a song. The song was perfect for five part harmony. The song had space for the lead singer to stretch out and and show off. The background had room for everyone to do their thing. The first tenor could make vocal runs up and down the scale and still be inside the harmony. The baritone and second tenor could weave in and out of each other to make the background seem fuller, and last but not least is the bass. The bass could either rumble, and boom, boom, or do some nice blows, ooh's and ahh's with the rest of the background. The song has something for everybobdy! I've heard some great versions of the song but, I haven't heard a really bad version.
It seems that everyone who thought they could sing, covered songs from MOTOWN. Some covers were for race reasons, until young White America started buying MOTOWN and demanding the real thing. In my mind the one artist that made the most out covering MOTOWN songs is James Taylor. Taylor has covered more MOTOWN songs than anybody, he has won grammys covering MOTOWN. In many cases Taylor has been treated as if he created the songs himself. Even Oprah got caught up in the hype, she credited Taylor with creating and writing great songs, only to have to back track and state the fact that most of his music was covers of MOTOWN songs.
One of the greatest covers of all time is the Christmas classic "White Christmas" by The Drifters. The song is a note for note cover of the song as recorded by The Five Royales. It seems that at the time The Five Royales recorded the song, it seemed a little disrespectfull to Irving Berlin, who wrote the song for Bing Crosby, so the song wasn't distributed after release. One year later the climate had changed and there were many version of the song being recorded. The Drifters decided to try their luck. The song had a great intro with Bill Pinkney on bass, and Clyde McPhatter on lead and the usaual tight harmony of The Drifters. The Drifters version became one of the top selling Christmas songs of all times. The song is still a top seller today! Berlin said The Drifters version was not what he had in mind when he wrote the song, but he liked the arrangement.
The cover of one song almost wiped one group off the map. Noland Strong (Smokey's mentor) and his group The Diablos recorded a song called "The Wind", the song didn't get the exposure it should have. A year or so later a group called The Jesters covered the song and it became a hit. The Diablos version was re-released and was some what discredited because Noland Strong sounded so much like Smokey, that some people thought that Strong was a Smokey wanna be, not knowing that Strong came first with his style of singing and the song "The Wind".
Etta James took a country song and covered it almost note for note with an R&B feel, because the song told a great story.
One of readers, Victoria asked about the song "Hearts Of Stone". The song "Hearts Of Stone" was written by Rudy Jackson a member of a Doo-Wop group out of San Bernardino, California. The group was called The Jewels, (No relations to The Jewela of D.C.), this was a male group. The Jewels recorded "Hearts Of Stone" in 1954, for The R&B label. The group later changed their name to The Marbles. The Jewels verison of the song didn't move on the charts.
In 1955 an East Coast group called Otis Williams and The Charms, (not the Otis of The Temptations), covered the song, and moved it up the charts to #1 on the R&B charts and #15 on the pop charts. As the Charms version moved up the charts the Jewels version was foregotten, or ignored by most writers and DJ's.
I couldn't find any written record as to why the song was covered, except it was a great song.
Dr. Nick, the doo-wop doctor suggested that I write about the kiddie groups of doo-wop. These are the groups that came before The Jackson Five.
Please send in your comments and suggestions.
Victoria posted three comments, but ony one came through, if you're out there Victoria, please send them again.
Thanks everybody and I'll talk to you next time.
Friday, March 26, 2010
THE JIVE FIVE, THE PASTELS, EARL LEWIS AND THE CHANNELS, AND THE HARPTONES
This installment will look at four groups who's harmony was tight and their songs were great for blue lights in the basement parties. The Jive Five, The Pastels, Earl Lewis and The Channels, and The Harptones.
THE JIVE FIVE
The Jive Five were formed in the late 50's in Brooklyn, New York. The group included Eugene Pitt, Jerome Hanna, Richard Harris, Thurmon Prophet, and Norman Johnson.
The group's first success came in 1961 with "My True Story", on Beltone Records. The song reached #3 on the US Pop Singles Chart.
In 1962 Hanna passed, so the group reorganized. The new group included Hanna's replacement, Andre Coles, Casey Spencer, Beatrice Best, Norman Johnson, and of course Eugene Pitt. The group recorded "What Time Is It", and "Three Golden Rings" for Beltone Records before moving to United Artist Records, where they had a hit with "I'm A Happy Man". In 1970 the group moved again, this time to Decca Records, where they recorded as The JYVE FYVE, with Pitt, Spencer, Richard Fisher, and Webster Harris. THe group had a minor hit with "I Want You To Be My Baby" under this name. The group also recorded briefly for Avco Records. The group changed their name afew times along the way, they were Shadow, and Ebony, Ivory and The Jades.
The group went back to The Jive Five in 1978, this group included Pitt, Spenser, Best, and Harris. The group reorganized again in 1982 with Pitt, Best, Charles Mitchell, and Pitt's brothers Herbert and Frank. The group changed it's members afew more times over the years.
In 1985 the renmaed group, Eugene and The Jive Five were introduced to Fred Seibert and Alan Goodman and their company Fred/Alan, Inc. Together with Fred/Alan producer Tom Pomposello they formed what would be a ten year relationship. The began creating and singing the acapella signature sound for American kids' television network Nickelodeon, one of the first specialized cable television channels. The group wrote and recorded some memorable advertising jingles, performed in doo-wop style. They were also part of The Kid's Choic Awards.
The group was part of the PBS Doo-Wop 50 special, The lineup for the show was Pitt, Spenser, Harris, Best, and a not named fifth member.
Norman Johnson passed in 1970, Harris passed in 2003.
I always wanted to be a lead singer, and I thought Eugene Pitt was a great lead, so I studied his style, but to tell the truth I never got it.
THE PASTELS
The Pastels were formed in 1954, the group included DiFosco "Dee" Erwin, Richard Travis, Tony Thomas, and Jimmy Willingham. All four were stationed at U.S. Air Force base in Narsarssuak, Greenland, where their first live appearances were in conjunction with military talent showcases.
According to Marv Goldberg, all four members of the group were transfered to Washington, D.C. The group performed at the "Tops In Blue' talent shows and did very well. The group decided to try for a recording contract. They signed with the small Hull Label. Their first single "Been So Long", was released in 1957, and when it looked liked it would be a hit, Chess Records licensed the disc for national distrution, reissuing the single on it's Argo subsidiary a month later. In early 1958 "Been So Long" went to #5 on the R&B charts and crossed over to #24 on the Billboard Charts. The group toured with Alan Freed's Big Beat Show for awhile and then reurned to the studio to record some new songs. The next song "You Don't Love Me Anymore". The record failed to chart, and after their next try, "So Far Away" also failed, the group disbanded in early 1959. Dee Erwin returned to New York and started a solo career, having a hit with a cover of a World War II song "Swinging On A Star".
I was unable to find much on this group after this point, but if anyone out there has any information on this group please send it to me.
EARL LEWIS AND THE CHANNELS
In the late 50's there were two groups out of New York that were very popular in their shows, but were unable to secure a national hit. The two groups were The Harptones, and The Channels.
Late in 1955 Larry Hamden, Billy Morris, Edward Doulphin, and two un-named singers for The Channels. The un-names didn't last long, but at a talent show in early 1956 the group made a sound defining change. At the show was a group called The Lotharios. The Channels were so impressed with two members of The Lotharios, Earl Lewis, and Clifton Wright, that by the next talent show in the area, the two singers had joined The Channels. With Lewis on lead The Channels won the next show singing The Flamingos', "I'll Be Home". Within afew weeks the group was at The Apollo, where they won second place at amateur night, singing The Platters' "Magic Touch".
In early 1956 the group somehow got together with Bobby Robinson owner of Red Robin Records. The group signed a two year contract with Robinson's Whirling Disc label.
In their first recording session they were able to record "The Closer You Are" written by Earl Lewis who was only 15 at the time. The Channels broke the mold on how doo-wop groups sounded. Most doo-wop groups let the lead solo at the beginning of a verse and the rest of the group would come in with some oohs and aaahs to fill in the background. The Channels decided to open a verse with full five part harmony with the first tenor, second tenor and baritone, singing just a little louder than the bass and falsetto lead. This arrangement made The Channels instantly recognized as soon as the recorded started. "The Closer You Are" was an instant hit on the national airways, but because of poor distribution it never made the national charts. The song did become very popular on the East Coast and a New York street corner doo-wop favorite.
The group's next release came in late 1956, the song was "The Gleam In Your Eye", also written bt Lewis. The song showcased Lewis' full range of talent. The song boosted the group's popularity, and pushed them into a coreer of live shows that would take the group all over the country, for the next 35 years.
In 1957 the group re-released "Flames In MY Heart", a song that would have been a lot better if there had more than twenty minutes to record it. The song didn't get much play and not long after Robinson closed down the label.
Four months later the group auditioned for George Goldner's Gone Records. Goldner liked the group, but didn't like the songs the group with them. They auditioned again for Goldner with some new songs, including "The Girl Next Door" and "All Alone". Goldner was still not ready to sign them. He had them try an old Sammy Kaye's hit "That's My Desire". Eighteen months later Dion and The Belmonts would cover the song as a B side to their "Where Or When". "That's My Desire" was the first song since "Gloria", that Lewis didn't write.
The Group's first release for Gone Records was arranged by Richard Barrett and was released in 1957 and put the group back in the spotlight. The next song "Altar Of Love", didn't chart, and the group soon left Gone Records.
By early 1959 there were only two original Channels left, and the group was back working with Robinson on his new label Fury Records. Members of the group had an argument over the crooked way Robinson ran his label. Lewis and Wright found three replacments for the ones that didn't like Robinson. This new group then recorded two great songs, "My Love Will Never Die" and "Bye Bye Baby", written by Lewis. Lewis didn't have to worry about credit for writing the songs because Robinson didn't give anybody credit. "My LOve Will Never Die" turned out to be one of their more successful songs. The group's release of "The Girl Next Door" was the group's first release that listed Earl Lewis and The Channels on the label.
The group disbanded in late 1959, but in 1961 Jubilee Records started releasing Whirling Disc early releases as if they were new and The Channels became hot again. In 1963 released a new Channels record, but there was only one original member on the record, Lead Larry Hampden, and the group's name was misspelled on the label. (Channells). Larry Hampden changed the name of the group back to original spelling. The group faded away after that.
THE HARPTONES
The Harptones was the other group that didn't have many national hits, but are considered one of the best doo-wop groups ever.
Before there were The Harptones, there were two other groups, The Harps, which included Willie Winfield, his brothers, Jimmy and Dicey Galloway, and Johnny Bronson.
Winfield was from Norfolk, VA, and somtimes sang with his cousin Dickie Smith and The Five Keys. The Harps practiced under the Monroe Street undrepass of the Manhattan Bridge, Considered by a lot of New York doo-wop groups as the worlds biggest and best echo chamber. The Skylarks included Bill Dempsey, Curtis Cherebin, Fred Taylor, Eugene Cooke, Raoul Cita and someone only known as Skillum, practiced on 115th street.
In early 1953 Dicey Galloway was looking for a piano player to work with The Harps. During the process he met The Skylarks, who had a piano player/writer/arranger, named Raoul Cita. This was the man The Harps needed. As time passed the two group melted together. They kept the name The Harps and the group included Winfield and Galloway from the Harps and Cherebin, Dempsey, and Cita from the Skylarks. Not long after, Billy Brown replaced Cherebin, and Nicky Clark, from The Five Crowns joined the group. The group was influenced by the Five Keys, The Swallows, and The Larks. The Harps was thought to be the first doo-wop group to have a full time arranger in the group.
The group's first paying job was in New Jersey at the Piccadilly Club they made $100.00 for two nights work. After that the group started working all over New York and New Jersey, and even performed on a local TV show called Spotlight On Harlem.
The groups big test came in 1953, they felt ready for the Apollo's amateur night. As the Skylarks the group had tried the Apollo in 1951 and were booed off the stage. This time would be different, The Harps sang a rendition of a 1947 hit by Jo Stafford, "Sunday Kind Of Love", the audience loved them.
Now here's the twist of fate that made The Harps one of the most popular groups without a national hit. The group met a representative from MGM Records and were set to meet with him after the show. They also met Leo Rogers of Bruce Records, who introduced the group to his partners, who loved the group's sound and talked the group into signing with Bruce Records. They signed with the wrong label!
The group found out that there was another group called The Harps, so Cita changed the group's name to The Harptones.
"Sunday Kind Of Love" was the group's first single, and the group's rendition of the song with Winfield's velvety voice became a classic. The song became a hit in the tri-state area and got a lot of airplay. The group soon found that a group out of Baltimore had covered their song. The cover did ok, but the superior quality of The Hartones' version won out and the record sold well, but didn't make the national charts. Their B side "I'll Never Tell" even got airplay.
In early 1954 the first of Cita's many songs came out, "My Memories Of You" had tight five part harmony, and Winfield was so smooth on this cut. As great as the groups songs were it soon became clear that Bruce Records did not have any national clout.
"I Depend On You" was the group's next release, Nicky Clark lead on this song, Winfield miss the session that night. The next single was "Why Sould I Love" and it took 22 takes to get it right, and unknown to the group The Four Lads were right down the hall covered the song and made it a B side on one of their records. The group's version still went to #25 on the pop charts.
The group found themselves being loaned to other labels to do backup work for other groups, because the label owners owed favors.
Buddy and Ella Johnson suggested that the group record "Since I Fell For You", the song started out in unison and then the group started weaving their voices in and out behind Winfield's beautiful lead. Bruce Records was unable to take advantage of the song and couldn't move the song past the tri-state area.
The Hartones appeared at Alan Fredd's historic Rock & Roll Ball, with an all-star line up. The show included The Drifters, The Clovers, The Moonglows, Joe Turner, and Fats Domino.
The group's last release with Bruce Records in 1955 was a cover of Ivory Joe Hunter's "I Almost Lost My Mind".
In June of 1955 the group signed with the Old Town label and released a song that Cita had written two years earlier, "Life Is But A Dream". The song has become a street corner classic and everyone tries to do the opening line "Will you take part in" to show off their voices.
In September of 1955, the group played another big show a week long Alan Freed show, featuring, The Moonglows, Chuck Berry, The Nutmegs, The Cardinals, and Tony Bennett.
The group recorded one record for Leo Rogers' Andrea label.in 1956. The group changed again and included Winfield, Jimmy, Dempsey, and Bobby Spenser. This version of The Harptones re-record "My Memories Of You".
Feeling that their songs weren't being promoted properly, the group went back to George Goldner's labels in the summer of 1956. The first single from this effort was "That's The Way It Goes", the tight harmonies of the song made the song the group's favorite song.
In 1956 The Harptones appeared in the first R&B motion picture, Rockin' the Blues, along with The Wanderers, The Hurricanes, Linda Hopkins, The Miller Sisters, and DJ Hal Jackson. The group toured and appeared in all the big shows with the popular groups of the time.
The Harptones were very innovative with their on stage dancing, they moved so much that the audience was amazed that they could sing at all.
The group's last single for Goldner's Rama Records was a cover of The Royals' "The Shrine Of St. Cecilla", this was Bill Brown last recording with the group.
The group didn't release another record until late 1957, the song was "Cry Like I Cried", and was recorded on Goldner's Gee label. The was the group's first use of horns.
1959 found the group on the Warwick label, where they released "Laughing On The Outside", a remake of a 1953 song by Jimmy Beckum.
The Harptones moved around from label to label and had different members over the next few yew years. The last new recording with Winfield was "Sunset", written by his lawyer's son. The group was always popular on the road so their records kept getting re-released by their old labels. The Harptones continued without Winfield. in 1965 a group called The Soothers, the group was The Harptones without Winfield and Dempsey.
In 1970 Winfield, Dempsey, Curtis Fred and Raoul regrouped for a rock and roll revival at the Academy of Music and stayed together until 1972, when Winfield and Raoul added Linda Champion and Lowe Murray to form the current Harptones.
In 1981 the group recorded an LP called "Love Needs The Harptones".
After 39 years Winfield, Raoul, and company are still playing clubs and singing their trademark songs, "Life Is But A Dream", and "Sunday Kind Of Love".
The Harptones have thousands of fans and are considered one of the great groups of all times. I AGREE!!
SIDE BAR
In the Washington Post obituaries dated March 30, 2010, there was a notice of the passing of Johnny Maestro. Maestro was a doo-wop pioneer, as a member of the Crest, Maestro was part of one of the first interracial siging groups of the 50's. The group's best song was "16 Candles". After The Crest Maestro joined a New York group called Brooklyn Bridge, in 1968,and was lead on their big hit, "The Worst That Could Happen". Maestro's last show was January 17, 2010, when The Brooklyn Bridge, appeared at The Mohegan Sun Arena in Connecticut, in a show billed as The Ultimate Doo-Wop Party.
Johnny Maestro will be missed by all of his fans and everyone that loves DOO-Wop!
Please say a prayer for Johnny!!!!!!!!!!!!!!!!
I need some suggestons for my next blog, come on guys, who do you want to read about. Please send comments and suggestions, I love doing this, but I need help.
THE JIVE FIVE
The Jive Five were formed in the late 50's in Brooklyn, New York. The group included Eugene Pitt, Jerome Hanna, Richard Harris, Thurmon Prophet, and Norman Johnson.
