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.

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.

LABEL OWNERS, SONG WRITERS, AND PRODUCERS

No matter how good a group was, they didn't make the charts if they couldn't find the right song, the right producer, or the right label! In most situations the groups needed a combination of all three elements.
While researching information for this blog, some surprises popped up. I knew that a large number of the groups that sang doo-wop were Black, and a smaller number were Italian, and a smaller number were Puerto Rician, but it's the other numbers that got me. It seems that while most of the groups were minorities, most of the management were non-minorities, mostly Jewish. It seems that the music buisness was a metaphor for what was happening across the country, racism and corruption was rampant through out the industry. Most of the people I'll write about in this blog, tried to be fair, but we'll also talk about some of the people who were deep into the corruption.

Let's start with DEBORAH CHESSLER.
According to Rolling Stone Magezine, Deborah Chessler was a young White girl working in a shoe store when her dream came true. In 1948, 18 year old Chessler, was a wanna be song writer. Chessler had one song, ("Tell Me So") that had been recorded, but it flopped bad. A friend ask Chessler to listen to a group over the telephone. The group was led by a young, Erlington Tilghman, soon to become Sonny Til, the group was called The Vibranaires. The sound she heard was the sound she was looking for. The rest is doo-wop history.
The writer of the Rolling Stone's article, tells how Chessler had to fight the established pattern of racism, sexism and corruption to make things happen. After a lot of hard work, Chessler got the group a contract with Jerry Blaine, owner of the Jubilee label. It was Blaine who changed the groups name to The Orioles. In true doo-wop tradition, Chessler wrote the groups smash hit, "To Soon To Know", on a roll of toilet paper in a rest room.
Most Black groups of the day, like The Mills Brothers and The Ink Spots, aimed their music at White audiences, but The Orioles did just the opposite. They went straight for the Black auduence, with the lyrical impressions of a young White woman, the group was a success. The song went to #1 on the "race" charts and #13 on the pop charts. "To Soon To Know" has been covered by many singers over the years.
In later years Chessler was there to discover eight year old Leslie Uggams.


FLORENCE GREENBERG
Here's a story of an unlikely housewife who turned the music world on it's head when she took an unknown girl group and made them stars. Florence Greenberg was a female pioneer in a male dominated world of Rhythm and Blues. Greenberg said of herself, that she was a triple anomaly: A "White woman" who is in a "Black Business", and "who couldn't carry tune". What she did have was a triple treat "an ear for popular music", "a sharp eye for talent", and "a driving ambition", which worked great for her and the rest of the music loving world. Greenberg is responsible for introducing The Shirelles to the world. Greenberg wrote "Soldier Boy" for the group, and recorded them on her Tiara label. Her labels also produced 60's hits like, "Louie Louie", by the The Kingsmen, "Twist And Shout" by The Isley Brothers, and "Walk On By", by Dionne Warwick. Greenberg also produced "Rain Drops Keep Falling On My Head" sung by BJ Thomas and was on the soundtrack of the movie Butch Cassidy and the Sundance Kid and won an academy Award in 1969.
After the release of "I Met Him On A Sunday" Greenberg made the rounds of all the radio stations and pestered DJ's until she got the song played. The song was such a hit that the demand for the song was fantastic. So much so that her small Tiara label could not handle the orders, so Greenberg sold The Shirelles contract to Decca Records. Not realizing what they had, and thinking the group would be a one hit wonder, Decca returnd The Shirelles to Greenberg, who formed Sceptor Records. Over the next decade, Sceptor became an industry sensation.
Greenberg's eye for talent was never more evident, than when Burt Bacharach, played her a demo. Greenberg said she didn't like the song, but she loved the singer. The next day Bacharach, returned saying that he had signed a new young singer named Dionne Warwick. Partly because of The Shirelles, and Dionne Warwicks successs Gulf and Western offered $6 million for Greenberg"s Sceptor label in 1965, Greenberg declined. This turned out to be a bad choice, Greenberg's success had faded over the years and by 1977, Sceptor folded and Greenberg lost everything.
Bette Midler wanted to make a movie of Greenberg's life, but could not get the required rights from two of the surviving Shirelles, so plans for the movie are dormant.

LUTHER DIXON
Luther Dixon wrote many songs that were hits for many groups of the 50's and 60's, like The Shirelles. Dixon was hired by Florence Greenberg to work at her Sceptor label. Dixon was in charge of artist development, while Greenberg ran the company. The Shirelles had their first hit with Dixon's arrangement of CAROLE KING and GERRY GOFFIN'S song "Will You Love Me Tomorrow".
Dixon produced many more hits including "sixteen Candles", "I Don't Want To Cry", "Soul Serenade, "MaMa Said", and "Big Boss Man".


