Angie & The Chicklettes (New York) (Jean Thomas with The Angels)
Personnel :
Jean Thomas (Lead)
Barbara Allbut
Toni Mason
Phyllis "Jiggs" Allbut
Discography :
1965 - Treat Him Tender Maureen / Tommy (Apt 25080)
Biography :
When Peggy Santiglia left the Angels, Phyllis & Barbara recruited Toni Mason. With Jean Thomas on Lead (The Rag Dolls) They became "Angie & the Chicklettes" for one single on Apt.
The Lyrics (3) 1959 - Every Night / Come Back baby (Rhythm 127)
William Wigfall & The Lyrics (3) 1962 - Got to Get Along / Come Back (Skylight 202)
Leo Valentine & The Lyrics (3) 1962 - Please don't Leave me this way / Baby Doll (Skylight 201)
Ida Valentine & The Lyrics (3) 1962 - Now That You've Gone / Why Did You Lie (Skylight 200)
Biography :
The Lyrics produced only one record for Rhythm. The obscure SF/Oakland Rhythm Records, created by Mr Don Barksdale, the first black collegiate basketball Hall of Famer and great DJ on station KDIA in Oakland, sister station to WDIA. You didn't hear this on Top 40 radio. 3 years later, The Lyrics recorded three more singles for skylight records.
The Marktones (Northwest Atlanta, Georgia) aka The Cashmeres (1) aka The Kashmirs
Personnel :
Grover Mitchell (Lead Tenor)
Henry Boyd (Tenor)
Ralph Riley (Baritone)
Romeo Shuler (Bass)
Discography :
1957 - Hold Me Close / Talk It Over (Ember 1022) 1957 - Yes Siree / Hey Girlee (Ember 1030)
Biography :
In 1955, Dodd Hicks enlisted in the U.S. Air Force , and the remaining Cashmeres' trio added lead Grover Mitchell, signing to the Herald label to release "Little Dream Girl" in mid-1956. The single quickly disappeared, and the group dissolved soon after. In the summer of 1957, Herald's Ember subsidiary issued "Hold It Close," credited to the heretofore unknown Marktones - in truth, the song was an unreleased leftover from the Cashmeres' "Little Dream Girl" session of a year earlier. http://www.uncamarvy.com/Cashmeres/cashmeres.html
1958 - The Letter Of Love / Darling I Really Love You (R&M 407/408)
Biography :
like the fascinators and the clusters, the Markels came from the bushwick section of Brooklyn. They formed in 1958 when members were all between fifteen and seventeen years of age. They sang in the same venues as those other groups.
Like the clusters, they solicited Bobby Robinson at Fury Records. Bobby liked them but could do nothing for them. There was R&M Records, in the Bushwick area, that liked the Markels and set um recording session for them.
Later in the Summer of 1958, R1M released "The Letter of love" and " Darling i really love you". Initially the record did well, especially in Baltimore, but it faded quickly.
The Four Flickers (Nashville, TN.) aka The Four Counts (4)
Personnel :
Larry Strzelecki
Henry P. Strzelecki
Ray Snider
Johnny Campbell
Discography :
The Four Flickers 1959 - Is There A Way / Yo Yo (Lee 1002) 1959 - Aimez-Moi Love Me) / Long Tall Texan (Lee 1003) 1960 - Aimez-Moi (Love Me) / Is There A Way (Lee 1006)
The Four Counts (4) 1960 - Heavenly / Blue Eyes (Ace 597)
Biography :
Birmingham, AL-born Henry Strzelecki (sometimes credited as Henry P. Strzelecki) started out in country music in his teens, recording with songwriter Baker Knight on the Decca label out of Nashville in the mid-'50s. In 1959, he played with his brother Larry along with Ray Snider and Johnny Campbell in a group, the Four Flickers who toured the southern and border states late in the '50s.