The group's first success came in 1961 with "My True Story", on Beltone Records. The song reached #3 on the US Pop Singles Chart.
In 1962 Hanna passed, so the group reorganized. The new group included Hanna's replacement, Andre Coles, Casey Spencer, Beatrice Best, Norman Johnson, and of course Eugene Pitt. The group recorded "What Time Is It", and "Three Golden Rings" for Beltone Records before moving to United Artist Records, where they had a hit with "I'm A Happy Man". In 1970 the group moved again, this time to Decca Records, where they recorded as The JYVE FYVE, with Pitt, Spencer, Richard Fisher, and Webster Harris. THe group had a minor hit with "I Want You To Be My Baby" under this name. The group also recorded briefly for Avco Records. The group changed their name afew times along the way, they were Shadow, and Ebony, Ivory and The Jades.
The group went back to The Jive Five in 1978, this group included Pitt, Spenser, Best, and Harris. The group reorganized again in 1982 with Pitt, Best, Charles Mitchell, and Pitt's brothers Herbert and Frank. The group changed it's members afew more times over the years.
In 1985 the renmaed group, Eugene and The Jive Five were introduced to Fred Seibert and Alan Goodman and their company Fred/Alan, Inc. Together with Fred/Alan producer Tom Pomposello they formed what would be a ten year relationship. The began creating and singing the acapella signature sound for American kids' television network Nickelodeon, one of the first specialized cable television channels. The group wrote and recorded some memorable advertising jingles, performed in doo-wop style. They were also part of The Kid's Choic Awards.
The group was part of the PBS Doo-Wop 50 special, The lineup for the show was Pitt, Spenser, Harris, Best, and a not named fifth member.
Norman Johnson passed in 1970, Harris passed in 2003.
I always wanted to be a lead singer, and I thought Eugene Pitt was a great lead, so I studied his style, but to tell the truth I never got it.
THE PASTELS
The Pastels were formed in 1954, the group included DiFosco "Dee" Erwin, Richard Travis, Tony Thomas, and Jimmy Willingham. All four were stationed at U.S. Air Force base in Narsarssuak, Greenland, where their first live appearances were in conjunction with military talent showcases.
According to Marv Goldberg, all four members of the group were transfered to Washington, D.C. The group performed at the "Tops In Blue' talent shows and did very well. The group decided to try for a recording contract. They signed with the small Hull Label. Their first single "Been So Long", was released in 1957, and when it looked liked it would be a hit, Chess Records licensed the disc for national distrution, reissuing the single on it's Argo subsidiary a month later. In early 1958 "Been So Long" went to #5 on the R&B charts and crossed over to #24 on the Billboard Charts. The group toured with Alan Freed's Big Beat Show for awhile and then reurned to the studio to record some new songs. The next song "You Don't Love Me Anymore". The record failed to chart, and after their next try, "So Far Away" also failed, the group disbanded in early 1959. Dee Erwin returned to New York and started a solo career, having a hit with a cover of a World War II song "Swinging On A Star".
I was unable to find much on this group after this point, but if anyone out there has any information on this group please send it to me.
EARL LEWIS AND THE CHANNELS
In the late 50's there were two groups out of New York that were very popular in their shows, but were unable to secure a national hit. The two groups were The Harptones, and The Channels.
Late in 1955 Larry Hamden, Billy Morris, Edward Doulphin, and two un-named singers for The Channels. The un-names didn't last long, but at a talent show in early 1956 the group made a sound defining change. At the show was a group called The Lotharios. The Channels were so impressed with two members of The Lotharios, Earl Lewis, and Clifton Wright, that by the next talent show in the area, the two singers had joined The Channels. With Lewis on lead The Channels won the next show singing The Flamingos', "I'll Be Home". Within afew weeks the group was at The Apollo, where they won second place at amateur night, singing The Platters' "Magic Touch".
In early 1956 the group somehow got together with Bobby Robinson owner of Red Robin Records. The group signed a two year contract with Robinson's Whirling Disc label.
In their first recording session they were able to record "The Closer You Are" written by Earl Lewis who was only 15 at the time. The Channels broke the mold on how doo-wop groups sounded. Most doo-wop groups let the lead solo at the beginning of a verse and the rest of the group would come in with some oohs and aaahs to fill in the background. The Channels decided to open a verse with full five part harmony with the first tenor, second tenor and baritone, singing just a little louder than the bass and falsetto lead. This arrangement made The Channels instantly recognized as soon as the recorded started. "The Closer You Are" was an instant hit on the national airways, but because of poor distribution it never made the national charts. The song did become very popular on the East Coast and a New York street corner doo-wop favorite.
The group's next release came in late 1956, the song was "The Gleam In Your Eye", also written bt Lewis. The song showcased Lewis' full range of talent. The song boosted the group's popularity, and pushed them into a coreer of live shows that would take the group all over the country, for the next 35 years.
In 1957 the group re-released "Flames In MY Heart", a song that would have been a lot better if there had more than twenty minutes to record it. The song didn't get much play and not long after Robinson closed down the label.
Four months later the group auditioned for George Goldner's Gone Records. Goldner liked the group, but didn't like the songs the group with them. They auditioned again for Goldner with some new songs, including "The Girl Next Door" and "All Alone". Goldner was still not ready to sign them. He had them try an old Sammy Kaye's hit "That's My Desire". Eighteen months later Dion and The Belmonts would cover the song as a B side to their "Where Or When". "That's My Desire" was the first song since "Gloria", that Lewis didn't write.
The Group's first release for Gone Records was arranged by Richard Barrett and was released in 1957 and put the group back in the spotlight. The next song "Altar Of Love", didn't chart, and the group soon left Gone Records.
By early 1959 there were only two original Channels left, and the group was back working with Robinson on his new label Fury Records. Members of the group had an argument over the crooked way Robinson ran his label. Lewis and Wright found three replacments for the ones that didn't like Robinson. This new group then recorded two great songs, "My Love Will Never Die" and "Bye Bye Baby", written by Lewis. Lewis didn't have to worry about credit for writing the songs because Robinson didn't give anybody credit. "My LOve Will Never Die" turned out to be one of their more successful songs. The group's release of "The Girl Next Door" was the group's first release that listed Earl Lewis and The Channels on the label.
The group disbanded in late 1959, but in 1961 Jubilee Records started releasing Whirling Disc early releases as if they were new and The Channels became hot again. In 1963 released a new Channels record, but there was only one original member on the record, Lead Larry Hampden, and the group's name was misspelled on the label. (Channells). Larry Hampden changed the name of the group back to original spelling. The group faded away after that.
THE HARPTONES
The Harptones was the other group that didn't have many national hits, but are considered one of the best doo-wop groups ever.
Before there were The Harptones, there were two other groups, The Harps, which included Willie Winfield, his brothers, Jimmy and Dicey Galloway, and Johnny Bronson.
Winfield was from Norfolk, VA, and somtimes sang with his cousin Dickie Smith and The Five Keys. The Harps practiced under the Monroe Street undrepass of the Manhattan Bridge, Considered by a lot of New York doo-wop groups as the worlds biggest and best echo chamber. The Skylarks included Bill Dempsey, Curtis Cherebin, Fred Taylor, Eugene Cooke, Raoul Cita and someone only known as Skillum, practiced on 115th street.
In early 1953 Dicey Galloway was looking for a piano player to work with The Harps. During the process he met The Skylarks, who had a piano player/writer/arranger, named Raoul Cita. This was the man The Harps needed. As time passed the two group melted together. They kept the name The Harps and the group included Winfield and Galloway from the Harps and Cherebin, Dempsey, and Cita from the Skylarks. Not long after, Billy Brown replaced Cherebin, and Nicky Clark, from The Five Crowns joined the group. The group was influenced by the Five Keys, The Swallows, and The Larks. The Harps was thought to be the first doo-wop group to have a full time arranger in the group.
The group's first paying job was in New Jersey at the Piccadilly Club they made $100.00 for two nights work. After that the group started working all over New York and New Jersey, and even performed on a local TV show called Spotlight On Harlem.
The groups big test came in 1953, they felt ready for the Apollo's amateur night. As the Skylarks the group had tried the Apollo in 1951 and were booed off the stage. This time would be different, The Harps sang a rendition of a 1947 hit by Jo Stafford, "Sunday Kind Of Love", the audience loved them.
Now here's the twist of fate that made The Harps one of the most popular groups without a national hit. The group met a representative from MGM Records and were set to meet with him after the show. They also met Leo Rogers of Bruce Records, who introduced the group to his partners, who loved the group's sound and talked the group into signing with Bruce Records. They signed with the wrong label!
The group found out that there was another group called The Harps, so Cita changed the group's name to The Harptones.
"Sunday Kind Of Love" was the group's first single, and the group's rendition of the song with Winfield's velvety voice became a classic. The song became a hit in the tri-state area and got a lot of airplay. The group soon found that a group out of Baltimore had covered their song. The cover did ok, but the superior quality of The Hartones' version won out and the record sold well, but didn't make the national charts. Their B side "I'll Never Tell" even got airplay.
In early 1954 the first of Cita's many songs came out, "My Memories Of You" had tight five part harmony, and Winfield was so smooth on this cut. As great as the groups songs were it soon became clear that Bruce Records did not have any national clout.
"I Depend On You" was the group's next release, Nicky Clark lead on this song, Winfield miss the session that night. The next single was "Why Sould I Love" and it took 22 takes to get it right, and unknown to the group The Four Lads were right down the hall covered the song and made it a B side on one of their records. The group's version still went to #25 on the pop charts.
The group found themselves being loaned to other labels to do backup work for other groups, because the label owners owed favors.
Buddy and Ella Johnson suggested that the group record "Since I Fell For You", the song started out in unison and then the group started weaving their voices in and out behind Winfield's beautiful lead. Bruce Records was unable to take advantage of the song and couldn't move the song past the tri-state area.
The Hartones appeared at Alan Fredd's historic Rock & Roll Ball, with an all-star line up. The show included The Drifters, The Clovers, The Moonglows, Joe Turner, and Fats Domino.
The group's last release with Bruce Records in 1955 was a cover of Ivory Joe Hunter's "I Almost Lost My Mind".
In June of 1955 the group signed with the Old Town label and released a song that Cita had written two years earlier, "Life Is But A Dream". The song has become a street corner classic and everyone tries to do the opening line "Will you take part in" to show off their voices.
In September of 1955, the group played another big show a week long Alan Freed show, featuring, The Moonglows, Chuck Berry, The Nutmegs, The Cardinals, and Tony Bennett.
The group recorded one record for Leo Rogers' Andrea label.in 1956. The group changed again and included Winfield, Jimmy, Dempsey, and Bobby Spenser. This version of The Harptones re-record "My Memories Of You".
Feeling that their songs weren't being promoted properly, the group went back to George Goldner's labels in the summer of 1956. The first single from this effort was "That's The Way It Goes", the tight harmonies of the song made the song the group's favorite song.
In 1956 The Harptones appeared in the first R&B motion picture, Rockin' the Blues, along with The Wanderers, The Hurricanes, Linda Hopkins, The Miller Sisters, and DJ Hal Jackson. The group toured and appeared in all the big shows with the popular groups of the time.
The Harptones were very innovative with their on stage dancing, they moved so much that the audience was amazed that they could sing at all.
The group's last single for Goldner's Rama Records was a cover of The Royals' "The Shrine Of St. Cecilla", this was Bill Brown last recording with the group.
The group didn't release another record until late 1957, the song was "Cry Like I Cried", and was recorded on Goldner's Gee label. The was the group's first use of horns.
1959 found the group on the Warwick label, where they released "Laughing On The Outside", a remake of a 1953 song by Jimmy Beckum.
The Harptones moved around from label to label and had different members over the next few yew years. The last new recording with Winfield was "Sunset", written by his lawyer's son. The group was always popular on the road so their records kept getting re-released by their old labels. The Harptones continued without Winfield. in 1965 a group called The Soothers, the group was The Harptones without Winfield and Dempsey.
In 1970 Winfield, Dempsey, Curtis Fred and Raoul regrouped for a rock and roll revival at the Academy of Music and stayed together until 1972, when Winfield and Raoul added Linda Champion and Lowe Murray to form the current Harptones.
In 1981 the group recorded an LP called "Love Needs The Harptones".
After 39 years Winfield, Raoul, and company are still playing clubs and singing their trademark songs, "Life Is But A Dream", and "Sunday Kind Of Love".
The Harptones have thousands of fans and are considered one of the great groups of all times. I AGREE!!
SIDE BAR
In the Washington Post obituaries dated March 30, 2010, there was a notice of the passing of Johnny Maestro. Maestro was a doo-wop pioneer, as a member of the Crest, Maestro was part of one of the first interracial siging groups of the 50's. The group's best song was "16 Candles". After The Crest Maestro joined a New York group called Brooklyn Bridge, in 1968,and was lead on their big hit, "The Worst That Could Happen". Maestro's last show was January 17, 2010, when The Brooklyn Bridge, appeared at The Mohegan Sun Arena in Connecticut, in a show billed as The Ultimate Doo-Wop Party.
Johnny Maestro will be missed by all of his fans and everyone that loves DOO-Wop!
Please say a prayer for Johnny!!!!!!!!!!!!!!!!
I need some suggestons for my next blog, come on guys, who do you want to read about. Please send comments and suggestions, I love doing this, but I need help.
Thursday, March 4, 2010
THEY SHOULD'DA BEEN DOO-WOP
This installment is about the solo artist and groups that weren't considered Doo-Wop, but either their style or their early careers make them seem like Doo-Wop to me.
We're going to look at Patti LaBelle and The Bluebells, Etta James, Jackie Wilson, Carla Thomas, Gene Chandler, and The O'Jays.
Patti LaBelle and The Bluebells
Patti LaBelle was born Patricia Louise Holt in Philadelphia, PA. Known as Patsy to her friends and family, Holt formed her first group, called The Ordettes, with three friends in 1959. In 1960 two of the original members left and were replaced by Nona Hendryx, and Sarah Dash. Not long after the third original member of the group was replaced by Cindy Birdsong. The group left school and toured local clubs, honky tonks, and truck stops.
The Ordettes almost never got to record, because at an audition with Newton Records, Holt was considered too plain, too dark, and not very attractive. That was until she started to sing! To spice Patti up a bit, a name change was suggested, she went from Holt to LaBelle, and the group changed their name to The Bluebells.
The Bluebells first release "I Sold My Heart To The Junkman" was really recorded by The Starlets, but was released as a Bluebell song due to a contract dispute with The Starlets and their label. The song went to #15 on the Billboard Hot 100 in 1962. The group became a hit on the Chitlin' Circuit, earning national fame at the Apollo. We all know that Patti LaBelle and The Bluebells went on to great fame over the years. And if you listen to their version of "Down The Isle", "Danny Boy", and the Doo-wop song that almost every group recorded, "You'll Never Walk Alone", with the old time church feel, that's neither R&B or Pop, you'll understand why I say that in Patti LaBelle and The Bluebells early career "They Should'da Been Doo-wop"!!
ETTA JAMES
Born Jamesette Hawkins in Los Angeles, in 1938, Etta James went on to fame in the R&B world, but before then she started out in what was considerd race music. James moved with her family to San Francisco in 1950. She soon teamed up with two friends and formed a doo-wop group called The Peaches. Johnny Otis heard them and had them audition for him. The group sang an answer to Hank Ballard's song "Work With Me Annie" called "Roll With Me Henry". Without her mother permission, The Peaches went to Los Angeles to record the song. The group recorded the song for Modern Records. The group changed the name of the song to "The Wallflower" (Dance With Me Henry). The song was released in 1955. The song went to #2 on the R&B charts, but was quickly covered by Georga Gibbs. The success of the song got the group a chance to go on tour with Little Richard. As the success of the song faded Etta and the group split, but this didn't stop Etta from finding her own way to success.
In 1960 Etta signed with Chess Records, singing on their Argo label and later on their Cadet label. Etta started making hits, starting with "If I can't Have You", "Spoonful", but her big hit was "All I could Do was Cry", the song went to #2 on the Billboard R&B chart. Etta followed those songs with "My Dearest Darling", and then came "AT LAST". Every doo-wop group that was worth anything sang "At Last". And then came another doo-wop favorite "Sunday Kind Of Love". After the success of these songs Etta started moving away from those kind of songs and went more to R&B, but when you listen to early Etta James you understand why I say she "Should'da been doo-wop".
JACKIE WILSON
Jackie Wilson's first venture into music came when he formed a group called The Falcons, which included his cousin Levi Stubbs, who would later lead The Four Tops of MOTOWN fame. Wilson was another Johnny Otis discovery. Otis moved Wilson to a group called The Thrillers. That group would later become the Royals, who would later become the Midnighters, but Wilson had left the group by this time. Wilson recorded two versions of "Danny Boy" with Dizzyy Gillespie's label Gee Dee Records using the name Sonny Wilson, his nick name.
In 1953 Wilson joined Billy Wards Dominoes, after an audition to replace Clyde McPhatter, who had left to form his own group, The Drifters. Billy Ward is credited with changing Wilson's name from Jack to Jackie for the stage. Wilson was coached by McPhatter to ensure that the sound of The Dominoes stayed true to what Ward wanted. Wilson was lead for the group for three years, but it seems that the group was never the same after McPhatter's departure. Wilson went solo in 1957 and he and Levi Stubbs found work at Detroit's Flame Show Bar, owned by music publisher Al Green. Green worked a deal for Wilson with Decca Records, and Wilson was signed to the Brunswick label.