VIVIAN CARTER
Vivian Carter was one of a few Black record company executives of the doo-wop era. Carter won a talent contest conducted by Al Benson in 1948, for new DJs in Chicago. She worked WGES in Chicago and later at WJOB in Gary, Indiana. In 1944 Carter met and would latter marry Jimmy Bracken, who would also become her business partner.
In 1953 the couple started a record company, called Vee-Jay Records taking it's name from their initials. During the 50's and 60's Vee-Jay grew to become a major independent record label with acts including The Spaniels, Jimmy Reed, John Lee Hooker, Gene Chandler, and Jerry Butler, The four Seasons and for a while The Beatles.
Because of Carter's relationship with the radio industry she was able to get her groups played and attract new talent.
Carter passed in 1989, but the groups that she recorded and managed will keep her memory alive.

BERT BERNS
Bert Berns was born in the Bronx to Russian Jewish parents. Berns contracted rheumatic fever as a child, and this would affect him for the rest of his life. He turned to music and found comfort in the music of his Black and Latino neighbors. Berns danced the mambo as a young man and made his way to Havana Cuba. After his return he began a seven-year run, from an obscure song writer to the owner of his own labels.
Berns first hit was "A Little Bit Of Soap", by The Jarmels in 1961. A year later he scored with "Twist And Shout", by The Isley Brothers. The song was written by Berns and Phil Medley. Berns wrote for many labels including Wand, United Artist, Capitol, Laurie,MGM, Big Top, Old Town,Roulette, and Atlantic Records.
In 1963 Berns replaced Leiber and Stoller as staff producer for Atlantic Records, where he produced Solomon Burke's "Cry To Me", and "Everybody Needs Somebody To Love", The Drifters' "Under The Boardwalk" and "Saturday Night At The Movies", Barbara Lewis' "Baby I'm Yours" and "Make Me Your Baby", Little Ester Phillips, Wilson Pickettt, and LaVern Baker. Berns was one of the few producers to travel to London, where he produced acts for British Decca.
Berns passed in 1967 and a golden era of rock, soul and doo-wop passed with him. One of his last songs was "Piece Of My Heart", that was recorded by Erma Franklin, the song was covered by many artist over the years.
Berns' BANG and Shout Records catalogue is owned by Sony Music, but the Berns family owns the publishing operations originally called WEB IV Music.
Berns' list of songs cover doo-wop to soul to R&B and the list is long. Berns was not as well known as other Brill Building writers, but Berns should be listed among the most significant and influential of his generation and on par with the likes of Leiber and Stoller, Holland-Dozier-Holland. Berns is also credited with bringing soul,rock, and Latin rhythms together.


CAROLE KING
Born Carol Klein in Brooklyn, New York. Later she added an "e" to her first name and changed her last name to King.
King started out playing piano and moved on to singing and formed a singing group, called The Co-Sines while still attending James Madison High School. It was while she was attending Queens College that she met Neil Sedaka. She was his inspiration for his song "Oh Carol", and in response King wrote "Oh Neil". King befriended Paul Simon and Gerry Goffin who would play an important part in her life for years to come.
King and Goffin soon started writing songs together. Working for Aldon Music at the Brill Building, where hit songs were turned out on a regular basis in the 60's. The first Goffin-King hit was "Will You Love Me Tomorrow", recorded by The Shirelles in 1961. Like a lot of King's songs "Will You Love Me Tomorrow" has been covered by to many singers to count, and is still being sung today.
King and Goffin married in 1960 and divorced in 1968, but their song writing relationship continued during the marriage and after.
Some of the songs out of King's book are: "Will You Love Me Tomorrow", By The Shirelles, "Some Kind Of Wonderful", and "Up On The Roof" by The Drifters, "Keep Your Hands Off My Baby" and "Loco Motion", by Little Eva, "Hey Girl" by Freddie Scott, "One Fine Day", The Chiffons, "Oh No Not My Baby", by Maxine Brown, "Don't Foreget About Me" by Barbara Lewis and " You Make Me Feel Like A Natural Woman" by Aretha Franklin.
As the 60's moved on, King's music changed with the times. King had many more hits in the following years, but it's her early years that are important to doo-wop lovers.
King has been inducted into the Song Writers Hall Of Fame, King and Goffin have been inducted into the Rock and Roll Hall Of Fame. King has Recieved four Grammy Awards and is look at as one of the greatest song writers around.