The Four Flickers recorded two singles for Lee records owned by Herb Zebley and Ed Levy and the group became the first to record “Long Tall Texan” wrote by Henry Strezlecki. “Long Tall Texan” was subsequently recorded by Jerry Woodard (1960) and by Murry Kellum (1963), who was the first to make the charts with the tune. The Beach Boys recorded it in 1964, and it became a widely loved song in the group’s repertoire. The Kingsmen also recorded it that year. The Four Flickers changed their name to the Four Counts for their last single in 1960: "Heavenly" b/w "Blue Eyes" on the Ace label.
He worked with Hank Garland as a bass player in the early '60s, and subsequently worked for Chet Atkins for more than a decade, both in the studio and on tour, which helped move him to the front ranks of Nashville's session players. The list of recordings on which he has worked in the years since -- usually as bassist, but sometimes also as a singer and occasionally on mouth organ, or as a producer -- is prodigious, and encompasses the work of just about every star to come out of Nashville since the early '60s. He also founded a publishing and production company in Nashville that was very active during the 1970s and 1980s, and in 1987 was nominated for Bassman of the Year at the 23rd Academy of Country Music Awards.
1960 - Claude Forch, Charles Davis,Charles Colbert Jr. and Norman Prince
The Trinidads (Chicago
Personnel:
Hosea Brown (Lead/Tenor)
Charles Davis (Lead/Tenor)
Charles Colbert Jr. (First Tenor)
Norman Prince (Baritone)
Claude Forch (Bass
Discography :
1959 - Don't Say Goodbye / On My Happy Day (Formal 1005)
 1960 - When We're Together / One Lonely Night (Formal 1006)
Biography :
The Trinidads, a vocal group of five fellows, was the first act Talty ever released on record. The members of the group were all in their late teens and from the southwestern suburbs, mainly Argo and LaGrange. They were Charles Davis, Hosea Brown , Charles Colbert Jr., Norman Price , and Claude Forch. Davis and Colbert were cousins. The history of the group was short, lasting only from early 1958 to 1961. During this time Talty released two unimpressive records on the group and had them play local dates at high schools and similar places.
The Forevers (Baldwin, New York) Ref : Tommy Sawyer & The Twains
Personnel :
Tom Esopa (Lead)
Sandra "Daly" Daley
Jim
Bob
Discography :
The Forevers 1958 - Baby / Slow Down (Apt 25022)
Sandra Daly 1961 - Ooh La La / My Only Cure Is You (TJ 101)
Tommy Sawyer & The Twains 1962 - Fifteenth Down The Line / How Deep Is The Ocean (Diamond 112)
Biography :
The Forevers from Baldwin, New York were composed by Tom Esopa, Sandra "Daly" Daley, Jim and Bob. They perform locally and eventually have the chance to record a single: "Baby" b/w "Slow Down" released by Apt Records in November 1959.
Sandra Daley
Three years later singer Sandra Daley will record a solo single. the disc is produced by Tom Esopa who also write one of the songs : "Ooh La La". The story could have ended there, but in 1962, Tom Esopa backed by an unknown group, recorded "Fifteenth Down The Line" b/w "How Deep Is The Ocean" billed as Tommy Sawyer & The Twains.
The Atlantics 1961 - Boo-Hoo-Hoo / Everything Is Gonna Be All Right (Linda 103) 1962 - Remember The Night / Flame Of Love (Linda 107) 1963 - Home On The Range / Let Me Call You Sweetheart (Rampart 614)
Barry White & The Atlantics 1963 - Tracy (All I Have Is You) / Flame Of Love (Faro 613)
Biography :
Eddie Davis, Linda Record company owner, who loved to bring various artists and musicians together for recordings also used members of the vocal group, The Rivingtons ("Papa-Oom-Mow-Mow") and a young Barry White along with the all Black female vocal group who would later become, The Sa-Shays to fill in on the background vocals.
Gaynel Hodge
Gaynel Hodge wrote and played piano on "Boo-Hoo-Hoo" stroll and recorded it during the summer of 1961 at Capitol Records with Phil Tucker and Delbert Franklin sharing the lead vocals (Phil and Del). On Linda 107, "Remember The Night"and "Flame Of Love", The members were The Rivingtons (Carl White, Sonny Harris, Al Frazier, Rocky Wilson Jr) Barry White and Gaynel Hodge. On Rampart 614, "Home On The Range" features an 18-year-old Barry White on lead vocals with members of the Los Angeles doo-wop group, The Rivingtons and the Sa-Shays on background vocals.