Soon after Wilson signed his contract Green died, but his partner took over as Wilson's manager. Wilson's first release was "Reet Petite", written by Barry Gordy, Roquel Davis, and Gordy's sister Gwen. This trio of song writers would write nine hits for Wilson, including "To Be Loved", "That's Why I Love You So", "I'll Be Satisfied", and "Lonely Teardrops"
In later years Wilson would sing some operatic ballads and some easy listening material, but he would return to his roots with songs like "Doggin Around", "Night", "Alone At Last", and "My Empty Arms". All of these songs made the charts. Wilson had a lull in his career between 1964 and 1966, but had a hit in 1966 with "(Your Love Keeps Liftng Me)" "Higher and Higher".
If you love Jackie Wilson like I do and you know his story, than you understand why I say Wilson "Should'da been doo-wop".
CARLA THOMAS
Carla Thomas was born December 21, 1942 in Memphis Tennesee. Her father was the legendary Rufus Thomas. Carla grew up in a house full of music, Carla and her siblings were musically gifted, and performed amateur shows around town with their father as MC. These shows gave Carla a view of the music world and gave her footing for her rise to The Queen of the Memphis sound. Carla performed with a local group that was sponsered by the Black radio station in Memphis. The group was called The Teen Town Singers. Even though the rules stated the members had to be teenagers, Carla got in at ten years old, because Rufus was a radio personality. One of the members of the group at the time was Issac Hayes.
While Carla released albums into the 2000's, she is best known for her work Atlantic and Stax Records in the 60's. Carla's first record was a duet with her father called "Cause I Love You". The record got the attention of Jerry Wexler. Wexler stole Carla from Satelite Records and distibuted the song which paved the way for Carla's biggest hit, "GEE Whiz". "Gee Whiz" would chart at #5 on the R&B chart and #10 on the pop chart. The song was first recorded at the Thomas family home. Rufus shopped the song to Vee-Jay Records in Chicago, but dispite their interest, Vee-Jay never moved on the song. Rufus took the song back to Memphis and the record was distributed through Atlantic Records and became an overwhelming success. Carla was propelled into the visual spotlight and was soon on American Bandstand. Carla said she thought the song was young sounding and was surprised at the song's success. The song also did wonders for Stax Records a subsidary of Atlantic Records. Carla didn't have the same success with future recordings. She did however record some memorable songs, "I'll Bring It On Home To You", an answer to Sam Cooke's "Bring It On Home To Me", in 1962, "Stop Look What You're Doing", in 1965, "Let Me Good To You", and "B-A-B-Y" in 1966. In 1967 Carla recorded her second best song "Tramp" with Otis Redding.
Carla, like a lot of doo-wop artist, had one giant hit and some songs that charted, but nothing as big as the first one. With that in mind and the kind of music Stax was making at the time, you see why I say Carla "Should'da been doo-wop".
GENE CHANDLER
Gene Chandler was born Eugene Dixon, July 6, 1937, in Chicago. Chandler's music career started in the early 50's with a group called The Gaytones. In 1957 Chandler joined a doo-wop group called The Dukays. The group included Chandler, James Love, Shirley Jones, Earl Edwards and Ben Broyles, and Chandler soon became lead singer.
Chandler was drafted into the Army, but returned to the group in 1960. The group's first record, "The Girl Is A Devil" was with Nat Records in 1961. The group also recorded "Nite Owl". Chandler recorded as Gene Dixon with The Dukays and as Gene Chandler for his solo work. Vee-Jay Records, recorded and released The Dukay's "Duke Of Earl", but gave all of the credit for the song to Chandler. "Duke Of Earl" sold over a millin copies in one month. The song spent three weeks on the Billboard charts at #1. After the success of the song Chandler started wearing a cape and top hat and became "The Duke Of Earl. Chandler appeared in his Duke outfit in the movie Don't Knock The Twist in 1962. Chandler's concerts became popular and his encore song became "Rainbow '65 one his collaborations with Curtis Mayfield. Chandler recorded "Rainbow three times in his career, and each time it became a hit.
Chandler had another hit with "Just Be True" in 1964, the song was produced by Curtis Mayfield, and landed in the top 20. Chandler had more hits with "Nothing Can Stop Me", "What Now", "A Man's Temptation", "Bless Our Love" over the next five years. Chandler also scored with "You Threw A Lucky Punch" which was ment to compete with Mary Well's "You Beat To The Punch".
Chandler got into the production side of the business in the 70's, and continued to preformed as the Duke in doo-wop shows around the country.
I think because of his background and his popularity on the oldies circuit Gene Chandler "Should'da been doo-wop".
THE O'JAYS
The O'Jays were formed in 1958 at Canton McKinley High School in Canton, Ohio. The group was first called The Triumphs, then The Mascots. The group's first recording was "The Miracles", in 1961. The song was moderate hit in Cleveland. In 1963 the group change their name again to The O'Jays in honor of a local DJ, Eddie O'Jay. As The O'Jays their first recording was "Lonely Drifter", which went national. The group charted throughout the 60's with songs like "Lipstick Traces", "Stand In For Love", "Let It All Out", "I'll Be Sweeter Tomorrow", "Deeper In Love With You", and "One Night Affair".
To me "Deeper In Love With You" sounds like a doo-wop jump song, so in my mind if these early songs had been arranged in five part harmony The O'Jays "Should'da been doo-wop".
The O'Jays were inducted into the Vocal Group Hall Of Fame in 2004, and the Rock and Roll Hall Of Fame in 2005.
Now I know some of you won't agree with me on some of these groups, so let's hear some comments, I need feed back so that I can continue to provide you with these blogs.
Next up The Jive Five, The Pastels, Earl Lewis and The Channels, and The Hartones. If there are any groups that you want to read about please let me know.
See you next time!!!!
We're going to look at Patti LaBelle and The Bluebells, Etta James, Jackie Wilson, Carla Thomas, Gene Chandler, and The O'Jays.
Patti LaBelle and The Bluebells
Patti LaBelle was born Patricia Louise Holt in Philadelphia, PA. Known as Patsy to her friends and family, Holt formed her first group, called The Ordettes, with three friends in 1959. In 1960 two of the original members left and were replaced by Nona Hendryx, and Sarah Dash. Not long after the third original member of the group was replaced by Cindy Birdsong. The group left school and toured local clubs, honky tonks, and truck stops.
The Ordettes almost never got to record, because at an audition with Newton Records, Holt was considered too plain, too dark, and not very attractive. That was until she started to sing! To spice Patti up a bit, a name change was suggested, she went from Holt to LaBelle, and the group changed their name to The Bluebells.
The Bluebells first release "I Sold My Heart To The Junkman" was really recorded by The Starlets, but was released as a Bluebell song due to a contract dispute with The Starlets and their label. The song went to #15 on the Billboard Hot 100 in 1962. The group became a hit on the Chitlin' Circuit, earning national fame at the Apollo. We all know that Patti LaBelle and The Bluebells went on to great fame over the years. And if you listen to their version of "Down The Isle", "Danny Boy", and the Doo-wop song that almost every group recorded, "You'll Never Walk Alone", with the old time church feel, that's neither R&B or Pop, you'll understand why I say that in Patti LaBelle and The Bluebells early career "They Should'da Been Doo-wop"!!
ETTA JAMES
Born Jamesette Hawkins in Los Angeles, in 1938, Etta James went on to fame in the R&B world, but before then she started out in what was considerd race music. James moved with her family to San Francisco in 1950. She soon teamed up with two friends and formed a doo-wop group called The Peaches. Johnny Otis heard them and had them audition for him. The group sang an answer to Hank Ballard's song "Work With Me Annie" called "Roll With Me Henry". Without her mother permission, The Peaches went to Los Angeles to record the song. The group recorded the song for Modern Records. The group changed the name of the song to "The Wallflower" (Dance With Me Henry). The song was released in 1955. The song went to #2 on the R&B charts, but was quickly covered by Georga Gibbs. The success of the song got the group a chance to go on tour with Little Richard. As the success of the song faded Etta and the group split, but this didn't stop Etta from finding her own way to success.
In 1960 Etta signed with Chess Records, singing on their Argo label and later on their Cadet label. Etta started making hits, starting with "If I can't Have You", "Spoonful", but her big hit was "All I could Do was Cry", the song went to #2 on the Billboard R&B chart. Etta followed those songs with "My Dearest Darling", and then came "AT LAST". Every doo-wop group that was worth anything sang "At Last". And then came another doo-wop favorite "Sunday Kind Of Love". After the success of these songs Etta started moving away from those kind of songs and went more to R&B, but when you listen to early Etta James you understand why I say she "Should'da been doo-wop".
JACKIE WILSON
Jackie Wilson's first venture into music came when he formed a group called The Falcons, which included his cousin Levi Stubbs, who would later lead The Four Tops of MOTOWN fame. Wilson was another Johnny Otis discovery. Otis moved Wilson to a group called The Thrillers. That group would later become the Royals, who would later become the Midnighters, but Wilson had left the group by this time. Wilson recorded two versions of "Danny Boy" with Dizzyy Gillespie's label Gee Dee Records using the name Sonny Wilson, his nick name.
In 1953 Wilson joined Billy Wards Dominoes, after an audition to replace Clyde McPhatter, who had left to form his own group, The Drifters. Billy Ward is credited with changing Wilson's name from Jack to Jackie for the stage. Wilson was coached by McPhatter to ensure that the sound of The Dominoes stayed true to what Ward wanted. Wilson was lead for the group for three years, but it seems that the group was never the same after McPhatter's departure. Wilson went solo in 1957 and he and Levi Stubbs found work at Detroit's Flame Show Bar, owned by music publisher Al Green. Green worked a deal for Wilson with Decca Records, and Wilson was signed to the Brunswick label.
Soon after Wilson signed his contract Green died, but his partner took over as Wilson's manager. Wilson's first release was "Reet Petite", written by Barry Gordy, Roquel Davis, and Gordy's sister Gwen. This trio of song writers would write nine hits for Wilson, including "To Be Loved", "That's Why I Love You So", "I'll Be Satisfied", and "Lonely Teardrops"
In later years Wilson would sing some operatic ballads and some easy listening material, but he would return to his roots with songs like "Doggin Around", "Night", "Alone At Last", and "My Empty Arms". All of these songs made the charts. Wilson had a lull in his career between 1964 and 1966, but had a hit in 1966 with "(Your Love Keeps Liftng Me)" "Higher and Higher".
If you love Jackie Wilson like I do and you know his story, than you understand why I say Wilson "Should'da been doo-wop".
CARLA THOMAS
Carla Thomas was born December 21, 1942 in Memphis Tennesee. Her father was the legendary Rufus Thomas. Carla grew up in a house full of music, Carla and her siblings were musically gifted, and performed amateur shows around town with their father as MC. These shows gave Carla a view of the music world and gave her footing for her rise to The Queen of the Memphis sound. Carla performed with a local group that was sponsered by the Black radio station in Memphis. The group was called The Teen Town Singers. Even though the rules stated the members had to be teenagers, Carla got in at ten years old, because Rufus was a radio personality. One of the members of the group at the time was Issac Hayes.
While Carla released albums into the 2000's, she is best known for her work Atlantic and Stax Records in the 60's. Carla's first record was a duet with her father called "Cause I Love You". The record got the attention of Jerry Wexler. Wexler stole Carla from Satelite Records and distibuted the song which paved the way for Carla's biggest hit, "GEE Whiz". "Gee Whiz" would chart at #5 on the R&B chart and #10 on the pop chart. The song was first recorded at the Thomas family home. Rufus shopped the song to Vee-Jay Records in Chicago, but dispite their interest, Vee-Jay never moved on the song. Rufus took the song back to Memphis and the record was distributed through Atlantic Records and became an overwhelming success. Carla was propelled into the visual spotlight and was soon on American Bandstand. Carla said she thought the song was young sounding and was surprised at the song's success. The song also did wonders for Stax Records a subsidary of Atlantic Records. Carla didn't have the same success with future recordings. She did however record some memorable songs, "I'll Bring It On Home To You", an answer to Sam Cooke's "Bring It On Home To Me", in 1962, "Stop Look What You're Doing", in 1965, "Let Me Good To You", and "B-A-B-Y" in 1966. In 1967 Carla recorded her second best song "Tramp" with Otis Redding.
Carla, like a lot of doo-wop artist, had one giant hit and some songs that charted, but nothing as big as the first one. With that in mind and the kind of music Stax was making at the time, you see why I say Carla "Should'da been doo-wop".
GENE CHANDLER
Gene Chandler was born Eugene Dixon, July 6, 1937, in Chicago. Chandler's music career started in the early 50's with a group called The Gaytones. In 1957 Chandler joined a doo-wop group called The Dukays. The group included Chandler, James Love, Shirley Jones, Earl Edwards and Ben Broyles, and Chandler soon became lead singer.
Chandler was drafted into the Army, but returned to the group in 1960. The group's first record, "The Girl Is A Devil" was with Nat Records in 1961. The group also recorded "Nite Owl". Chandler recorded as Gene Dixon with The Dukays and as Gene Chandler for his solo work. Vee-Jay Records, recorded and released The Dukay's "Duke Of Earl", but gave all of the credit for the song to Chandler. "Duke Of Earl" sold over a millin copies in one month. The song spent three weeks on the Billboard charts at #1. After the success of the song Chandler started wearing a cape and top hat and became "The Duke Of Earl. Chandler appeared in his Duke outfit in the movie Don't Knock The Twist in 1962. Chandler's concerts became popular and his encore song became "Rainbow '65 one his collaborations with Curtis Mayfield. Chandler recorded "Rainbow three times in his career, and each time it became a hit.
Chandler had another hit with "Just Be True" in 1964, the song was produced by Curtis Mayfield, and landed in the top 20. Chandler had more hits with "Nothing Can Stop Me", "What Now", "A Man's Temptation", "Bless Our Love" over the next five years. Chandler also scored with "You Threw A Lucky Punch" which was ment to compete with Mary Well's "You Beat To The Punch".
Chandler got into the production side of the business in the 70's, and continued to preformed as the Duke in doo-wop shows around the country.
I think because of his background and his popularity on the oldies circuit Gene Chandler "Should'da been doo-wop".
THE O'JAYS
The O'Jays were formed in 1958 at Canton McKinley High School in Canton, Ohio. The group was first called The Triumphs, then The Mascots. The group's first recording was "The Miracles", in 1961. The song was moderate hit in Cleveland. In 1963 the group change their name again to The O'Jays in honor of a local DJ, Eddie O'Jay. As The O'Jays their first recording was "Lonely Drifter", which went national. The group charted throughout the 60's with songs like "Lipstick Traces", "Stand In For Love", "Let It All Out", "I'll Be Sweeter Tomorrow", "Deeper In Love With You", and "One Night Affair".
To me "Deeper In Love With You" sounds like a doo-wop jump song, so in my mind if these early songs had been arranged in five part harmony The O'Jays "Should'da been doo-wop".
The O'Jays were inducted into the Vocal Group Hall Of Fame in 2004, and the Rock and Roll Hall Of Fame in 2005.
Now I know some of you won't agree with me on some of these groups, so let's hear some comments, I need feed back so that I can continue to provide you with these blogs.
Next up The Jive Five, The Pastels, Earl Lewis and The Channels, and The Hartones. If there are any groups that you want to read about please let me know.
See you next time!!!!
Saturday, February 20, 2010
THE LADIES OF DOO-WOP
In this installment we're going look at some of the girls groups of the 50's and early 60's. For the most part the girl groups weren't considered doo-wopers, but as we look back there are afew groups that would fit the bill. With the exception of the Shirells, and the Chantels most of the early girl groups came and went without much notice.
We'll look at The Bobbettes, The Crystals, Shirley Gunter and The Queens, The Teen Queens, The Deltairs, The Primettes, and The Poni-Tails.
The Bobbettes
The Bobbettes were formed in Harlem, New York in 1955. At first they called themselves The Harlem Queens. They met as young ladies while singing at the Glee Club at P.S. 109 in Harlem. The group was discovered by James Dailey, a record producer who became their manager, while playing a concert at the famed Apollo. They were signed to Atlantic Records.
In 1957 the girls released their first hit "Mr. Lee", an uptempo tune where the group proclaims their devotion for their school teacher. The girls actually disliked the real life Mr. Lee. The original lyrics were a put down to the real Mr. Lee, but the label insisted that the lyrics be changed. The song became the group's biggest hit, it peaked #6 on Billboard Pop chart and spent 4 weeks at #1 on the R&B chart. This made The Bobbettes the first girl group to have a #1 R&B hit that also made the Pop top 10.
After the release of some novelty songs for Atlantic, that didn't score, the group recorded the original "I Shot Mr. Lee". Atlantic refused the song and the group left the label and signed with Teddy Vann, and a new version of the song was recorded on the Triple-X label, the song went to #52 on the Billboard Hot 100, which forced Atlantic to release the first version of the song.
Over the years they recorded a series of songs that didn't move, the group disbanded in 1974.
The Bobbettes were nominated for induction into the Vocal Group Hall of Fame.