GEORGE GOLDNER
Goldner was born in New York, and original made his living as a garment dealer. His love of Latin music led him to run dance halls in the early 40's In the late 40's Goldner started his first label, Tico Records. In and effort to promote his records, Goldner started paying DJ's at the radio stations to play his records. This practice came to be known as payola.
Goldner was a gambler,and was always in need of cash, this problem put him in contact with Morris Levy, another dance hall owner. Over time Goldner would sell parts of his labels to Levy for cash. Goldner and Levy formed Rama Records which would later record R&B music. The Crows" recording of "Gee" inspired the formation of another label, Gee Records, who's most successful act was Frankie Lymon and The Teenagers. Goldner helped establish a number of labels, including Gone Records, End Records, and the more famous, Roulette. Morris Levy would take advantage of Goldner's gambling problems and take control of these labels.
Goldner recorded some of the best doo-wop groups of the time, including, The Crows, The Wrens, The Valentines, The Cleftones, The Five Crowns, (who would become The Drifters), The Heartbeats, The Chantels, Little Anthony and The Imperials, The Starlighters, The Flamingos, The Dubs, The Channels and The Isley Brothers.
Goldner's last run at success was Red Bird Records and it's Blue Cats subsidiary, co-founded by Leiber and Stoller. As a partner of the company Goldner was in charge of promoting Red Bird releases, while Leiber and Stoller worked on production. Red Bird only lasted two years, Leiber and Stoller wanted out of the music business and Goldner started having gambling problems again. Leiber and Stoller sold their part of Red Bird to Goldner for $1.00. The Red Bird catalogue (except for releases by The Shangri-Las, whos contract was sold to Mercury Records) was sold to Morris Levy's Roulette Records. Goldner passed in 1970.
Goldner had his problems, but he also had a big impact on the music scene and started more than few groups on their way.

MORRIS LEVY
Born Moishe Levy in the Bronx, New York, but was known as Morrie Levy to the insiders of the music business.
After leaving the Navy, Levy became the owner of a string night clubs. His most famous club was The Birdland, which Levy is said to have taken over from Joseph "Joe the Wop" Catalano in 1949.
By accident Levy found out the value of publishing rights of a piece of music. Each time a song he owned was performed or played he was entitled to royalties. Levy learned this when an ASCAP representative told Levy at Birdland he must pay publishing companies for performing live music. Levy's lawyer confirmed that fact and soon Levy formed his first publishing company, Patricia Music.
Levy was one of the bad ones. He founded Roulette Records in 1956 where he started what would become his most profitable side of his business. Levy began claiming writers rights on songs he had nothing to do with. The first and most famous is, he claimed writers rights on "Why Do Fools Fall In Love". It is believed that Frankie Lymon and Herman Santiago wrote the song. Levy repeated this pratice through out the years. Levy collected revenues from all sides of the business. He claimed writers rights, he claimed publishing rights and he claimed distribution rights, and he claimed the profits form the sale of his records. There are stories that Levy even bootlegged his own records. Levy became one of the wealthiest executives in the record business.
Levy had a long running law suit with John Lennon over a phrase Lennon used from a Chuck Berry song.
After a time Levy sold Roulette for an estimated $55 million. There was an investigation started in the 50's about Levy's business practices, but it wasn't until 1986 that the law caught up with him. Levy was convicted of extortion, but died in Ghent, New York before serving any time.
Some of Levy's business practices were adopted and perfected by Berry Gordy at MOTOWN.


Next we'll look at Robert and Johnny, The Falcons, The Clovers, The Five Satins, and The Harptones. I onow Robert and Johnny are not really doo-wopers, but Victoria requested them so they're up next.
Please continue to leave comments and make request for your favorite group. In a few weeks we'll look two of the best writers and producers of the doo-wop era, Leiber and Stoller, and we'll take another look a Smokey's songs and productions from the beginning.