The Mints 1956 - Busy Body Rock / "(Don't Leave Me) Alone (Lin 5001) 1956 - Night Air / Pledge Of Love (Ken Copeland) (Lin 5007 / Imperial 5432)
The Four Mints 1956 - What'Cha Gonna Do / Night Air (Choctaw 8002/Imperial 5432) 1957 - Gold / Ruby Baby (Decca 30465)
 1958 - Hey Little Neil / Teenage Wonderland (NRC 003)
 1958 - You Belong To My Heart / Wolf (NRC 011) 1959 - Tomorrow Night / Pina Colada (NRC 037)
Lps :
1959 - The Fabulous Four Mints (AZTEC ALP 1002) Journey's End / Love Is The Reason / You'll Never Walk Alone / Lonesome Road / Roll 'Em Pete / Born To Swing / Only You / Into Each Life Some Rain Must Fall / Falling In Love / Scarlet Ribbons / Ruby Baby
Biography :
The Four Mints (also known simply as the Mints) were a true oddity, a respected white vocal group in the midst of the early rock & roll era, capable of doing convincing R&B. James Wilson (lead), Gene Warr (first tenor), Aubie McSwain (second tenor), and Al Warr (bass) had known each other since childhood and sung together for years, throughout the '40s. Their main influence was gospel music, and they'd sung in churches for most of their lives.
The quartet had sung locally around Center, TX, mostly at local events and church functions. They took on the name the Four Mints and crossed over into popular music and R&B in 1954-1955. They'd always listened to the black R&B vocal groups of the period and proved good -- even inspired -- students: unlike, say, the Crew Cuts, the Four Mints didn't "bleach" out the sounds that they learned to create, but kept them intact even as they made them their own.
They were, in many respects, the group equivalent of the phenomenon that Sam Phillips claims to have been searching for, a white man who could sing black music.What's more, they were good enough to get bookings far outside of Center, even managing to cross paths with Elvis Presley in the process and even getting his future drummer, D.J. Fontana, on the skins for some of their gigs in Louisiana.
They cut a handful of songs for Lin Records in Gainesville, TX, including "Night Air" and "Little Mama Tree Top" (the latter unissued for 40 years). Although sometimes identified, for convenience's sake, as a doo wop group, the Mints were more animated than most of the acts to which the name is usually applied -- their models were groups like the Treniers, most of all, more so than the balladeer-type outfits usually called doo wop groups.
The Four Mints left Lin after just a few months for the much larger Decca label in 1956. They failed to generate any hits, but Decca's promotional efforts on their behalf and the resulting exposure gave them the intro the needed to break out of the south and become a national act.
They followed their idols, the Treniers, into the same Las Vegas clubs and remained popular for years. McSwain left the quartet in 1960. He was replaced, and the group lasted for another two years, breaking up in 1962. Bruce Eder, All Music Guide
1964 - Run, Run You Little Fool / Hot Spots (Parkway 929) 1965 - Hot Spot Part 1 / Part 2 (Parkway 992)
Biography :
The Bronzettes were a Philadelphia group , that were produced by Chubby Checker after his hitmaking days were over. Stress on HITMAKING, not creative. Chubby (and the whole Cameo-Parkway complex) continued to make great, danceable records all through the 1960s, despite the fact that the British Invasion pretty much shut the door on Chubby's chart career after 1964.
Chubby saw it coming, and decided that if those moptops were gonna keep him from having big hits, he'd better give himself some leeway for a career on the other side of the studio glass. So he wrote and produced this record for a local girl group (whom nobody seems to know anything about - not even the super-geeks at Spectropop) and released it in the fall of 1964 .....and the Bronzettes were never heard from again, leaving us one cool 45 to listen to and wonder about. http://ontherecordshow.blogspot.com/2012/01/bronzettes-hot-spot.html
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