The Crystals
The Crystals were a girl group out of New York, and are considered one of the defining girl acts of the early 60's. Between 1961 and 1964 the group charted hits with songs like, "Uptown", "He's A Rebel", "Da Doo Ron Ron" and "Then He Kissed Me". All of the songs were producd by Phil Spector and featured three different leads.
The original group included Barbara Alston, Mary Thomas, Dolores "Dee Dee" Kenniebrew, Myrna Girard and Patricia "Patsy" Wright. The group signed with Phil Spector's Phillies Records. Phil Spector choose Alston to lead the group even though she was afraid of singing in front of audiences.
The groups first hit was "There's No Other (Like My Baby)", in 1961, the B-side was "Oh Yeah , Maybe Baby", with Wright on lead. The song was written by Spector and Leroy Bates, and reached #20 on the Billboard chart, giving Spector a good start for his new label. The group's second hit was "UpTown" written by Brill Building writers Barry Mann and Cynthia Weil. Alston was the lead on this song. Their next song was "He Hit Me (And It Felt Like A Kiss)" was written by Carole King and Gerry Goffin. The song had touchy subject about men hitting women, had limited airplay, but still has an underground following.
After "He Hit Me" failed, Spector started recording Darlene Love and her group The Blossoms as The Crystals. As the story goes, The Crytals weren't able to travel from New York to LA in time for a recording session. Spector wanted to record "He's A Rebel", a Gene Pitney written song, before anyone else could. Darlene Love and The Blossoms were available because they were based in LA. Spector recorded Love and her group as The Crystals. The best story is that Vikki Carr was recording "He's A Rebel at the same time as Spector. The Shirells had turned down the song because of it's anti establishment lyrics. The song marked a shift where girls stated singing about falling love with bad boys instead of the he's so sweet kind of guy. " He's A rebel" was The Crystal's only US #1 hit. The Crystals next hit was "He's Sure The Boy I Love" was also sung by Darlene and The Blossoms. It reached #11 on Billboard and had a spoken intro by Darlene Love.
The next release by the Crystals had to be one the strangest releases ever. The song was "Let's Dance To The Screw". No-one knows the real story, but most agree the Spector wanted to upset his former business partner Lester Sill. The song was six minutes long and was not playable on the radio in 1963. The song had basic instrumentation and Spector himself intoning "Dance The Screw. No-one knows if this group was The Crystals or The Blossoms. The single was never released commercially and the only copies to be found are marked DJ copy not for sale.
The real Crystals returned to the studio in 1963, but by this time Thomas had left the group. Alston never liked being on lead, finally gave it up and Brooks took over. Brooks had been singing Alston's lead in live shows for awhile. After "Let's Dance The Screw" the group's next release was "Da Doo Ron Ron" It has been said the the song was recorded by Darlene Love and her Blossoms, with Love on lead, but prior to release Spector erased Love's voice and replaced it with LaLa Brooks voice, and kept The Blossoms in the background. A soon to be discovered Cher was also in the background. The song hit the top 10 in the US and the UK. "Then He Kissed Me" was the first single since "He Hit Me" that featured all members of the Crystals as a definite group.
In 1964, because of lack of attention from Spector and a dispute over royalties, The Crystals were very unhappy with Spector. The group left Phillies Records and moved to United Artist Records in late 1964.
Wright left the group in 1964 and was replaced by Frances Collins, the group became a trio after Alston left. The group didn't have much success after this and disbanded in 1967. They reunited in 1971 and are still performing today.
Shirley Gunter and The Queens
Shirley Gunter and The Queens formed the group with some high school friends, pushed into it by her brother Cornel, future member of The Coasters. The group is considered the first real all-female Doo-Wop group. The group's 1954 recording of "Oop Shoop", is the first record to be written, and performed successfully by a group of young Black women. The song was recorded on Flair Records, and it was brother Cornel, who arranged for the girl's audition with the Bihari brothers owners of Flair Records.
Gunter recorded as a solo act at first, but it wasn't until Shirley had her friends join with her that things started to move. The uptempo "Oop Shoop", was recorded in just a couple of takes, and as some say the rest is rock & roll history.
Shirley recorded with The Queens before teaming up with her bother and the group called the Flairs. Shirley had an almost hit with a song called "Headin' Home". Shirley went solo again, but never had a major hit, not because she didn't have the talent, or for lack of effort, it just seems that the public wasn't ready.
It's been said that "Oop Shoop" lyrics and dance beat set the standard for future groups like The Bobbettes.
In a recording career the was only three years long, Shirley was part of the first female doo-wop group, written her own hits, and gave rock & roll it's first big female hit "Oop Shoop", Shirley was a big hit.
THE TEEN QUEENS
The Teen Queens were formed in the early 50's and are most rembered for their hit "Eddie My Love", recorded in 1956. The song went to #14 on the Billboard Hot 100 chart.
The group consisted of sisters Betty and Rose Collins, their brother was Aaron Collins of The Cadets. Aaron wrote "Eddie My Love", the song was released by RPM Records, but "Eddie MY Love" was their only hit dispite the release of a string of songs.
The group left RPM in 1958 and signed a one song contract with RCA Records, where they released "Dear Tommy", which failed to make the charts. The group then signed with Antler Records, however they had little success. The group disbanded in 1961.
The song "Eddie My Love" was covered by The Chordettes, and The Fontane Sisters, the song made the charts with both groups.
THE DELTAIRS
The Deltairs were formed in the South Jamaica projects of New York in 1955. The group came in second in a senior year talent show at Central Commercial High School. The original name was The Centraltone Debs, before switching to The Deltairs. The group included Mae Brown, Carol Stansbury, Henrietta Roper, and someone named Joyce.
After graduation Brown got married and Stanabury lost track of Roper and Joyce. Not wanting to give up music, after a few months Stansbury recruited her sister Thelma and a friend Shirley Taylor and The Deltairs were re-born. The group practiced with other young groups, like The 5 Sharps, The Beltones and The Cleftones. There was a fourth member of the group Barbara Lee who became a permanent member of the group.
At her job Carol Stansbury, became friends with Al Browne, a pianist and band leader. Browne introduced the group to Malcolm Dodds who told the group about a talent show at the boys club, they came in second. Malcolm liked the groups harmony and helped them with their arrangements.
In 1955 there weren't a lot of female groups around so the groups that influenced the girls were male groups. The group arranged their own versions of some of the standards of the day such as "Danny Boy", "That Lucky Old Sun", and "You'll Never Walk Alone".
The group played small clubs and schools when they could find work. In 1957 Shirley Taylor brought in a friend, Barbara Thompson and the four became five. Also in 1957 Al Browne introduced the girls to Stan Feldman, and Ed Portnoy, who became their managers. Wanting to showcase their talent, Feldman and Portnoy, formed Ivy Records.
At their first session with Ivy Records, the group recorded four songs, two of the songs were "Lullaby Of The Bells", and "Standing At The Altar", two songs that were written by Stansbury. The other two songs were "It's Only You Dear" written by Al Browne and Oliver Hall, and "I Might like It" written by veteran songwriter George Weiss. The orchestra was lead by Al Browne himself. Barbara Thompson led Lullaby Of The Bells", with Barbara Lee singing bass. Thomson and Stansbury teamed up on "It's Ony You". This recording was The Deltairs first record and the first release by Ivy Records. Later Portnoy teamed with Paul Winley of Winley Records (Remember that name??) to form Porwin Records, which recorded The Clovers in 1960.
The record started moving in the New York area and the group got booked on a show put on by DJ Hal Jackson at the Hunts Point Palace in the Bronx. The show included The Bobbettes, The Rays, The Chantels, The Dubs, The Rob-Roys, and a few more groups. The song did so well that the group was booked for a week at The Apollo in december of 1957. The show included some heavy weights in music, Bo Diddley, The Moonglows, The Drifters, Big Maybelle, The Dells, Screamin' Jay Hawkins, Priscilla Bowman, and The Reuben Phillips Orchestra. In January of 1958 the group appeared on Paul Sherman's first show at the St. Nicholas Arena, with Roy Hamilton, The Dubs, Thruston Harris and others. The group played the Chittlin' Circuit and appeared at the Uptown in Philly, the Howard, in D.C., and the Royal in Baltimore. They sang "Come Go With Me" on Ted Mack's Amateur Hour, and sang "Lullaby Of The Bells" on American Bandstand.
The Deltairs recorded more songs with the Ivy Label, but with no real success. Feldman and Portnoy brought in Bennie Benjamin and George Weiss to run the label while they spent their time recording artist. Benjamin wanted to be the girls manager but one of the parents didn't like Benjamin so the girls dropped Benjamin. Feldman and Portnoy farmed the group out to other labels. They made a deal with Feisted Records to take over the group. The group released a single on the label in 1958. Feldman, Portnoy and Weiss formed Evergreen Enterprises, a talent management company, to handle The Deltairs, and other groups.
Things started going bad with Evergreen, the girls weren't getting paid and had to buy their own outfits, and provide their own transportation, and they weren't getting much work.
Bennie Benjamin came through for the girls by introducing them to song writer Lincoln Chase. The group later recorded two of Chase's songs, "One Billion Seven Million Thirty-three", and "You're Such A Much" for the Hamilton label in late 1958, as The Tranquils.
Thompson left the group in early 1959 and was replaced by Stansbury's other sister Rose. The group struggled through 1960 and were working mostly on weekends. They had quit trying to sing for a living, but were now doing for the fun of it.
A lot of the oldies DJ's don't play "Lullaby Of The Bells" as often as they should, but the song is a solid oldies hit in New York.
THE PRIMETTES
The Primettes were formed in the mid 50's in Detroit, by Florence Ballard. The members of the group were Florence Ballard, Diana Ross, Mary Wilson, and Betty McGlown, later known as Betty Travis.
The Primettes were one of the most sought out backup groups for the many small recording labels in Detroit. The group had auditioned for Barry Gordy, but were turned away and told to come back after they graduated high school. Song writer Richard Morris introduced the group to Bob West, the owner of Lupine Records. West signed the group to his label mainly to backup and sweeten the vocals on other artist recordings. MOTOWN was the group's first love and they hung around MOTOWN as much as possible. The Primettes recorded a single on Lupine in 1959, the song was not released until 1964 after The Primettes had become The Supremes and were having some success. The single was "Pretty Baby/Tears Of Sorrow", which sounded much like what would be known as the Supreme sound. Mary Wilson lead on "Pretty Baby" and Diana Ross lead on "Tears of Sorrow", at this time all members of the group would lead depending on the song.
The group was well liked in the many studios around Detroit, because they did what they were asked, were easy to coach, and had a great sound in the background. McGlown left the group and was replaced by Barbara Martin. Martin would sing on some of The Supremes fist recordings, but would not be pictured or listed as a Supreme. The Primettes backed up so many groups that it is impossible to track all of their recordings. They recorded for many labels including Lupine, Cub, Correc-Tone, and Pussy Cat labels.
All of the hard work finally paid off in 1961 when the group was signed to MOTOWN. Gordy didn't like the name Primettes and Florence Ballard suggested The Supremes and the name stuck. Before the group changed their name they recorded some unreleased tracks with MOTOWN. These song didn't surface until 30 years later. The group backed up more than afew of MOTOWN's list of recording artist.
By this time their friends The Primes had merged with The Distants and had become The Temptations. Contrary legend The Primes and The Primettes never appeared on stage together, they did however record an early version of "Not Now I'll Tell You Later" together. The song would be recorded again as The Temptations with The Supremes as backup.
The group had a string of eleven singles that went nowhere, but starting with "Where Did Our Love Go", the group had an impressive string of hits as The SUPREMES. The group became the standard for girl groups.
As the Supremes the group would collect every recording award possible, but as The Primettes they are hardly remembered.
THE PONI-TAILS
The Poni-Tails were formed in a suburb of Cleveland, Ohio. The group included Toni Cistone, Karen Topinka, and Patti McCabe. Tom Ilius, a music publisher signed the group to Point Records a local label. At Point the group recorded their first single, "Your Wild Heart"/"Que la Bozena". "Your Wild Heart " was covered and became a hit by someone else. The group's next release was "Can I Be Sure" on Marc Records, was a flop. Topinka left the group and was replaced by LaVerne Novak.
The group moved to ABC/Paramount and released "Just My Luck To Be Fifteen", another flop. Next the group released "Come On Joey, Dance With Me"/"Born To Late". "Born To Late" got a lot of radio play and became the group's first and only hit. The song went to #11 on the US R&B chart and #7 on Billboard Hot 100. Their next few releases did not chart very high. Their last single, "Who, When And Why" did not chart.
ABC/Paramount offered the group a five year contract, but the group turned them down, and the members of the group left the music industry. They reunited to play a Cleveland festival in 1997.
I know that some of these groups are new to some of you, but without these groups our beloved Doo-Wop would be a lot less colorful. The so-called "Girl Groups" forced
the male groups to be better out of fear of being out done by the girls.
I need some suggestions as to what groups you would like to read about next.
We'll look at The Bobbettes, The Crystals, Shirley Gunter and The Queens, The Teen Queens, The Deltairs, The Primettes, and The Poni-Tails.
The Bobbettes
The Bobbettes were formed in Harlem, New York in 1955. At first they called themselves The Harlem Queens. They met as young ladies while singing at the Glee Club at P.S. 109 in Harlem. The group was discovered by James Dailey, a record producer who became their manager, while playing a concert at the famed Apollo. They were signed to Atlantic Records.
In 1957 the girls released their first hit "Mr. Lee", an uptempo tune where the group proclaims their devotion for their school teacher. The girls actually disliked the real life Mr. Lee. The original lyrics were a put down to the real Mr. Lee, but the label insisted that the lyrics be changed. The song became the group's biggest hit, it peaked #6 on Billboard Pop chart and spent 4 weeks at #1 on the R&B chart. This made The Bobbettes the first girl group to have a #1 R&B hit that also made the Pop top 10.
After the release of some novelty songs for Atlantic, that didn't score, the group recorded the original "I Shot Mr. Lee". Atlantic refused the song and the group left the label and signed with Teddy Vann, and a new version of the song was recorded on the Triple-X label, the song went to #52 on the Billboard Hot 100, which forced Atlantic to release the first version of the song.
Over the years they recorded a series of songs that didn't move, the group disbanded in 1974.
The Bobbettes were nominated for induction into the Vocal Group Hall of Fame.
The Crystals
The Crystals were a girl group out of New York, and are considered one of the defining girl acts of the early 60's. Between 1961 and 1964 the group charted hits with songs like, "Uptown", "He's A Rebel", "Da Doo Ron Ron" and "Then He Kissed Me". All of the songs were producd by Phil Spector and featured three different leads.
The original group included Barbara Alston, Mary Thomas, Dolores "Dee Dee" Kenniebrew, Myrna Girard and Patricia "Patsy" Wright. The group signed with Phil Spector's Phillies Records. Phil Spector choose Alston to lead the group even though she was afraid of singing in front of audiences.
The groups first hit was "There's No Other (Like My Baby)", in 1961, the B-side was "Oh Yeah , Maybe Baby", with Wright on lead. The song was written by Spector and Leroy Bates, and reached #20 on the Billboard chart, giving Spector a good start for his new label. The group's second hit was "UpTown" written by Brill Building writers Barry Mann and Cynthia Weil. Alston was the lead on this song. Their next song was "He Hit Me (And It Felt Like A Kiss)" was written by Carole King and Gerry Goffin. The song had touchy subject about men hitting women, had limited airplay, but still has an underground following.
After "He Hit Me" failed, Spector started recording Darlene Love and her group The Blossoms as The Crystals. As the story goes, The Crytals weren't able to travel from New York to LA in time for a recording session. Spector wanted to record "He's A Rebel", a Gene Pitney written song, before anyone else could. Darlene Love and The Blossoms were available because they were based in LA. Spector recorded Love and her group as The Crystals. The best story is that Vikki Carr was recording "He's A Rebel at the same time as Spector. The Shirells had turned down the song because of it's anti establishment lyrics. The song marked a shift where girls stated singing about falling love with bad boys instead of the he's so sweet kind of guy. " He's A rebel" was The Crystal's only US #1 hit. The Crystals next hit was "He's Sure The Boy I Love" was also sung by Darlene and The Blossoms. It reached #11 on Billboard and had a spoken intro by Darlene Love.
The next release by the Crystals had to be one the strangest releases ever. The song was "Let's Dance To The Screw". No-one knows the real story, but most agree the Spector wanted to upset his former business partner Lester Sill. The song was six minutes long and was not playable on the radio in 1963. The song had basic instrumentation and Spector himself intoning "Dance The Screw. No-one knows if this group was The Crystals or The Blossoms. The single was never released commercially and the only copies to be found are marked DJ copy not for sale.
The real Crystals returned to the studio in 1963, but by this time Thomas had left the group. Alston never liked being on lead, finally gave it up and Brooks took over. Brooks had been singing Alston's lead in live shows for awhile. After "Let's Dance The Screw" the group's next release was "Da Doo Ron Ron" It has been said the the song was recorded by Darlene Love and her Blossoms, with Love on lead, but prior to release Spector erased Love's voice and replaced it with LaLa Brooks voice, and kept The Blossoms in the background. A soon to be discovered Cher was also in the background. The song hit the top 10 in the US and the UK. "Then He Kissed Me" was the first single since "He Hit Me" that featured all members of the Crystals as a definite group.