THE DELLS

The Dells are one of the longest lasting groups of all times! They have found a way to keep original members in the group for over forty nine years. Their line-up did not change from 1960 until the death of Johnny Carter on August 21, 2009. Over the years The Dells repertoire included doo-wop, jazz, soul, disco, and rhythm and blues.
The Dells started singing together while attending Thorton Township High School, in Harvey, Illinois. The group formed in 1952, using the name, The El-Rays. The group consisted of Marvin Junior, Mickey McGill, Lucius McGill, Verne Allison, Chuck Barksdale, and Johnny Funches. Lucius McGill left the group in 1954, making the group a quintet. Lucius signed with the Chess brothers' Checker label and recorded a doo-wop single, "Darling I Know", the record flopped.
The group changed their name to The Dells in 1955, and soon signed with Vee-Jay Records. In 1956 they recorded their first hit, "Oh What A Night". Funches was a co-writer and lead singer on the song. The song went to #5 on the R&B charts and is listed at #260 on Rolling Stone magazine's list of The 500 Greatest Songs Of All Time. Follow up songs failed to have the same impact.
A tragic car accident in 1958, threatened to derail the group. Mickey McGill, nearly lost his leg in the accident. The group agreed to split-up to give McGill time to recover.
Barksdale joined a new version of The Moonglows, that included a young Marvin Gaye on lead. McGill did recover and Barksdale rejoined the group in 1960. By this time Johnny Funches, had left the group for good, frustrated with the group's slow progress. Funches was soon replaced by Johnny Carter, who came from The Flamingos. This would be the final line-up change for the group for over forty nine years. The Dells went on to sing background for the likes of Dinah Washington, Ray Charles, and Barbara Lewis, of "Hello Stranger" fame. The group got some fine tuning from Quincy Jones, and began to include jazz, and Broadway styled show tunes as part of their live and recorded acts.
The Dells returned to Chess' subsidiary label Cadet, working with Bobby Miller, and Charles Stepney. Stepney would later become an arranger and producer for Earth, Wind, and Fire.
In 1967, The Dells released an album called, "There Is", which included their first R&B hit in years with the titled track. The song featured a contrast to most other groups of the time by having the raspy baritone voice of Marvin Junior on lead, with the very tight harmony in the background. The song was also a top 20 pop hit. After "There Is", The Dells continued with a string of hits, including "Wear It On Your Face", "Always Together", "I can sing A Rainbow/Love Is Blue", and their first #1 hit "Stay In My Corner" in 1968. The song also went to #10 on the pop chart. "Stay In My Corner" featured another contrast, it featured Johnny Carter's first tenor balanced against Marvin Junior's baritone. This arrangement became a trademark of The Dells. The group had to wait until 1969 before they were looked at as R&B stars. That year the group revived their first hit, "Oh What A Night", which was re-produced under a classic soul format. Marvin Junior's husky lead made the song sound new. It was in stark contrast to Johnny Funches smooth tenor on the original recording, this version went to #1. They had more hits with "Open Up My Heart", "Oh What A Day", and "On The Dock Of The Bay".
"The Love We Had Stays On My Mind", was another top 10 hit for the group on the R&B charts in 1971. Charles Stepney took over production duties from Bobby Miller at this time. In 1973 The Dells had their first certified gold record, "Give Your Baby A Standing Ovation", that was produced by Don Davis. The Dells were now a top-selling recording act.
With The Chess Label having financial troubles, Cadet records, a subsidiary started having problems, so The Dells left at the end of 1974. The group then recorded for Mercury, ABC, 20th Century Fox, and Virgin labels, with a few hits including, "I Touched A Dream", which put the group back in the top 40.
For awhile The Dells were confined to the oldies market, until they were asked by Robert Townson to be creative consultants on his acclaimed 1991 musical "The Five Heartbeats". The movie was based loosely on the lives of The Dells. The group had a hit with the George Duke composition, "A Heart Is A Home For Love". The song was issued on the sound track of the movie and went to #13 on the R&B charts. This hit gave the group a push and made them the second group to chart singles in four different decades, after the Isley Brothers.
The group then moved to the Philadelphia International label, where they recorded the album "I Salute You". The Dells have kept an active touring schedule stopping from time to time to record an album, including 2003's "HOTT".
In 2004 the group was inducted in both the Vocal Group Hall Of Fame, and The Rock & Roll Hall Of Fame.
Like the Imperials, The Dells don't consider themselves a doo-wop group, but on their 1974 recording "I Miss You" you can hear the doo-wops in the background, ten years after doo-wop was said to be dead. In my mind and heart no matter what The Dells sing I hear doo-wop.

The next blog will be about some of the writers, arrangers, producers and managers. These are the behind the scenes people that created the songs, and the acts to sing them. Very few groups were able to direct their own lives once these other people got involved. Some of these people were good for the groups and really helped them along. So many of these groups were young and were exploited by some of these people.

Please leave comments and request and we'll keep doo-woping!!