In 1964, because of lack of attention from Spector and a dispute over royalties, The Crystals were very unhappy with Spector. The group left Phillies Records and moved to United Artist Records in late 1964.
Wright left the group in 1964 and was replaced by Frances Collins, the group became a trio after Alston left. The group didn't have much success after this and disbanded in 1967. They reunited in 1971 and are still performing today.
Shirley Gunter and The Queens
Shirley Gunter and The Queens formed the group with some high school friends, pushed into it by her brother Cornel, future member of The Coasters. The group is considered the first real all-female Doo-Wop group. The group's 1954 recording of "Oop Shoop", is the first record to be written, and performed successfully by a group of young Black women. The song was recorded on Flair Records, and it was brother Cornel, who arranged for the girl's audition with the Bihari brothers owners of Flair Records.
Gunter recorded as a solo act at first, but it wasn't until Shirley had her friends join with her that things started to move. The uptempo "Oop Shoop", was recorded in just a couple of takes, and as some say the rest is rock & roll history.
Shirley recorded with The Queens before teaming up with her bother and the group called the Flairs. Shirley had an almost hit with a song called "Headin' Home". Shirley went solo again, but never had a major hit, not because she didn't have the talent, or for lack of effort, it just seems that the public wasn't ready.
It's been said that "Oop Shoop" lyrics and dance beat set the standard for future groups like The Bobbettes.
In a recording career the was only three years long, Shirley was part of the first female doo-wop group, written her own hits, and gave rock & roll it's first big female hit "Oop Shoop", Shirley was a big hit.
THE TEEN QUEENS
The Teen Queens were formed in the early 50's and are most rembered for their hit "Eddie My Love", recorded in 1956. The song went to #14 on the Billboard Hot 100 chart.
The group consisted of sisters Betty and Rose Collins, their brother was Aaron Collins of The Cadets. Aaron wrote "Eddie My Love", the song was released by RPM Records, but "Eddie MY Love" was their only hit dispite the release of a string of songs.
The group left RPM in 1958 and signed a one song contract with RCA Records, where they released "Dear Tommy", which failed to make the charts. The group then signed with Antler Records, however they had little success. The group disbanded in 1961.
The song "Eddie My Love" was covered by The Chordettes, and The Fontane Sisters, the song made the charts with both groups.
THE DELTAIRS
The Deltairs were formed in the South Jamaica projects of New York in 1955. The group came in second in a senior year talent show at Central Commercial High School. The original name was The Centraltone Debs, before switching to The Deltairs. The group included Mae Brown, Carol Stansbury, Henrietta Roper, and someone named Joyce.
After graduation Brown got married and Stanabury lost track of Roper and Joyce. Not wanting to give up music, after a few months Stansbury recruited her sister Thelma and a friend Shirley Taylor and The Deltairs were re-born. The group practiced with other young groups, like The 5 Sharps, The Beltones and The Cleftones. There was a fourth member of the group Barbara Lee who became a permanent member of the group.
At her job Carol Stansbury, became friends with Al Browne, a pianist and band leader. Browne introduced the group to Malcolm Dodds who told the group about a talent show at the boys club, they came in second. Malcolm liked the groups harmony and helped them with their arrangements.
In 1955 there weren't a lot of female groups around so the groups that influenced the girls were male groups. The group arranged their own versions of some of the standards of the day such as "Danny Boy", "That Lucky Old Sun", and "You'll Never Walk Alone".
The group played small clubs and schools when they could find work. In 1957 Shirley Taylor brought in a friend, Barbara Thompson and the four became five. Also in 1957 Al Browne introduced the girls to Stan Feldman, and Ed Portnoy, who became their managers. Wanting to showcase their talent, Feldman and Portnoy, formed Ivy Records.
At their first session with Ivy Records, the group recorded four songs, two of the songs were "Lullaby Of The Bells", and "Standing At The Altar", two songs that were written by Stansbury. The other two songs were "It's Only You Dear" written by Al Browne and Oliver Hall, and "I Might like It" written by veteran songwriter George Weiss. The orchestra was lead by Al Browne himself. Barbara Thompson led Lullaby Of The Bells", with Barbara Lee singing bass. Thomson and Stansbury teamed up on "It's Ony You". This recording was The Deltairs first record and the first release by Ivy Records. Later Portnoy teamed with Paul Winley of Winley Records (Remember that name??) to form Porwin Records, which recorded The Clovers in 1960.
The record started moving in the New York area and the group got booked on a show put on by DJ Hal Jackson at the Hunts Point Palace in the Bronx. The show included The Bobbettes, The Rays, The Chantels, The Dubs, The Rob-Roys, and a few more groups. The song did so well that the group was booked for a week at The Apollo in december of 1957. The show included some heavy weights in music, Bo Diddley, The Moonglows, The Drifters, Big Maybelle, The Dells, Screamin' Jay Hawkins, Priscilla Bowman, and The Reuben Phillips Orchestra. In January of 1958 the group appeared on Paul Sherman's first show at the St. Nicholas Arena, with Roy Hamilton, The Dubs, Thruston Harris and others. The group played the Chittlin' Circuit and appeared at the Uptown in Philly, the Howard, in D.C., and the Royal in Baltimore. They sang "Come Go With Me" on Ted Mack's Amateur Hour, and sang "Lullaby Of The Bells" on American Bandstand.
The Deltairs recorded more songs with the Ivy Label, but with no real success. Feldman and Portnoy brought in Bennie Benjamin and George Weiss to run the label while they spent their time recording artist. Benjamin wanted to be the girls manager but one of the parents didn't like Benjamin so the girls dropped Benjamin. Feldman and Portnoy farmed the group out to other labels. They made a deal with Feisted Records to take over the group. The group released a single on the label in 1958. Feldman, Portnoy and Weiss formed Evergreen Enterprises, a talent management company, to handle The Deltairs, and other groups.
Things started going bad with Evergreen, the girls weren't getting paid and had to buy their own outfits, and provide their own transportation, and they weren't getting much work.
Bennie Benjamin came through for the girls by introducing them to song writer Lincoln Chase. The group later recorded two of Chase's songs, "One Billion Seven Million Thirty-three", and "You're Such A Much" for the Hamilton label in late 1958, as The Tranquils.
Thompson left the group in early 1959 and was replaced by Stansbury's other sister Rose. The group struggled through 1960 and were working mostly on weekends. They had quit trying to sing for a living, but were now doing for the fun of it.
A lot of the oldies DJ's don't play "Lullaby Of The Bells" as often as they should, but the song is a solid oldies hit in New York.
THE PRIMETTES
The Primettes were formed in the mid 50's in Detroit, by Florence Ballard. The members of the group were Florence Ballard, Diana Ross, Mary Wilson, and Betty McGlown, later known as Betty Travis.
The Primettes were one of the most sought out backup groups for the many small recording labels in Detroit. The group had auditioned for Barry Gordy, but were turned away and told to come back after they graduated high school. Song writer Richard Morris introduced the group to Bob West, the owner of Lupine Records. West signed the group to his label mainly to backup and sweeten the vocals on other artist recordings. MOTOWN was the group's first love and they hung around MOTOWN as much as possible. The Primettes recorded a single on Lupine in 1959, the song was not released until 1964 after The Primettes had become The Supremes and were having some success. The single was "Pretty Baby/Tears Of Sorrow", which sounded much like what would be known as the Supreme sound. Mary Wilson lead on "Pretty Baby" and Diana Ross lead on "Tears of Sorrow", at this time all members of the group would lead depending on the song.
The group was well liked in the many studios around Detroit, because they did what they were asked, were easy to coach, and had a great sound in the background. McGlown left the group and was replaced by Barbara Martin. Martin would sing on some of The Supremes fist recordings, but would not be pictured or listed as a Supreme. The Primettes backed up so many groups that it is impossible to track all of their recordings. They recorded for many labels including Lupine, Cub, Correc-Tone, and Pussy Cat labels.
All of the hard work finally paid off in 1961 when the group was signed to MOTOWN. Gordy didn't like the name Primettes and Florence Ballard suggested The Supremes and the name stuck. Before the group changed their name they recorded some unreleased tracks with MOTOWN. These song didn't surface until 30 years later. The group backed up more than afew of MOTOWN's list of recording artist.
By this time their friends The Primes had merged with The Distants and had become The Temptations. Contrary legend The Primes and The Primettes never appeared on stage together, they did however record an early version of "Not Now I'll Tell You Later" together. The song would be recorded again as The Temptations with The Supremes as backup.
The group had a string of eleven singles that went nowhere, but starting with "Where Did Our Love Go", the group had an impressive string of hits as The SUPREMES. The group became the standard for girl groups.
As the Supremes the group would collect every recording award possible, but as The Primettes they are hardly remembered.
THE PONI-TAILS
The Poni-Tails were formed in a suburb of Cleveland, Ohio. The group included Toni Cistone, Karen Topinka, and Patti McCabe. Tom Ilius, a music publisher signed the group to Point Records a local label. At Point the group recorded their first single, "Your Wild Heart"/"Que la Bozena". "Your Wild Heart " was covered and became a hit by someone else. The group's next release was "Can I Be Sure" on Marc Records, was a flop. Topinka left the group and was replaced by LaVerne Novak.
The group moved to ABC/Paramount and released "Just My Luck To Be Fifteen", another flop. Next the group released "Come On Joey, Dance With Me"/"Born To Late". "Born To Late" got a lot of radio play and became the group's first and only hit. The song went to #11 on the US R&B chart and #7 on Billboard Hot 100. Their next few releases did not chart very high. Their last single, "Who, When And Why" did not chart.
ABC/Paramount offered the group a five year contract, but the group turned them down, and the members of the group left the music industry. They reunited to play a Cleveland festival in 1997.
I know that some of these groups are new to some of you, but without these groups our beloved Doo-Wop would be a lot less colorful. The so-called "Girl Groups" forced
the male groups to be better out of fear of being out done by the girls.
I need some suggestions as to what groups you would like to read about next.
Monday, February 8, 2010
THE BIRD GROUPS OF DOO-WOP
In the 50's and 60's there were quite a few groups named after birds. The most famous were The Ravens and The Orioles, we'll look at these two groups and others in this blog.
THE RAVENS
The Ravens have stood the test of time as one of the pioneering R&B groups. The Ravens were the first group to use a bass and falsetto tenor to lead , rather than just be in the background. The Ravens also were the first group to add dance steps to their act. Before The Clovers and The Orioles, The Ravens would use bits of jazz, blues, and gospel, to create a sound that appealed to more than just White audiences. This seems to time when the term RACE music got started.
The Ravens were formed by Jimmy Ricks, and Warren "Birdland" Suttles, two waiters from Harlem. The two went to the Evans booking Agency to recruit two more singers, Ollie Jones, and Leonard Puzey, and formed the group in 1945. They named themselves The Ravens and started a craze to name groups after birds. The group hooked up with Howard Biggs, who became their musicical arranager and wrote many of their songs.
The Ravens first appeared at The Club Baron in Harlem in 1946. That same year the group signed with Hub Records and their first single was a song called "Honey". They released two more singles, the best of the two was a jump tune called "My Sugar Is So Refined". They opened with this song when they appeared on a show with Nat King Cole at The Apollo. Puzey started the song singing lead, but when they switched leads and Ricks took over with his booming bass, he brought down the house. Ollie Jones soon left the group and was replaced by a falsetto tenor Maithe Marshall.
The group signed with National Records in 1947 and released a series of songs with Ricks on jump tunes and Marshall with his clear falsetto singing the ballards. Marshall called himself the "B' side singer. In later years fans of the Ravens would fight to get copies of Ravens records just for the "B" side.
In 1947 "Write Me A Letter" on National Records, became the first R&B record to reach #24 on the national charts, but didn't hit the R&B charts until january 1948. The Ravens were the first group to hit the pop charts before they hit the R&B charts. The groups second release for National established the group and it's sound internationally, the song was a rhythmic version of "Old Man River". It was said to have sold over two million copies.
Between 1947 and 1949 the group released a string of ballards and jump tunes for National Records. "Bye, Bye, Baby Blues" reached #13 on the Juke Box chart.
Even though The Orioles were a new group, in 1948, The Ravens covered their first release, "It's Too Soon To Know". The Orioles version reached #1, while The Ravens version only reached #11.
The group started touring on the legendary chitlin circuit, a series of venues on the East Coast and Midwest where thousand of R&B acts performed.
In 1948 National released the groups version of "White Christmas", it went to #9 on the juke box chart. It's been said that this inspired The Drifters version of 1954, almost a note for note copy. The group also had a thrilling ballard version of "Silent Night". In 1949 "Ricky's Blues" went to #8 on juke box. The group's last single with National Records, was "Lilacs In The Rain" with Marshall on lead.
The Ravens signed with Columbia Records in 1950, releasing a number of great songs like the Ricks led "Time Takes Care Of Everything" and the Marshall led "I'm So Crazy For Love". The group recorded just a few singles for Columbia's Okeh affilliate before moving to Mercury late in 1951. With the exception of Ricks, this was an all new Ravens. Jimmy Steward replaced Puzey, Louis Frazier, replaced Heyward, and a falsetto named Joe Van Loan replaced Marshall.
The Ravens were considered one of the top drawer acts of the day, and at times recieved as much as $2,000.00 per show, which was a lot of money for the time.
Mercury issued some softer songs for the group, but they didn't hit the charts for two and a half years and the song was "Rock Me All Night Long". Their best sides for Mercury were "Who'll Be The Fool", and "September Song". Some think that the best ballard ever recorded by the group was the Joe Van Loan led "Don't Mention My Name" released in 1952. Even though three-fourths of the group was new, their sound was almost as good as the original group of the National Record days.
The group signed with Jubilee Records, but in the spring of 1956, Ricks decided to go solo. Van Loan did not want to quit just yet, so he recruited his brothers Paul and James, and David Bowers as the new Ravens. The group was able to maintain the true sound of The Ravens when they signed with Argo Records in 1956. With Van Loan on lead The Ravens had two moderate hits with "Kneel And Pray", and "A Simple Prayer". Van Loan was touching the sky with his glass breaking falsetto tenor. The groups last great hit was a cover of The Scarlets "Dear One" in the summer of 1957.
The groups manager, Nat Margo bought the Ravens name from Ricks, and from that point on a varity groups using the Ravens' name showed up on the circuit in the 60's and 70's.
While it's true Jimmy Ricks created one of the greatest doo-wop groups of all times, he neverd charted as a solo. He signed with a lot of labels overed the years, but finally moved to Florida to work with Count Basie. Ricks stayed active on the club circuit until he passed in 1974.
THE ORIOLES
The Orioles were formed by Earlington Carl Tilghman, (soon to be Sonny Til), in 1947. The original group included Til, Alexander Sharp, George Nelson, and Tommy Gaither. A wanna be song writer named Deborah Chessler discovered the group over the telephone and became their manager(see previous blog Deborah Chessler). In 1948 the group appeared as The Vibra-Naires, on the Arthur Godfrey radio talent show. Richard Williams was the bass for the show, but was replaced by Johnny Reed soon after. The group won a recording deal with a subsidiary of Jubilee Records. Jubilee owner, Jerry Blaine, changed the groups name to The Orioles. In July of 1948 Chessler wrote "It's To Soon To Know" on some toilet paper in a restroom. This was the group's first release. Til was on lead, and the song sold 30,000 copies which put the song at #1 on the R&B chart. Not only did The Ravens cover the song, but so did Ella Fitzgerald and Dinah Washington. It was the biggest race song to cross over to mainstream markets at the time.
The Orioles started touring all over and were moved off of the subsidiary label up to Jubilee. In 1949 they scored another hit with "Tell Me So", and again they were at #1 on the R&B charts but the song didn't cross over. The group had other hits that included "Forgive And Forget", and "Lonely Christmas". Unlike audiences at a Mills Brothers shows, where audience just sat there, The Orioles kept the audience excited, with girls screaming and trying to get to the stage and at Sonny Til. From 1948 to 1954 the group recorded over 120 sides for the National and Jubilee labels. By the late 1950 they were major stars, even though their hits had stop coming.
In 1950 a tragic car accident killed Gaither, and severly injured Nelson and Reed. Til and Sharp were in another car and didn't know about the accident until later. Til and Sharp performed as a duo for a short time, but soon added two new members, guitarist/second tenor, Ralph Williams, and pianist, Charlie Harris. Nelson and Reed both returned to the group. A year later the group had another accident, but this time no-one was hurt. In 1952 the group had a hit with "Baby Please Don't Go" which was an early 45 on red vinyl.
In 1953 Nelson left the group and was replaced by John Gregory Carroll, from the Four Buddies. Also in 1953 they recorded what was a country song by Darrell Glen. The song was "Crying In The Chapel", this song became the group's biggest hit, staying at #1 on the R&B charts for five weeks and reached #11 on the pop charts. This would be the group's last big hit. They had a minor hit later with "In The Mission Of St. Augustine". Williams left the group shortly in 1953, and in 1954 Chessler quit. In 1955 Reed left to join The Ink Spots. He was replaced by Maurice Hicks. The group disbanded in late 1955 or early 1956.
Left without a group Til took a group called The Regals and started The New Orioles. This new group included, Tex Cornelius, Diz Russell, Jerry Holeman, Billy Adams, and pianist Paul Griffin. With the new group Til found a new sound, and some of the old songs were re-recorded to fit the new sound. The group left Jubilee and moved to Vee-Jay Records. This group stayed together until 1957 when Cornelius left the group. Cornelius was replaced by Frank Todd, who lasted a short time and was replaced by Jimmy Brown. After Til's car was repossessed (the group's transportation), in 1959 Holeman and Russell left the group. This was the end of the second Orioles.
Til went solo for awhile, but then formed a third Orioles. This group included, Delton McCall, Billy Taylor, and Gerald Gregory from the Spaniels. This group lasted for awhile and recorded for Charlie Parker Records. Gregory left after a couple of years,and was replaced by Lawrence Joyner, this group split in 1960.
In 1966 Til met Bobby Thomas, a long time Oriole fan who had a group of his own. The group was call The Vibrannaires, (which was the Orioles original name). This group included Thomas, Clarence Young, Harry Accoo, and Mike Robinson. Thomas, Young, and Robinson joined Til as the fourth Orioles. This group recorded until 1975.
After the break-up of the fourth group, Til joined a version of The Ink Spots. With this group Til was able to be an Ink Spot one night and an Oriole the next. This group toured as both groups. Til formed another Orioles in 1977, with former members, Diz Russell, Jerry Holeman, and Billy Taylor. This group somtimes featured Eddie Palmer. The group was together until Til passed in 1981.
The group continued with Russell, Reese Palmer, Skip Mahoney, Larry Jordan and music director Eddie Jones. Jones and Mahoney were replaced by George Spann and Royal Height. Bobby Thomas later started his own Orioles.
There is still an Orioles group touring today, and they still sound great!!
THE FLAMINGOS
The Flamingos were founded in Chicago by cousins Jake and Zeke Carey. They recruited another set of cousins Paul Wilson and Johnny Carter that had met at a Black Messianic Jewish synagogue. Earl Lewis, (not from the Channels), soon joined the group. The group had many names before they settled on The Flamingos. Sollie McElroy replaced Lewis, who joined The Five Echoes. The group signed with Chance Records and their first single was "If I Can't Have You", was a moderate hit in Chicago. Their second single didn't fair much better. The group's reputation was established with a Johnny Carter written song, "Golden Teardrops". The song had Carters shrill falsetto backed up with some very complex harmonies. The group left Chance Records in late 1953 and signed with DJ Al Benson's Parrot Records. McElroy was there for the first recording session, but soon left the group and was replaced by Nate Nelson. Nelson lead on "I'm Yours", which was released in January 1955. Later that year the group moved to Chess Record's Checker label. Checker Records gave the group the materials they needed to score their first national hit, "I'll Be Home", which went to #5 on Billboard, and was covered by Pat Boone with incorrect lyrics. The group had some moderate hits with songs like, "A Kiss From Your Lips", "The Vow", and "Would I Be Crying", these songs still hold up as some of the greatest R&B records of all time. In 1956 The Flamingos appeared in Alan Freed's movie Rock, Rock, Rock.
Zeke Carey and Johnny Carter were both drafted that same year. Nelson, Jake Carey and Paul Williams, continued on with new member Tommy Hunt, and Terry Johnson who joined the group in 1956.
The group began recording for Decca Records in 1957. The group now included Nate Nelson, Tommy Hunt, Terry Johnson, Paul Wilson, and Jake Carey. The group recorded "The Ladder Of Love", but a dispute between Checker and Nelson ruined any chance of the song having any success. Zeke Carey returned to the group in 1958, making the group a sextet. When Johnny Carter was discharged, he joined The Dells, and stayed with them until he passed.
The Flamingos moved again to End Records and began recording for George Goldner (there's that name again), in New York. Goldner provided them with a more sophisticated sound. They weren't at End very long before they had a hit on the pop charts, "Lovers Never Say Goodbye", written by Terry Johnson, who shared lead on the song with Paul Wilson. This proved to be a winning formula and 3 of the next 12 songs were lead by Johnson and Wilson, on their first album "Flamingo Serenade". The group had a big hit with an old standard "I Only Have Eyes For You" in 1959. The song was recorded in 1934 by Dick Powell. The song has been featured in many movies and TV shows. The group then had a string of hits, which included, "Mio Amore", a Doc Pomus song, "Your Other Love", "Nobody Loves You Like Me" written by Sam Cooke, and "I Was A Fool". That same year the group appeared in Alan Freed's movie Go Johnny Go, songing "Jump Children". The group was known as much for their dancing as they were for their harmonnies. The Temptations and Tavares credit the group as influences.
The group started to fall apart in 1960. Tommy Hunt left for a solo career, Nelson and Johnson left and started The Modern Flamingos in 1961, and recorded as The Starglows for Atco records, in 1963. After some changes, some of the old names re-appeared. Zeke and Jake Carey, and Paul Wilson joined the new group, along with Billy Clarke, Eddie Williams, Alan Fontaine, and Julien Vaught. Clarke and Williams were the leads. A 6th vocalist, Doug McClure, was added in 1962. Clarke and Williams soon left the group. Wilson left in 1964, and Sidney Hall joined the group in 1966. Jake Carey's son J.C, joined the group in 1969. The group recorded several uptempo songs in the 60's, and got their first #1 on the UK charts, with "Ain't But Nothing A Party" during this time. Also at this time The Flamingos started their own label, Ronze, and starting producing their own recordings.
The group continued recording into the 70's and changed members many times over the years. The group appeared on the PBS Doo-wop 50 shows and flew in Tommy Hunt to work with them. Johnny Carter took time off from The Dells for the shows too. In 2005 the group split over a money dispute. There have been, and still are a number of Flamingos groups touring. Members of the group sued Pepsi Cola for using "I Only Have Eyes For You" without permission, the group was awarded $250,00.00.
The Flamingos were inducted into The Vocal Group Hall Of Fame in 2000, The Rock and Roll Hall Of Fame in 2001, and the Doo-Wop Hall Of fame in 2004. "I Only Have Eyes For You" was inducted into the Grammy Hall Of Fame.
The Flamingos are considered one of the best Doo-Wop groups of all times!!
THE SWALLOWS
The Swallows were formed in Baltimore in 1946, but were first called The Oakateers. The group included Lawrence Coxson, Irving Turner, Earl Hurley and Norris Mack. The group practised on street corners until 1948, when they joined with Eddie Rich, and Frederick Johnson. Herman Denby was hired later. Turner left the group and became their valet.
The Swallows recorded "Will You Be Mine" in 1951, and the song is considered one of the first Doo-Wop hits. The song went to #9 on Billboard's R&B charts. In 1952 the group released "Beside You", which was the group's second national hit. The 78 year old Eddie Rich and The Swallows are still performing at clubs and cabarets all over the country.
THE PENGUINS
The Penguins were formed in 1953 by Cleveland Duncan and Curtis Williams, who were ex-members of a group called The Hollywood Flames. The two added Dexter Tisby, and Bruce Tate. At first their style was a cross between R&B and rock and roll.
The group took their name from Kool ciarettes, who used Willie the Penguin for advertising. Since the group was cool they decided to call themselves The Penguins.
When Williams joined the group, he brought with a song called "Earth Angel", that he had worked on while with The Hollywood Flames.
The group signed with Dootone Records, and recorded a single in 1954 with "Hey Senorita" as the intended "A" side, but somehow the DJ played the wrong side and played "Earth Angel" instead. "Earth Angel" went to #1 on the billboard charts and stayed there for 3 weeks in early 1955, Duncan sang lead on the song.
As was the custom of the time, if a song looked to be promising a white group would record and release a version of the same song at the same time. This happened with "Earth Angel", the white group in this case was The Crew-Cuts. Their cover of the song went to #3 on the Hot 100 chart five spot above The Pinguins' version. The success of this song launched the career of The Crew-Cuts as cover artist. More than a few singers made their careers as cover artist. Two of the more famous are Johnny Rivers, who stole from Chuck Berry and James Taylor, who robbed MOTOWN.
There was some dispute over who wrote "Earth Angel", so the credit was split between Curtis Williams, Gaynel Hodge, and Jesse Belvin. The song was influenced by Jesse and Marvin's #2 hit "Dream Girl", which contained many of the same vocal changes. The will you be mine phrase in the song came from The Swallows' song of the same name, "Will You Be Mine. The Hollywood Flames had recorded a song in 1953 called "I Know" which is a cord for cord layout of "Earth Angel", and had the same Curtis Williams' piano intro as "Earth Angel. The background harmony of repeated you-oo, you-oo, you-oo had been heard before in the Dominos' "These Foolish Things Remind Me Of You"
After their initial success the group asked Buck Ram to be their manager. Ram's main concern was The Platters, but he was able to make a two for one deal with Mercury Records, who agreed to take on The Platters so they could get The Penguins. As fate would have it, The Platters became the more successful act. The Penguins never had another hit.
In 1955 Bruce left the group and was replaced by Randy Jones (who would later sing with The Cadets). For awhile in 1956 Jones and Tisby were gone from the group. and were replaced by Ray Brewster, and Teddy Harper. Jones and Tisby returned then Williams left and Harper replaced him for good.
The group broke up in 1962, But Cleveland Duncan continued to record as The Penguins with Walter Saulsberry, and a group called The Viceoys as their backup. The group changed personell many times until Duncan was performing at times as The Fabulous Penguins.
The group performed on the PBS television special Doo-Wop 50 show. The Penguins were inducted into the Vocal Group Hall Of Fame in 2004.
THE WRENS
The Wrens were formed in 1950 by two friends from the Morrisania section of the Bronx. The friends were, Waldo (Champ Rollow) Champen, and Francis (Frenchie) Consepcion. The first group included Archangel (Archie) Oropeza, and Raoul McLeod. They sang together for awhile before drifting apart.
Determined to put a group together Concepcion, recruited two more singers, George Magnezid, James (Archie) Archer. They sang as a trio in the community center at PS 99, before adding a 4th member, Bobby Mansfield. Mansfield and Concepcion were the leads, Mansfield on uptempo songs and Concepcion on ballards. They admired the great groups of the day, The Clovers, The Ravens, and The Orioles. They practiced songs like "Red Sails In The Sunset", and "White Cliffs Of Dover" The group started appearing at community centers and amateur shows in the Bronx, Manhattan, and parts of New Jersey.
In 1954 the group heard about a talent contest being held by Freddy Johnson, an arranger/pianist. The group entered and won the contest, and Johnson became their manager.
After being urged by Johnson, Rama Records owner George Goldner (there's that name again) stopped by one of the group's rehearsals and liked what he heard. Goldner promised the group that if they signed with him, he would record them immediately. The group had a tentative agreement in place with another label, when Goldner made his offer. The group could not turn down Goldner's offer, so they signed with Rama Records. True to his word Goldner arranged a session for the group in late 1954. They recorded four songs at the session. The songs were "Love's Something That's Made For Two", Beggin' For Love", "Come Back My Love", and "Eleven Roses". The piano player was Freddy Johnson. For some reason Johnson parted with the group soon after the session, some think he was pushed out by Goldner. Goldner's policy was to have complete control of the groups on his labels. The first three songs were written by the group, but "Eleven Roses" was poem by Jack Wachs.
The Wren's first release was "Love's Something That's Made For Two"/"Beggin' For Love". Goldner said the record would be bigger than "Sh-boom". Rama Records didn't push the record very hard and the group only made a few promo appearances.
In early 1955, Rama released The Wren's second record, "Come Back My Love" backed by "Beggin' For Love", no-one knows why Rama used "Beggin' For Love" again. The group then recorded "Come Back My Love" again backed by "Eleven Roses". It was said that 1955 was a chaotic year for Rama Records and that a lot of strange things were happening.
Goldner may have liked The Wren's, but with gambling issues and his involvement with Morris Levy, Goldner was to busy to work with them.
The group released a number of songs, most written by Mansfield and Washington, but out of the blue, the name Vastola started showing up on the labels as a co-writer. This Vastola person was getting credit for songs he had nothing to do with. This name would appear on a number of songs recorded by Rama and Gee labels. As it turns out This person was Gaetano "Tommy" Vastola who was a business associate of Morris Levy (remember that name?).
The Wren's only had one big show and that was Alan Freed's Rock'n Roll Holiday Jubilee. The show ran for 10 days in the winter of 1955/56. The show was the last chance for the group to make it big, it didn't happen. The group drifted apart after the show. After the show Rama released a song that had been recorded earlier called "C'est La Vie". This was a great song but it didn't move, and this would the last time The Wrens' name would appear on a record.
The members of the group went their own way, some sang with other groups, and some tried solo carrers, but no-one had any great success.
The treatment of The Wrens and George Goldner was repeated many times with other groups. There were some very good groups that recorded for Goldner's labels, that never made it in the business. Some were neglected, but most were exploited by Goldner and his partners.
THE RAVENS
The Ravens have stood the test of time as one of the pioneering R&B groups. The Ravens were the first group to use a bass and falsetto tenor to lead , rather than just be in the background. The Ravens also were the first group to add dance steps to their act. Before The Clovers and The Orioles, The Ravens would use bits of jazz, blues, and gospel, to create a sound that appealed to more than just White audiences. This seems to time when the term RACE music got started.
The Ravens were formed by Jimmy Ricks, and Warren "Birdland" Suttles, two waiters from Harlem. The two went to the Evans booking Agency to recruit two more singers, Ollie Jones, and Leonard Puzey, and formed the group in 1945. They named themselves The Ravens and started a craze to name groups after birds. The group hooked up with Howard Biggs, who became their musicical arranager and wrote many of their songs.
The Ravens first appeared at The Club Baron in Harlem in 1946. That same year the group signed with Hub Records and their first single was a song called "Honey". They released two more singles, the best of the two was a jump tune called "My Sugar Is So Refined". They opened with this song when they appeared on a show with Nat King Cole at The Apollo. Puzey started the song singing lead, but when they switched leads and Ricks took over with his booming bass, he brought down the house. Ollie Jones soon left the group and was replaced by a falsetto tenor Maithe Marshall.
The group signed with National Records in 1947 and released a series of songs with Ricks on jump tunes and Marshall with his clear falsetto singing the ballards. Marshall called himself the "B' side singer. In later years fans of the Ravens would fight to get copies of Ravens records just for the "B" side.
In 1947 "Write Me A Letter" on National Records, became the first R&B record to reach #24 on the national charts, but didn't hit the R&B charts until january 1948. The Ravens were the first group to hit the pop charts before they hit the R&B charts. The groups second release for National established the group and it's sound internationally, the song was a rhythmic version of "Old Man River". It was said to have sold over two million copies.
Between 1947 and 1949 the group released a string of ballards and jump tunes for National Records. "Bye, Bye, Baby Blues" reached #13 on the Juke Box chart.
Even though The Orioles were a new group, in 1948, The Ravens covered their first release, "It's Too Soon To Know". The Orioles version reached #1, while The Ravens version only reached #11.
The group started touring on the legendary chitlin circuit, a series of venues on the East Coast and Midwest where thousand of R&B acts performed.
In 1948 National released the groups version of "White Christmas", it went to #9 on the juke box chart. It's been said that this inspired The Drifters version of 1954, almost a note for note copy. The group also had a thrilling ballard version of "Silent Night". In 1949 "Ricky's Blues" went to #8 on juke box. The group's last single with National Records, was "Lilacs In The Rain" with Marshall on lead.
The Ravens signed with Columbia Records in 1950, releasing a number of great songs like the Ricks led "Time Takes Care Of Everything" and the Marshall led "I'm So Crazy For Love". The group recorded just a few singles for Columbia's Okeh affilliate before moving to Mercury late in 1951. With the exception of Ricks, this was an all new Ravens. Jimmy Steward replaced Puzey, Louis Frazier, replaced Heyward, and a falsetto named Joe Van Loan replaced Marshall.
The Ravens were considered one of the top drawer acts of the day, and at times recieved as much as $2,000.00 per show, which was a lot of money for the time.
Mercury issued some softer songs for the group, but they didn't hit the charts for two and a half years and the song was "Rock Me All Night Long". Their best sides for Mercury were "Who'll Be The Fool", and "September Song". Some think that the best ballard ever recorded by the group was the Joe Van Loan led "Don't Mention My Name" released in 1952. Even though three-fourths of the group was new, their sound was almost as good as the original group of the National Record days.
The group signed with Jubilee Records, but in the spring of 1956, Ricks decided to go solo. Van Loan did not want to quit just yet, so he recruited his brothers Paul and James, and David Bowers as the new Ravens. The group was able to maintain the true sound of The Ravens when they signed with Argo Records in 1956. With Van Loan on lead The Ravens had two moderate hits with "Kneel And Pray", and "A Simple Prayer". Van Loan was touching the sky with his glass breaking falsetto tenor. The groups last great hit was a cover of The Scarlets "Dear One" in the summer of 1957.
The groups manager, Nat Margo bought the Ravens name from Ricks, and from that point on a varity groups using the Ravens' name showed up on the circuit in the 60's and 70's.
While it's true Jimmy Ricks created one of the greatest doo-wop groups of all times, he neverd charted as a solo. He signed with a lot of labels overed the years, but finally moved to Florida to work with Count Basie. Ricks stayed active on the club circuit until he passed in 1974.