LITTLE ANTHONY AND THE IMPERIALS

One of the longest lasting groups from the doo-wop era is Little Anthony & The Imperials.
The group started out in 1957 as The Chesters. The group included Clarence Collins, Tracy Lord, Nathaniel Rogers, and Ronald Ross. Anthony Gourdine joined the group and became the lead. Ross left the group and was replaced by Ernest Wright, and the group recorded for Apollo Records for a short time. Changing their name to The Imperials the group signed with End Records in 1958. Their first single was "Tears On My Pillow" which went straight to the top. One night while playing "Tears On My Pillow", D.J Alan Freed dubbed Anthony Gourdine, Little Anthony! The B-side "Two Kinds Of People" also became a hit. The next single, for the group was "Shimmy Shimmy , Ko Ko Bop" in 1960.
Little Anthony left the group for a solo career 1961, after their success dropped a little. Some other members left and the line-up became Collins, Wright, Sammy Strain and George Kerr. Kerr was then replaced by Kenny Seymour, this group had very little success.
Little Anthony returned in 1963, replacing Seymour. Little Anthony, Ernest Wright, Clarence Collins, and Sammy Strain, became the classic line-up for the group. With the help of record producer/songwriter Teddy Randazzo, (a long time friend of the group), The Imperials found success at a new label, DCP (Don Costa Productions) with a new release "I'm On The Outside Looking In" in 1964. Then came a string of hits, "Going Out Of My Head" (1964), "Hurt So Bad" (1965), "I Miss You So" (1965),"Take Me Back" (1965), "Hurt"(1966), and "Out Of Sight Out Of Mind"(1969). In 1965 The Imperials appeared on the CBS-TV special Murray The K, It's What's Happening, Baby. On the show they delivered an explosive perfromance of a 50's hit "I'm Alright" before a live audience in New York.
The Imperials then joined United Artist and were assigned to it's Veep subsidary and then back to the parent label. During this time they recorded "Better Use Your Head", "World Of Darkness", " If I Remember To Foreget", "Yesterday Has Gone", and the Thom Bell produced "Help Me Find A Way (To Say I Love You)".
After this the group moved to Janus Records where they recorded the single "Father Father", which they performed on The Merv Griffin Show. The group then moved to Avco Records in the early 70's and recorded an album "On A New Street, and charted with "La La La" and "I'm Falling In Love With You". The album was produced by both Bell and Randazzo. Most of these songs did well on the R&B charts, but not so well on the Pop charts. A second album for Avco "Hold On" was pulled from the market.
Ernest Wright left the group in 1971, to join Tony William's Platters. He was replaced by Kenny Seymour, who was replacd by Bobby Wade. Strain left in 1972, and joined The O'Jays. Harold Jenkins replaced Strain, he had been the groups choreographer. Jenkins and Seymour were together in The Impacts. Little Anthony left again for a some what successful solo career. Collins, Wade and Jenkins continued on as The Imperials. Clarence Collins left 1988 and was replaced by Sherman James. The group became Bobby Wade's Imperials. James left in 1992 and was replaced by Ron Stevenson. That same year Collins, Wright, Strain and Little Anthony reunited for a concert at Madison Square Garden. The reunion was so successful that the group decided to stay together. When the decision was made for the group to tour again, Wade gave up the use of the name Imperials, and his group became The Emperors. The Emperors became the house band at Caesars Palace in Las Vegas. Strain left The O'Jays and permanently returned to The Imperials. 1992 the year of the groups reformation, just happened to be the 40th anniversary of Dick Clark's American Bandstand, and he invited The Imperials to appear as part of the television special celebration.
The line-up of Anthony, Strain, Wright, and group founder Collins, is considered the classic and best Imperials line-up, this is the group that had the hits. It's this same group that has been seen by millions of fans on television shows like, The Ed Sullivan Show, American Bandstand, Shindig, Hullabaloo, Perry Como's Kraft Music Hall, The Mike Douglas Show, and other natioal shows. In 1977 they were featured on NBC's Today Show's Summer Concert Series. The group also appeared on two PBS Rock, Rhythm and Doo-wop shows.
Anthony, Strain, Collins, and Wright continued touring as Little Anthony and The Imperials, until Strain retired in 2004. Harold Jenkins returned to replaced him. As of now The Imperials are the second oldest group keeping original members over the years, they are second behind The Dells. The are also one a few groups that have reinvented themselves and went on to have consistent recording success well passed the 60's.

The Imperials songs have been covered by some of the biggest names in the buisness, Frank Sinatra, Linda Ronstadt, Sergio Mendez, The Delfonics, Wes Montgomery, Ray Conniff, Ella Fitzgerald, Luther Vandross, Reba McEntire, The Miracles, Chris Montez, and The Lettermen.
The Imperials were inducted into the Long Island Music Hall Of Fame, in 2006, and The Vocal Group Hall of Fame in 1999 In Oct. 2008 the group recorded a new album called "You'll Never Know" ad they performed on The David Letterman Show that same year. The Imperials song "Shimmy Shimmy Ko Ko Bop" was featured in the 1988 Tom Hanks movie Big.On January 14, 2009 Little Anthony and The Imperials were inducted into The Rock and Roll Hall Of Fame. Sammy Strain is one of a few artist to be inducted in two different groups. The Imperials and The O'Jays.
The Imperials' last Doo-wop show was in June 2009, they did a half hour set, which displeased Little Anthony. He felt that 30 minutes was not enough time to showcase their talents. Anthony commented that The Imperials were not a Doo-wop group, but an R&B group.
On Oct. 29, 2009, The Imperials returned to Madison Square Gardens for the 25th anniversary of The Rock and Roll Hall of Fame concert. They were featured in a segment devoted to The Originals of New York. The show was aired Thanksgiving, weekend.

The next group will be The Dells, another long lasting group.
Please leave comments and request for future blogs. Coming soon we'll talk about the writers, arrangers and producers. These people gave us some of the greastes

ITALIAN AMERICANS AND DOO-WOP

We would need a social scientist of some kind to explain why so many Italian Americans found the so-called race music of the 50's and 60's so intoxicating. Even without the scientific explanation we know that Italian Americans in New York, D.C., Baltimore, and other cities had almost identical experiences when it came to doo-wop. The street corner groups, the tight harmonies, the doo-wop sounds in the songs, and the showmanship on stage. In many cases if you closed your eyes, you couldn't tell the Italian groups from the Black groups. They sounded the same, the high first tenor, and the deep rumbling bass. There must have been fifty groups Black and White that sang "Gloria". There were cross-over songs in New York long before MOTOWN. So in this blog we'll talk about some of those groups.

While doing the research for this blog, I found something that surprised me. I had always thought that TIMI YURO, was Black and Korean mixed. I was just going by her name and the sound of her voice. As it turns out, Timi Yuro was Italian American. Yuro is considered the first non Black female to sing soul and R&B with success. Timi Yuro (real name,Rosemary Timothy Yuro) was born in Las Vegas in 1940 to Italian American parents.
Yuro's family moved to Los Angeles to open a restaurant. Yuro sang in the restaurant and local clubs until she was discovered by executives of Liberty Records. After being signed to the label, Yuro had a #4 hit with a cover of a Roy Hamilton song, "Hurt" in 1961. She also scored a #12 hit with her follow up song, "What's The Matter Baby" (Is It Hurting You), in 1962. Yuro had an emotional style that she claimed was influenced by Dinah Washington and other Black Jazz singers. From her sound, many listners thought Yuro was Black.
In 1961 Yuro was asked to tour with Frank Sinatra on his Australian tour.
Yuro covered all kinds of music, on one album "Make The World Go Away", Yuro covered country and blues standards. Yuro added some soul to some of the standards of the day like, "Let Me Call You Sweetheart", "Smile", and "I Apologize".
In the 60's Yuro made two appearances on The Ed Sullivan Show, and was on American Bandstand, Where The Action Is, and The Lloyd Thaxton Show. In 1967 Yuro appeared in a black and white film in the Philippines.
Yuro performed in venues from London to Las Vegas, but her career lost it's early momentum, and Yuro quit the business after she got married in 1969. Yuro started singing again in the 80's, but found out she had throat cancer. Her larynx was removed, but Yuro passed in 2004. Her last album called "Today" was released in 1982 by Ariola Records and was produced by her friend Willie Nelson.
Yuro is still admired in Great Britain and the Netherlands.

Now let's get to the Italian doo-wop groups!!!!!
Let's start with LARRY CHANCE and the EARLS. The Earls were a popular doo-wop group formed in the Bronx, New York. Their two biggest hits were "Remember Then" and "Life Is But A Dream". The group had two other songs that charted, "Never" and "I Believe". Some say the The Earls took the original Black doo-wop street corner harmony and refined it, but if you listen to their songs you'll find that they had more instruments, but the groove was the same as the Black doo-wopers.
Larry Chance was the driving force behind the group. Chance grew up in Philadelphia, and attended high school with Chubby Checker, Frankie Avalon, and Danny Rapp, of Danny and The Juniors. In 1957 Chance moved with his parents to the Bronx. Chance formed a group at Tecumsa Social Club, called the High Hatters. The group included Chance, Bob Del Din, Eddie Harder, Larry Palumbo, and John Wray.
In the fall of 1959 the group was singing in front of a subway station when Johnny Powers heard them and wanted them to sing on his small Rome label. The group had to use their own money to record four tracks, they were still the High Hatters at this point, but they soon changed their name to The Earls.
In 1960 Larry Palumbo was lost in an army skydiving accident.
In 1961 Rome Records released "Life Is But A Dream". The group soon found themselves in the big time performing for Murray the K and Dick Clark's American Bandstand. The Earls were helping to make doo-wop popular with non Black listners. It was in 1962 that the group hooked up with Stan Vincent and recorded the song they are most remembered for "Remember Then", for Old Town Records. The song went to #24 on the Billboard charts.
Some time in late 1963 or early 1964 Chance went solo for a short time and recorded "Let Them Talk". Chance went back to The Earls, who had recruited two new members, Bob Moricco,and Ronnie Calabrese. In 1967 the group started playing their own instruments.
The group is still one of the most requested groups on the oldies circuit.