THE ORIOLES
The Orioles were formed by Earlington Carl Tilghman, (soon to be Sonny Til), in 1947. The original group included Til, Alexander Sharp, George Nelson, and Tommy Gaither. A wanna be song writer named Deborah Chessler discovered the group over the telephone and became their manager(see previous blog Deborah Chessler). In 1948 the group appeared as The Vibra-Naires, on the Arthur Godfrey radio talent show. Richard Williams was the bass for the show, but was replaced by Johnny Reed soon after. The group won a recording deal with a subsidiary of Jubilee Records. Jubilee owner, Jerry Blaine, changed the groups name to The Orioles. In July of 1948 Chessler wrote "It's To Soon To Know" on some toilet paper in a restroom. This was the group's first release. Til was on lead, and the song sold 30,000 copies which put the song at #1 on the R&B chart. Not only did The Ravens cover the song, but so did Ella Fitzgerald and Dinah Washington. It was the biggest race song to cross over to mainstream markets at the time.
The Orioles started touring all over and were moved off of the subsidiary label up to Jubilee. In 1949 they scored another hit with "Tell Me So", and again they were at #1 on the R&B charts but the song didn't cross over. The group had other hits that included "Forgive And Forget", and "Lonely Christmas". Unlike audiences at a Mills Brothers shows, where audience just sat there, The Orioles kept the audience excited, with girls screaming and trying to get to the stage and at Sonny Til. From 1948 to 1954 the group recorded over 120 sides for the National and Jubilee labels. By the late 1950 they were major stars, even though their hits had stop coming.
In 1950 a tragic car accident killed Gaither, and severly injured Nelson and Reed. Til and Sharp were in another car and didn't know about the accident until later. Til and Sharp performed as a duo for a short time, but soon added two new members, guitarist/second tenor, Ralph Williams, and pianist, Charlie Harris. Nelson and Reed both returned to the group. A year later the group had another accident, but this time no-one was hurt. In 1952 the group had a hit with "Baby Please Don't Go" which was an early 45 on red vinyl.
In 1953 Nelson left the group and was replaced by John Gregory Carroll, from the Four Buddies. Also in 1953 they recorded what was a country song by Darrell Glen. The song was "Crying In The Chapel", this song became the group's biggest hit, staying at #1 on the R&B charts for five weeks and reached #11 on the pop charts. This would be the group's last big hit. They had a minor hit later with "In The Mission Of St. Augustine". Williams left the group shortly in 1953, and in 1954 Chessler quit. In 1955 Reed left to join The Ink Spots. He was replaced by Maurice Hicks. The group disbanded in late 1955 or early 1956.
Left without a group Til took a group called The Regals and started The New Orioles. This new group included, Tex Cornelius, Diz Russell, Jerry Holeman, Billy Adams, and pianist Paul Griffin. With the new group Til found a new sound, and some of the old songs were re-recorded to fit the new sound. The group left Jubilee and moved to Vee-Jay Records. This group stayed together until 1957 when Cornelius left the group. Cornelius was replaced by Frank Todd, who lasted a short time and was replaced by Jimmy Brown. After Til's car was repossessed (the group's transportation), in 1959 Holeman and Russell left the group. This was the end of the second Orioles.
Til went solo for awhile, but then formed a third Orioles. This group included, Delton McCall, Billy Taylor, and Gerald Gregory from the Spaniels. This group lasted for awhile and recorded for Charlie Parker Records. Gregory left after a couple of years,and was replaced by Lawrence Joyner, this group split in 1960.
In 1966 Til met Bobby Thomas, a long time Oriole fan who had a group of his own. The group was call The Vibrannaires, (which was the Orioles original name). This group included Thomas, Clarence Young, Harry Accoo, and Mike Robinson. Thomas, Young, and Robinson joined Til as the fourth Orioles. This group recorded until 1975.
After the break-up of the fourth group, Til joined a version of The Ink Spots. With this group Til was able to be an Ink Spot one night and an Oriole the next. This group toured as both groups. Til formed another Orioles in 1977, with former members, Diz Russell, Jerry Holeman, and Billy Taylor. This group somtimes featured Eddie Palmer. The group was together until Til passed in 1981.
The group continued with Russell, Reese Palmer, Skip Mahoney, Larry Jordan and music director Eddie Jones. Jones and Mahoney were replaced by George Spann and Royal Height. Bobby Thomas later started his own Orioles.
There is still an Orioles group touring today, and they still sound great!!
THE FLAMINGOS
The Flamingos were founded in Chicago by cousins Jake and Zeke Carey. They recruited another set of cousins Paul Wilson and Johnny Carter that had met at a Black Messianic Jewish synagogue. Earl Lewis, (not from the Channels), soon joined the group. The group had many names before they settled on The Flamingos. Sollie McElroy replaced Lewis, who joined The Five Echoes. The group signed with Chance Records and their first single was "If I Can't Have You", was a moderate hit in Chicago. Their second single didn't fair much better. The group's reputation was established with a Johnny Carter written song, "Golden Teardrops". The song had Carters shrill falsetto backed up with some very complex harmonies. The group left Chance Records in late 1953 and signed with DJ Al Benson's Parrot Records. McElroy was there for the first recording session, but soon left the group and was replaced by Nate Nelson. Nelson lead on "I'm Yours", which was released in January 1955. Later that year the group moved to Chess Record's Checker label. Checker Records gave the group the materials they needed to score their first national hit, "I'll Be Home", which went to #5 on Billboard, and was covered by Pat Boone with incorrect lyrics. The group had some moderate hits with songs like, "A Kiss From Your Lips", "The Vow", and "Would I Be Crying", these songs still hold up as some of the greatest R&B records of all time. In 1956 The Flamingos appeared in Alan Freed's movie Rock, Rock, Rock.
Zeke Carey and Johnny Carter were both drafted that same year. Nelson, Jake Carey and Paul Williams, continued on with new member Tommy Hunt, and Terry Johnson who joined the group in 1956.
The group began recording for Decca Records in 1957. The group now included Nate Nelson, Tommy Hunt, Terry Johnson, Paul Wilson, and Jake Carey. The group recorded "The Ladder Of Love", but a dispute between Checker and Nelson ruined any chance of the song having any success. Zeke Carey returned to the group in 1958, making the group a sextet. When Johnny Carter was discharged, he joined The Dells, and stayed with them until he passed.
The Flamingos moved again to End Records and began recording for George Goldner (there's that name again), in New York. Goldner provided them with a more sophisticated sound. They weren't at End very long before they had a hit on the pop charts, "Lovers Never Say Goodbye", written by Terry Johnson, who shared lead on the song with Paul Wilson. This proved to be a winning formula and 3 of the next 12 songs were lead by Johnson and Wilson, on their first album "Flamingo Serenade". The group had a big hit with an old standard "I Only Have Eyes For You" in 1959. The song was recorded in 1934 by Dick Powell. The song has been featured in many movies and TV shows. The group then had a string of hits, which included, "Mio Amore", a Doc Pomus song, "Your Other Love", "Nobody Loves You Like Me" written by Sam Cooke, and "I Was A Fool". That same year the group appeared in Alan Freed's movie Go Johnny Go, songing "Jump Children". The group was known as much for their dancing as they were for their harmonnies. The Temptations and Tavares credit the group as influences.
The group started to fall apart in 1960. Tommy Hunt left for a solo career, Nelson and Johnson left and started The Modern Flamingos in 1961, and recorded as The Starglows for Atco records, in 1963. After some changes, some of the old names re-appeared. Zeke and Jake Carey, and Paul Wilson joined the new group, along with Billy Clarke, Eddie Williams, Alan Fontaine, and Julien Vaught. Clarke and Williams were the leads. A 6th vocalist, Doug McClure, was added in 1962. Clarke and Williams soon left the group. Wilson left in 1964, and Sidney Hall joined the group in 1966. Jake Carey's son J.C, joined the group in 1969. The group recorded several uptempo songs in the 60's, and got their first #1 on the UK charts, with "Ain't But Nothing A Party" during this time. Also at this time The Flamingos started their own label, Ronze, and starting producing their own recordings.
The group continued recording into the 70's and changed members many times over the years. The group appeared on the PBS Doo-wop 50 shows and flew in Tommy Hunt to work with them. Johnny Carter took time off from The Dells for the shows too. In 2005 the group split over a money dispute. There have been, and still are a number of Flamingos groups touring. Members of the group sued Pepsi Cola for using "I Only Have Eyes For You" without permission, the group was awarded $250,00.00.
The Flamingos were inducted into The Vocal Group Hall Of Fame in 2000, The Rock and Roll Hall Of Fame in 2001, and the Doo-Wop Hall Of fame in 2004. "I Only Have Eyes For You" was inducted into the Grammy Hall Of Fame.
The Flamingos are considered one of the best Doo-Wop groups of all times!!
THE SWALLOWS
The Swallows were formed in Baltimore in 1946, but were first called The Oakateers. The group included Lawrence Coxson, Irving Turner, Earl Hurley and Norris Mack. The group practised on street corners until 1948, when they joined with Eddie Rich, and Frederick Johnson. Herman Denby was hired later. Turner left the group and became their valet.
The Swallows recorded "Will You Be Mine" in 1951, and the song is considered one of the first Doo-Wop hits. The song went to #9 on Billboard's R&B charts. In 1952 the group released "Beside You", which was the group's second national hit. The 78 year old Eddie Rich and The Swallows are still performing at clubs and cabarets all over the country.
THE PENGUINS
The Penguins were formed in 1953 by Cleveland Duncan and Curtis Williams, who were ex-members of a group called The Hollywood Flames. The two added Dexter Tisby, and Bruce Tate. At first their style was a cross between R&B and rock and roll.
The group took their name from Kool ciarettes, who used Willie the Penguin for advertising. Since the group was cool they decided to call themselves The Penguins.
When Williams joined the group, he brought with a song called "Earth Angel", that he had worked on while with The Hollywood Flames.
The group signed with Dootone Records, and recorded a single in 1954 with "Hey Senorita" as the intended "A" side, but somehow the DJ played the wrong side and played "Earth Angel" instead. "Earth Angel" went to #1 on the billboard charts and stayed there for 3 weeks in early 1955, Duncan sang lead on the song.
As was the custom of the time, if a song looked to be promising a white group would record and release a version of the same song at the same time. This happened with "Earth Angel", the white group in this case was The Crew-Cuts. Their cover of the song went to #3 on the Hot 100 chart five spot above The Pinguins' version. The success of this song launched the career of The Crew-Cuts as cover artist. More than a few singers made their careers as cover artist. Two of the more famous are Johnny Rivers, who stole from Chuck Berry and James Taylor, who robbed MOTOWN.
There was some dispute over who wrote "Earth Angel", so the credit was split between Curtis Williams, Gaynel Hodge, and Jesse Belvin. The song was influenced by Jesse and Marvin's #2 hit "Dream Girl", which contained many of the same vocal changes. The will you be mine phrase in the song came from The Swallows' song of the same name, "Will You Be Mine. The Hollywood Flames had recorded a song in 1953 called "I Know" which is a cord for cord layout of "Earth Angel", and had the same Curtis Williams' piano intro as "Earth Angel. The background harmony of repeated you-oo, you-oo, you-oo had been heard before in the Dominos' "These Foolish Things Remind Me Of You"
After their initial success the group asked Buck Ram to be their manager. Ram's main concern was The Platters, but he was able to make a two for one deal with Mercury Records, who agreed to take on The Platters so they could get The Penguins. As fate would have it, The Platters became the more successful act. The Penguins never had another hit.
In 1955 Bruce left the group and was replaced by Randy Jones (who would later sing with The Cadets). For awhile in 1956 Jones and Tisby were gone from the group. and were replaced by Ray Brewster, and Teddy Harper. Jones and Tisby returned then Williams left and Harper replaced him for good.
The group broke up in 1962, But Cleveland Duncan continued to record as The Penguins with Walter Saulsberry, and a group called The Viceoys as their backup. The group changed personell many times until Duncan was performing at times as The Fabulous Penguins.
The group performed on the PBS television special Doo-Wop 50 show. The Penguins were inducted into the Vocal Group Hall Of Fame in 2004.
THE WRENS
The Wrens were formed in 1950 by two friends from the Morrisania section of the Bronx. The friends were, Waldo (Champ Rollow) Champen, and Francis (Frenchie) Consepcion. The first group included Archangel (Archie) Oropeza, and Raoul McLeod. They sang together for awhile before drifting apart.
Determined to put a group together Concepcion, recruited two more singers, George Magnezid, James (Archie) Archer. They sang as a trio in the community center at PS 99, before adding a 4th member, Bobby Mansfield. Mansfield and Concepcion were the leads, Mansfield on uptempo songs and Concepcion on ballards. They admired the great groups of the day, The Clovers, The Ravens, and The Orioles. They practiced songs like "Red Sails In The Sunset", and "White Cliffs Of Dover" The group started appearing at community centers and amateur shows in the Bronx, Manhattan, and parts of New Jersey.
In 1954 the group heard about a talent contest being held by Freddy Johnson, an arranger/pianist. The group entered and won the contest, and Johnson became their manager.
After being urged by Johnson, Rama Records owner George Goldner (there's that name again) stopped by one of the group's rehearsals and liked what he heard. Goldner promised the group that if they signed with him, he would record them immediately. The group had a tentative agreement in place with another label, when Goldner made his offer. The group could not turn down Goldner's offer, so they signed with Rama Records. True to his word Goldner arranged a session for the group in late 1954. They recorded four songs at the session. The songs were "Love's Something That's Made For Two", Beggin' For Love", "Come Back My Love", and "Eleven Roses". The piano player was Freddy Johnson. For some reason Johnson parted with the group soon after the session, some think he was pushed out by Goldner. Goldner's policy was to have complete control of the groups on his labels. The first three songs were written by the group, but "Eleven Roses" was poem by Jack Wachs.
The Wren's first release was "Love's Something That's Made For Two"/"Beggin' For Love". Goldner said the record would be bigger than "Sh-boom". Rama Records didn't push the record very hard and the group only made a few promo appearances.
In early 1955, Rama released The Wren's second record, "Come Back My Love" backed by "Beggin' For Love", no-one knows why Rama used "Beggin' For Love" again. The group then recorded "Come Back My Love" again backed by "Eleven Roses". It was said that 1955 was a chaotic year for Rama Records and that a lot of strange things were happening.
Goldner may have liked The Wren's, but with gambling issues and his involvement with Morris Levy, Goldner was to busy to work with them.
The group released a number of songs, most written by Mansfield and Washington, but out of the blue, the name Vastola started showing up on the labels as a co-writer. This Vastola person was getting credit for songs he had nothing to do with. This name would appear on a number of songs recorded by Rama and Gee labels. As it turns out This person was Gaetano "Tommy" Vastola who was a business associate of Morris Levy (remember that name?).
The Wren's only had one big show and that was Alan Freed's Rock'n Roll Holiday Jubilee. The show ran for 10 days in the winter of 1955/56. The show was the last chance for the group to make it big, it didn't happen. The group drifted apart after the show. After the show Rama released a song that had been recorded earlier called "C'est La Vie". This was a great song but it didn't move, and this would the last time The Wrens' name would appear on a record.
The members of the group went their own way, some sang with other groups, and some tried solo carrers, but no-one had any great success.
The treatment of The Wrens and George Goldner was repeated many times with other groups. There were some very good groups that recorded for Goldner's labels, that never made it in the business. Some were neglected, but most were exploited by Goldner and his partners.
Friday, February 5, 2010
Robert & Johnny, The Falcons, The Clovers, and The Five Satins
While I'm sure there was a lot of good information in my last blog, I'm equally sure that it was kind of boring. In my defense, I set you up. There are three names you need to take from the blog, and they are, Carole King, George Goldner, and Morris Levy. Their names will come up again and again as I talk about the artist of the doo-wop era.
Next up Robert & Johnny, The Falcons, The Clovers , and The Five Satins.
ROBERT AND JOHNNY
Robert Carr and Johnny Mitchell grew up in the same neighborhood and attended the same high school in the Bronx, a center of doo-wop activity.
The duo's style was to pause on a note when changing lead or when the two came together in the choruses. The duo made a number of recordings, but were really one hit wonders.
Robert & Johnny started recording for Old Town Records in 1956. "I Believe In You" was one of their first recordings. This estabished the duo in New York. "We Belong Together" put the duo on the list of all time great songs. The song went to #12 on the R&B charts and #32 on the pop charts in 1958. The duo however ended their recording career in late 1962 or early 1963.
Marv Goldberg's R&B notebooks list a number of recordings and shows that featured Robert & Johnny.
According to Goldberg the duo started in a group called The Royal Tones, which included Leo Macedon, Henry Wilkerson, and Eugene Tomkins. The group tried to get signed with Atlantic Records with a song called "Where will We Spend Eternity", which was written by Robert. Jerry Wexler liked the group and told them to get their parents consent so they could record for the label. The group broke up when Macedon's mother refused to sign. Robert then teamed up with guitar playing Johnny Mitchell. The two showed up at Hy Weiss' midnight auditions at the Tri-Boro Theater. Weiss was the owner of Old Town Records and was impressed with the two and hired them in early 1956. "I Believe In You" and "Train To Paradise" were released in April 1956, both sides got good reviews. Because of Old Town's bad distribution system the record never got out New York. Later in 1956 the duo recorded three more songs, "You're Mine", Million Dollars Bills", and "Your Kisses". At the same time Morris Levy (remember that name?) and his partners, purchased 50% of Old Town's Maureen Music publishing company and "You're Mine" and "Million Dollar Bills" were the first releases of the new set-up. Somehow Levy convinced Weiss to turn over local distribution of Old Town and Paradise labels to Tico Distributing. Tico was owned by George Goldner, who would become one of Levy's many many partners and victims. Levy also managed Alan Freed which made it easy for Levy to get songs from his labels played more often.