THE TOKENS
The Tokens were formed in 1955 at Brooklyn's Abraham Lincoln High School and were known as the Linc-Tones. The group includd Neil Sedaka, Hank Medress, Eddie Rabkin, and Cynthia Zolotin. Rabkin left the group and was replaced by Jay Siegel in 1956. The band recorded it's first song, "While I Dream" that same year. In 1957 Sedaka and Zolotin left the group leaving Siegel and Medress who recruited two new members for the group, and recorded the single "Picture In My Wallet" as Darrell and the Oxfords. After some more changes the group became The Tokens. The changes included recruiting a 13 year old kid that played many instruments, brothers Mitch and Phil Margo and guitarist Joe Venneri.
In 1961 The Tokens released a single for Warwick Records called "Tonight I Fell In Love" which went to #15 on the Billboard charts and earned them a spot on American Bandstand. This opportunity got them the chance to cover the Solomon Linda's song "The Lion Sleeps Tonight" for RCA Victor. The song went to #1 on the Billboard charts and stayed there for three weeks. From 1962 to 1970 the group released nine more songs that made it to the top ten, including "I Hear Trumpets Blow" in 1964, and "Portrait Of My Love" in 1967. The group also served as producers for a number of other groups including, The Chiffons, Randy and The Rainbows, and The Happenings.
In 1973 Medress left the group and Siegel teamed with the Margo brothers and formed a group called Cross Country, which had some success when they covered "In The Midnight Hour"
The Tokens reunited in 1975 for some work on a game show called Musical Chairs. In 1978 the group recorded a song for School House Rock.
A version of of The Tokens still tours. There have been some law suits, about who owned the name of the group, and who owned the rights to their arrangement of "The Lion Sleeps Tonight"


VITO AND THE SALUTATIONS
Vito and The Salutation were a 60's doo-wop group out of New York (surprise!!), whose first recording, "Gloria", was a regional hit.
In 1963 The Salutations scored a hit with an up-tempo version of "Unchained Melody", which went to #60 on the Cash Box charts, and made the top ten in many cities.
The group lasted from 1961 to 1965, and had reunion in 1971. Lead singer Vito Balsamo,also sang with The Del Vons and The Kelloggs and still performs in The Golden Group Memories.
The group's version of "Unchained Melody" has been included in several movies, including the popular movie Goodfellas.

THE DUPREES
The group was formed in 1960 in Jersey City, New Jersey, by William L. Dickinson High School students Michael Arnone, Joe Santollo, John Salvato, Tom Bialoglow, and Joey Canzano.
George Paxton a former big band leader was impressed by the group's style and signed them to his Coed Records label. Their first single was a re-make of a Jo Stafford 1952 hit, "You Belong To Me". The Duprees version had doo-wop vocals and a big band backing and reached the top ten in the US.
The group had a few more top 40 hits over the years. They scored with "My Own True Love" a vocal adaptation of "Tara's Theme" from the soundtrack of Gone With The Wind. "Have You Heard" and "Why Don't You Believe Me" also reached the top 40. The group became know for mixing doo-wop vocals with big band arrangements. Like most of these groups The Duprees changed members often.
The Duprees continued to get work even after the British Invasion, by turning towards a more pop sound and had songs in the top 100 even into the 70's.
In Novenber 2008, The Duprees were inducted into the Vocal Group Hall of Fame.


THE CAPRIS
The story of The Capris reads like most of the stories of doo-wop groups, but this story has a twist.
The Capris formed in Ozone Park, Queens New York, in 1957. The group included Nick Santamaria (aka Nick Santo), Mike Mincelli, Frank Reina, Vinnie Naccarato, and John Cassese. All of the members were teenagers and still in school. In 1958 the final member of the group was recruited and the group was on their way. The Original name of the group was The Supremes, but soon changed to The Capris. They took their name from the 50's Lincoln Capri car.
The group gained experience and popularity by performing at local venues and school dances. In 1958 the group was at Bell Studios in New York recording their biggest hit, "There's A Moon Out Tonight". The song was released by Planet Studios in early 1959. They recorded only one other song called "Indian Girl".
After that release the group disbanded, and everyone went their own way.