In November of 1956 the duo made their first of many trips to the famed Appollo as part of something called the Dr. Jive Show. They were at The Apollo again in February of 1957. In 1957 Robert and Johnny recorded "Don't Do It", "Broken Hearted Man", "Indian Marriage", "In The Rain" and "We Belong Together". January of 1958 found the duo at The Apollo again as part of another Dr. Jive Show. By February 1958 "We Belong Together" was a hit, and on March 25 of that same year they sang it on Dick Clark's American Bandstand, as well on his Saturday night show on the 29th. The song then became a hit in Los Angeles and made the national R&B charts at #12.
1958 and 1959 found the duo at The Apollo quite often.
In March 1959, the duo recorded "Dream Girl", "Oh My Love", "Bad Dan", and "Wear This Ring".
In April 1960 the duo were part of another Dr Jive show at The Apollo. In 1961 the duo joined an Oldies Show at The Apollo. They had become one New York's favorite acts.
Robert and Johnny finally left Old Town Records and like many of the artist that came in contact with Goerge Goldner and Morris Levy they wound up with little to show for their efforts.
The duo recorded many songs over the years, but are still considered ONE HIT WONDERS.
THE FALCONS
The Falcons formed in Detroit, in 1955, and were signed to Mercury Records. The first group Of Falcons included, Eddie Floyd, Bob Manardo, Arnett Robinson, Tom Shetler, and Willie Schofield. Their first hit was "You're So Fine" in 1959, on Lupine Records. Like most of the groups of the time there were many personnel changes over the years. Some of the people to pass through the group were, Joe Stubbs,(brother Of Levi Stubbs of The Four Tops), Wilson Pickett, Mack Rice, Lance Finnie and Robert Ward. Joe Stubbs would later become a member of The Contours and a member of The Originals, after that. Mack Rice was the first to sing "Mustang Sally" which would later become a hit for Wilson Pickett, after he left the group. Wilson Pickett was on lead when the group had a hit with "I Found A Love" on the Lupine label in 1962.
After Pickett left, the group broke up, but the name was carried on by a group called The Fabulous Playboys, who became The Falcons. That group included Carlis "Sonny" Monroe, James Gibson, Johnny Alvin, and Alton Hollowell. This group made the R&B charts in 1966 with "Standing On Guard".
From time to time various groups toured as The Falcons on the Doo-wop circuit.
THE FIVE SATINS
The Five Satins formed in 1954 in New Haven, Connecticut. The group included Fred Parris, Lou Peebles, Stanly Dortch, Ed Martin, and Jim Freeman. The group had little success, so Peebles and Dortch soon left the group, and Al Denby then joined the group.
The group recorded "In The Still Of The Night" as a b-side of a record called "The Jones Girls". "In The Still Of The Night" scored big, and charted at #3 on the R&B charts and #25 on the pop charts.
Parris went into the Army, and the group reorganized with Martin Freeman, Tommy Killebrew, Jessie Murphy, and new lead Bill Baker. This lineup had a hit with "To The Aisle" by Billy Dawn Smith.
When Parris returned from the Army the group reorganized again, this group consisted of Parris, Peebles, Sylvester Hopkins, Richie Freeman and Wes Forbes. This group was called Fred Parris and The Scarlets, until the Bill Baker lead group split-up. At this point Parris went back to being The Satins.
With more personell changes the group continued to record into the 80's, with no major hits. The Five Satins were inducted into The Vocal Group Hall Of Fame in 2003. The group still performs in the Northeast and record new material.
THE CLOVERS
The Clovers formed in 1946 at Armstrong High School in Washington, D.C. The group included Harold Lucas, Billy Shelton, and Thomas Woods. John "Buddy" Bailey was added later. They were called The Four Clovers, with Bailey on lead. In an effort to perfect their sound, Shelton and Woods were pushed out of the group in 1948, and Matthew McQuarter and Harold Winley replaced them.
The group's break came in 1950 when Lou Krefetz became their manager. They signed with Rainbow Records in New York and released "Yes Sir, That's My Baby"/"when You Come Back To Me". Krefetz took the group to Atlantic Records and introduced them to Ahmet Ertegun, and the group signed with Atlantic in 1951. Guitarist Bill Harris was added to group about this time. The group made their first appearance at The Apollo in February of that year.
The Clovers first recording session with Atlantic produced three hits, "Don't You Know I Love You" went to #1 on the national charts, in 1951, "One Mint Julep" and "Fool, Fool, Fool, went to #1 in September of the same year.
Bailey went into the Army in 1952 and was replaced by John Phillip. Phillip was there for just a few months and was replaced by Charlie White, who had been with The Dominoes and The Checkers. White was fired in 1953 and was replaced by Billy Mitchell. The group was having little success with Atlantic at this time. Bailey came back from the Army in 1954, and rejoined the group making them a quintet. The group had a moderate success with "Devil or Angel" in 1955.
Mitchell left the group for a short time to chase a solo career, returning after deciding that he could do solo work and work with The Clovers.
Their contract with Atlantic expired, so Krefetz moved the group to his own label, Popular Records. Popular was sold to United Artist Records which put the group in touch with Leiber and Stoller. After a few recordings, the group had their biggest hit with "Love Potion #9" in July 1959, with Mitchell on lead. There are two versions of "Love Potion #9", the second version refered to love potion #10 and was played more often than the original.
After their United Artist contract expired in 1961 the group moved to Winley Records. The group had little success at Winley, and soon split. Lucas and Mitchell found two new members, James Walton and Robert Russell and recorded for Atlantic again. Bailey formed his own Clovers and recorded for Winley Records in 1962. Also in 1962 Mitchell left the group and was replaced by Roosevelt 'Tippie" Hubbard. The group recorded as Tippie and the Clovermen and Tippie and the Clovers for Tiger Records, a subsidiary of Rust Records. By the end of 1963 the group was a trio, consisting of Lucas, Bailey and Winley.
After The Searchers coverd "Love Potion #9, in 1965, some of the groups old tracks were leased to Pickwick International Records, who released an album called "The Original Love Potion #9 By The Clovers"
Lucas and Russell asked Hubbard and Walton to return, then added a 5th member Al Fox. They recorded as Tippie and The Wisemen for D.C's Shrine Records. When Fox left, the group went back to being The Clovers. Bailey fromed his owned version of The Clovers and re-recorded "Devil or Angel" and "Love Potion #9", for Lana Records in 1965. Harold Winley started a third Clovers group in 1968, which caused serious confusion, they recorded for Josie Records.
Russell passed in 1969 and was replaced by John Bowie. The group released a disco song called "Bump Jive" on D.C.'s Alladin Records in 1975. Soon after the release Walton passed and was replaced by Johnnie Mason. Tippie passed in 1980 and was replaced by Steve Charles.
At a reunion in 1988 in Austin, Texas. Lucas brought his Clovers and reunited with Bailey, McQuarter, and Winley. Lucas' group recorded for Ripete Records in Elliott, South Carolina.
Chuck Battle replaced Charles in 1990. Harold Lucas became ill and stop touring in 1993. The personell continues to change, but the group still tours and is popular on the doo-wop circuit.
The Clovers recieved the Rhythm and Blues Foundation, Pioneer Award in 1988, were inducted into The Doo-Wop Hall of Fame in 2001, inducted into The Vocal Group Hall Of Fame in 2002, and inducted into The United in Group Harmony Hall Of Fame in 2002
As stated before we will see the names Leiber and Stoller, George Goldner, Morris Levy and Carole King over and over again. They where major players in the doo-wop era, along with many others, we'll try to get to them all.
Please send your comments and request so I can keep the blog going.
Next up Robert & Johnny, The Falcons, The Clovers , and The Five Satins.
ROBERT AND JOHNNY
Robert Carr and Johnny Mitchell grew up in the same neighborhood and attended the same high school in the Bronx, a center of doo-wop activity.
The duo's style was to pause on a note when changing lead or when the two came together in the choruses. The duo made a number of recordings, but were really one hit wonders.
Robert & Johnny started recording for Old Town Records in 1956. "I Believe In You" was one of their first recordings. This estabished the duo in New York. "We Belong Together" put the duo on the list of all time great songs. The song went to #12 on the R&B charts and #32 on the pop charts in 1958. The duo however ended their recording career in late 1962 or early 1963.
Marv Goldberg's R&B notebooks list a number of recordings and shows that featured Robert & Johnny.
According to Goldberg the duo started in a group called The Royal Tones, which included Leo Macedon, Henry Wilkerson, and Eugene Tomkins. The group tried to get signed with Atlantic Records with a song called "Where will We Spend Eternity", which was written by Robert. Jerry Wexler liked the group and told them to get their parents consent so they could record for the label. The group broke up when Macedon's mother refused to sign. Robert then teamed up with guitar playing Johnny Mitchell. The two showed up at Hy Weiss' midnight auditions at the Tri-Boro Theater. Weiss was the owner of Old Town Records and was impressed with the two and hired them in early 1956. "I Believe In You" and "Train To Paradise" were released in April 1956, both sides got good reviews. Because of Old Town's bad distribution system the record never got out New York. Later in 1956 the duo recorded three more songs, "You're Mine", Million Dollars Bills", and "Your Kisses". At the same time Morris Levy (remember that name?) and his partners, purchased 50% of Old Town's Maureen Music publishing company and "You're Mine" and "Million Dollar Bills" were the first releases of the new set-up. Somehow Levy convinced Weiss to turn over local distribution of Old Town and Paradise labels to Tico Distributing. Tico was owned by George Goldner, who would become one of Levy's many many partners and victims. Levy also managed Alan Freed which made it easy for Levy to get songs from his labels played more often.
In November of 1956 the duo made their first of many trips to the famed Appollo as part of something called the Dr. Jive Show. They were at The Apollo again in February of 1957. In 1957 Robert and Johnny recorded "Don't Do It", "Broken Hearted Man", "Indian Marriage", "In The Rain" and "We Belong Together". January of 1958 found the duo at The Apollo again as part of another Dr. Jive Show. By February 1958 "We Belong Together" was a hit, and on March 25 of that same year they sang it on Dick Clark's American Bandstand, as well on his Saturday night show on the 29th. The song then became a hit in Los Angeles and made the national R&B charts at #12.
1958 and 1959 found the duo at The Apollo quite often.
In March 1959, the duo recorded "Dream Girl", "Oh My Love", "Bad Dan", and "Wear This Ring".
In April 1960 the duo were part of another Dr Jive show at The Apollo. In 1961 the duo joined an Oldies Show at The Apollo. They had become one New York's favorite acts.
Robert and Johnny finally left Old Town Records and like many of the artist that came in contact with Goerge Goldner and Morris Levy they wound up with little to show for their efforts.
The duo recorded many songs over the years, but are still considered ONE HIT WONDERS.
THE FALCONS
The Falcons formed in Detroit, in 1955, and were signed to Mercury Records. The first group Of Falcons included, Eddie Floyd, Bob Manardo, Arnett Robinson, Tom Shetler, and Willie Schofield. Their first hit was "You're So Fine" in 1959, on Lupine Records. Like most of the groups of the time there were many personnel changes over the years. Some of the people to pass through the group were, Joe Stubbs,(brother Of Levi Stubbs of The Four Tops), Wilson Pickett, Mack Rice, Lance Finnie and Robert Ward. Joe Stubbs would later become a member of The Contours and a member of The Originals, after that. Mack Rice was the first to sing "Mustang Sally" which would later become a hit for Wilson Pickett, after he left the group. Wilson Pickett was on lead when the group had a hit with "I Found A Love" on the Lupine label in 1962.
After Pickett left, the group broke up, but the name was carried on by a group called The Fabulous Playboys, who became The Falcons. That group included Carlis "Sonny" Monroe, James Gibson, Johnny Alvin, and Alton Hollowell. This group made the R&B charts in 1966 with "Standing On Guard".
From time to time various groups toured as The Falcons on the Doo-wop circuit.
THE FIVE SATINS
The Five Satins formed in 1954 in New Haven, Connecticut. The group included Fred Parris, Lou Peebles, Stanly Dortch, Ed Martin, and Jim Freeman. The group had little success, so Peebles and Dortch soon left the group, and Al Denby then joined the group.
The group recorded "In The Still Of The Night" as a b-side of a record called "The Jones Girls". "In The Still Of The Night" scored big, and charted at #3 on the R&B charts and #25 on the pop charts.
Parris went into the Army, and the group reorganized with Martin Freeman, Tommy Killebrew, Jessie Murphy, and new lead Bill Baker. This lineup had a hit with "To The Aisle" by Billy Dawn Smith.
When Parris returned from the Army the group reorganized again, this group consisted of Parris, Peebles, Sylvester Hopkins, Richie Freeman and Wes Forbes. This group was called Fred Parris and The Scarlets, until the Bill Baker lead group split-up. At this point Parris went back to being The Satins.
With more personell changes the group continued to record into the 80's, with no major hits. The Five Satins were inducted into The Vocal Group Hall Of Fame in 2003. The group still performs in the Northeast and record new material.
THE CLOVERS
The Clovers formed in 1946 at Armstrong High School in Washington, D.C. The group included Harold Lucas, Billy Shelton, and Thomas Woods. John "Buddy" Bailey was added later. They were called The Four Clovers, with Bailey on lead. In an effort to perfect their sound, Shelton and Woods were pushed out of the group in 1948, and Matthew McQuarter and Harold Winley replaced them.
The group's break came in 1950 when Lou Krefetz became their manager. They signed with Rainbow Records in New York and released "Yes Sir, That's My Baby"/"when You Come Back To Me". Krefetz took the group to Atlantic Records and introduced them to Ahmet Ertegun, and the group signed with Atlantic in 1951. Guitarist Bill Harris was added to group about this time. The group made their first appearance at The Apollo in February of that year.
The Clovers first recording session with Atlantic produced three hits, "Don't You Know I Love You" went to #1 on the national charts, in 1951, "One Mint Julep" and "Fool, Fool, Fool, went to #1 in September of the same year.
Bailey went into the Army in 1952 and was replaced by John Phillip. Phillip was there for just a few months and was replaced by Charlie White, who had been with The Dominoes and The Checkers. White was fired in 1953 and was replaced by Billy Mitchell. The group was having little success with Atlantic at this time. Bailey came back from the Army in 1954, and rejoined the group making them a quintet. The group had a moderate success with "Devil or Angel" in 1955.
Mitchell left the group for a short time to chase a solo career, returning after deciding that he could do solo work and work with The Clovers.
Their contract with Atlantic expired, so Krefetz moved the group to his own label, Popular Records. Popular was sold to United Artist Records which put the group in touch with Leiber and Stoller. After a few recordings, the group had their biggest hit with "Love Potion #9" in July 1959, with Mitchell on lead. There are two versions of "Love Potion #9", the second version refered to love potion #10 and was played more often than the original.
After their United Artist contract expired in 1961 the group moved to Winley Records. The group had little success at Winley, and soon split. Lucas and Mitchell found two new members, James Walton and Robert Russell and recorded for Atlantic again. Bailey formed his own Clovers and recorded for Winley Records in 1962. Also in 1962 Mitchell left the group and was replaced by Roosevelt 'Tippie" Hubbard. The group recorded as Tippie and the Clovermen and Tippie and the Clovers for Tiger Records, a subsidiary of Rust Records. By the end of 1963 the group was a trio, consisting of Lucas, Bailey and Winley.
After The Searchers coverd "Love Potion #9, in 1965, some of the groups old tracks were leased to Pickwick International Records, who released an album called "The Original Love Potion #9 By The Clovers"
Lucas and Russell asked Hubbard and Walton to return, then added a 5th member Al Fox. They recorded as Tippie and The Wisemen for D.C's Shrine Records. When Fox left, the group went back to being The Clovers. Bailey fromed his owned version of The Clovers and re-recorded "Devil or Angel" and "Love Potion #9", for Lana Records in 1965. Harold Winley started a third Clovers group in 1968, which caused serious confusion, they recorded for Josie Records.
Russell passed in 1969 and was replaced by John Bowie. The group released a disco song called "Bump Jive" on D.C.'s Alladin Records in 1975. Soon after the release Walton passed and was replaced by Johnnie Mason. Tippie passed in 1980 and was replaced by Steve Charles.
At a reunion in 1988 in Austin, Texas. Lucas brought his Clovers and reunited with Bailey, McQuarter, and Winley. Lucas' group recorded for Ripete Records in Elliott, South Carolina.
Chuck Battle replaced Charles in 1990. Harold Lucas became ill and stop touring in 1993. The personell continues to change, but the group still tours and is popular on the doo-wop circuit.
The Clovers recieved the Rhythm and Blues Foundation, Pioneer Award in 1988, were inducted into The Doo-Wop Hall of Fame in 2001, inducted into The Vocal Group Hall Of Fame in 2002, and inducted into The United in Group Harmony Hall Of Fame in 2002
As stated before we will see the names Leiber and Stoller, George Goldner, Morris Levy and Carole King over and over again. They where major players in the doo-wop era, along with many others, we'll try to get to them all.
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