Here comes the strange twist!
"There A Moon Out Tonight" was so popular, that collectors in New York scoured the city looking for copies of the record. A group of collectors bought the masters of the songs and pressed 330 copies on red vinyl and gave a few copies to some DJ's. The song became popular all over again. The song ended up in the hands of Murray the K at WINS. Murray had show called "Rate The Record". On the show Murray had five records going against each other. "There's A Moon Out Tonight" won one night and came in second on another night. Second to "Will You Love Me Tomorrow" by The Shirelles. The Capris quit their jobs and reunited, the next week they were at The Apollo Theater, and then at Brooklyn's Paramount. They were everywhere and on the rise again. In 1961 the song hit the charts and stayed there for 14 weeks. The group released more songs and changed labels, but didn't have another hit until 1982. In 1982 the group released an album called "There's A Moon Out Tonight". On the album were some covers of some popular songs and a new track, "Morse Code Of Love". The song had the old doo-wop sound. Many people thought the song was a foregotten oldie, but not so, it was a new song. So 23 years after they had their first hit, and doo-wop was dead, the group had another doo-wop hit.
Some of the group's members have passed and some have retired from singing, but the remaining members are still performing on the oldies circuit.


These are just some of the groups that helped doo-wop cross over and become mainstream. With our Italian brothers singing what was considered race music (Black music) the doors were opened for Atlantic Records, Stax, and MOTOWN to become the labels that provided the sound tracks of our lives.

By no means is this the end of Italian Americans and doo-wop, we will re-visit them again!
Next up, Little Anthony and The Imperials. Please enjoy the blog and leave comments and request for information on other groups.

What is DOO-WOP and where did it come from??

When we think of doo-wop today we think of the music of the 50's and 60's. The groups from the street corners, usally with tight five part harmony. What comes to most peoples mind is African Americans singing the songs of the day a capella and adding doo-wops and oohs to fill in where instruments would be. The strange thing is, that this style of singing became so popular that the professional artist started taking the sound into the studio. Before MOTOWN most groups had only small combos to back them up, maybe a piano, bass and guitar, or guitar, bass and drums. So the added sounds filled out the background and gave the songs a fuller sound.
It is an establish fact that the music of the time was seperated by race and there were very few mixed gruops at the time, however in the mid 50's things started to change, Whites and Blacks started listening to the same music. The Ink Spots, The Mills Brothers, and The Orioles had set a standard that had everyone listening to them regardless of race. The Orioles appeared on The Arthur Godfrey Show in 1948, as the first Black group to be on national television. The Ink Spots, The Mills Brothers, and The Platters soon followed on other shows. In my mind The Platters were the classiest of all.
The street corner sound seemed to be confined to the east coast for awhile. Most of the groups were concentrated in cities like Washington, D.C., Baltimore, Philadelphia, Newark, and New York City. Pittsburg, Clevland, and Detroit, carried the middle of the country. Black teenagers would form groups and sing on the corners trying to sound like their favorite groups.
There are a couple of ideas as to how the name Doop-wop came to be attached to this kind of music. One idea is that it was named after the sound that was made when the groups sang, doo-wop tee dee, doop-wop do ahhh, and so on. I think that there is one idea that is closest to the truth. Duop dego, is an Italian phrase that was used as a derogatory insult against what would be considered low class Italians. The same as using the N-word for African Americans. Here's where it comes together. For some unknown reason Italian Americans started listening to and singing the pop and R&B songs of the day. They formed their groups on the corners and sang what was considered race music,(Black music). Because these teens were singing what was look at as race music, which was unacceptable, they were called duop degos. The word duop is pronounced DOO-WOP, and the kids were called duopers. After awhile the word caught on, and anyone that sang that kind of music, was said to be duoping. As time went by the spelling and meaning changed.
There is some dispute as to which song first contained the phrase doop-wop, but the first hit to use the phrase was "When You Dance" by the Turbans in 1955. The chant doo-wop can be heard through-out the song.
The term doo-wop, first appeared in print in 1961, in the Chicago Defender.
The end came for doo-wop from two fronts. One was the British Invasion, the other was MOTOWN. I think that even with the British Invasion, doo-wop would have lasted a year or two more, if MOTOWN had not happened. In my mind MOTOWN wounded doo-wop, but The Temptations, killed it. Once The Temptations got started, everybody wanted to be them. Here was a group that had five lead singers. They had the smoothness of The Moonglows, the harmony of The Orioles and the stage presence of The Platters. When other groups heard The Temptations, everyone stopped what they were doing and tried to become The Temptations. However there is always one exception, and that would be The Dells. It seems to me that The Dells found a new way to do doo-wop and kept their style of doo-wop going for a few more years.



The next blog will be about the Italian American groups that sang doo-wop.
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Thanks to everyone who has been to the blog. If there are any questions or if you have any groups that you would like to read about, please let me know. I would like to see this blog last for a long.