The Sweet Teens (1) (Pomona, Los Angeles, CA) aka The Ru-Bee-Els aka The Hollywood Chicks aka The Chicks (2)
Personnel :
Elnora Hicks
Betty Hicks
Mary Thomas
Ruth Davis
Discography :
The Sweet Teens (1) 1955 - Don't Worry About A Thing / Forever More (Flip 311)
The Ru-Bee-Els 1961- I'll Try / Evil (Flip 359)
Kell Osborne & The Chicks (2) 1962 - Little Chick-A-Dee / Do You Mind (Class 302)
The Hollywood Chicks 1962 - Tossin' a Ice Cube / Hey, Little Gigolo (Class 303)
Biography :
The Sweet Teens were a female quartet from Pomona area of Los Angeles. The Members were Elnora Hicks, Betty Hicks, Mary Thomas & Ruth Davis. Although their name was similar to the Six Teens, they never enjoyed the string of recordings and popularity of their successful label mates. Their lone single, "Don't Worry About A Thing" / "Forever More" (Flip 311) went unnoticed in April 1955. The Ballad "Forever More" written by Elnora Hicks and Mary Thomas is a very close female take-off of the Los Angeles classic "The Letter" (Dootone 347) by Vernon Green & the Medallions.
Ruth Davis and The Hicks Sisters reappeared seven years later as a trio with one of Flip's last releases, "I'll Try" / "Evil" issued on Flip 359. The Trio comprised Ruth Davis, Elnora Hicks and Betty Hicks, and their name derived from the first two letters of each of their names. The Ru-Bee-Els also backed Kell Osborne as the Chicks and recorded "Tossin' a Ice Cube" b/w "Hey, Little Gigolo" as The Hollywood Chicks, Both singles released by Class records. Barry White once said that this record was his first professional job in the recording industry - he did the handclaps on "Tossin' A Ice Cube".
The Sweet Teens (1) (Pomona, Los Angeles, CA) aka The Ru-Bee-Els aka The Hollywood Chicks aka The Chicks (2)
Personnel :
Elnora Hicks
Betty Hicks
Mary Thomas
Ruth Davis
Discography :
The Sweet Teens (1) 1955 - Don't Worry About A Thing / Forever More (Flip 311)
The Ru-Bee-Els 1961- I'll Try / Evil (Flip 359)
Kell Osborne & The Chicks (2) 1962 - Little Chick-A-Dee / Do You Mind (Class 302)
The Hollywood Chicks 1962 - Tossin' a Ice Cube / Hey, Little Gigolo (Class 303)
Biography :
The Sweet Teens were a female quartet from Pomona area of Los Angeles. The Members were Elnora Hicks, Betty Hicks, Mary Thomas & Ruth Davis. Although their name was similar to the Six Teens, they never enjoyed the string of recordings and popularity of their successful label mates. Their lone single, "Don't Worry About A Thing" / "Forever More" (Flip 311) went unnoticed in April 1955. The Ballad "Forever More" written by Elnora Hicks and Mary Thomas is a very close female take-off of the Los Angeles classic "The Letter" (Dootone 347) by Vernon Green & the Medallions.
Ruth Davis and The Hicks Sisters reappeared seven years later as a trio with one of Flip's last releases, "I'll Try" / "Evil" issued on Flip 359. The Trio comprised Ruth Davis, Elnora Hicks and Betty Hicks, and their name derived from the first two letters of each of their names. The Ru-Bee-Els also backed Kell Osborne as the Chicks and recorded "Tossin' a Ice Cube" b/w "Hey, Little Gigolo" as The Hollywood Chicks, Both singles released by Class records. Barry White once said that this record was his first professional job in the recording industry - he did the handclaps on "Tossin' A Ice Cube".
The Emotions (4) (New York) aka The Three Emotions
Personnel :
Bill Rodriguez
Discography :
The Emotions (4) 1957 - It's Love / Candlelight (Fury 1010)
The Three Emotions 1959 - The Night We Met / The Girl I Left Behind (Fury 1026)
Biography :
Billy was born and raised in New York City, singing on the street corners of the city. His first group was “The Emotions” which entertained audiences for many years in clubs throughout New York. In addition the group was on the famous television show “Jacko Show” to promote their record “Candlelight“ & “Its Love” which was on the Fury Label.
Fury Records was set up by Bobby Robinson in 1957. The group recorded two other sides for Fury “The Night We Met“ and “The Girl I Left Behind“ released in 1959 as the Three Emotions. Bill also sang with another group called the “The Memories”, a popular group from Springfield, Massachusetts for 12 years.
The Les Chimes (Phoenix, Arizona) aka The La Chords
Personnel :
Dan Moss
Gene Blue
Robert Brown
Ron Post
Discography :
The Les Chimes 1960 - Time Out For Love / Willie Did The Cha Cha (Johnny Otis) (Gay 628)
The La Chords Singles: 1962 - Flame Out / To Be (Gay 629) 1962 - To Be / Hey Pretty Baby (Gay 629) 1964 - Sit Down And Write / Hey Pretty Baby (Take Five 631-6) 1964 - Hammer of My Heart / On the Beach (Take Five 631-8) 1964 - Sit Down And Write / On The Beach (Take Five 631-?) Unreleased : 1962 - Is It Wrong (Gay)
Ladmo & The La Chords 1964 - LittIe Drummer Boy / Rudolph The Red Nosed Reindeer (Ladmo) (Take Five 631-12)
Biography :
The singing group known as The La Chords originally got together in Germany. US servicemen Dan Moss, Gene Blue, Robert Brown and Ron Post were the original members. At the time, the quartet was known as The Les Chimes. They Recorded "To Be" in a radio studio in Germany in 1959
When Ron Post and Robert Brown were shipped back to to Phoenix, Arizona the following year they made a deal with dairy man Carl Hightower (A local school teacher who wanted to get into the record business) to release it on his Gay Records imprint.
When the rest of them got back to Arizona, they soon changed their name to the La Chords and recorded "To Be" and "Hey Pretty Baby". The record did fine on local stations and the group made many public appearances.
Ron Post decided that he was going to go back to California and get into his father’s business. Robert Brown was still in the military. He was having personal problems, so eventually he was gone. Then they picked up Al Douglas. . http://www.wallacewatchers.com/music.html
Singles: 1951 - Shouldn't I Know / Please Don't Leave Me (Atlantic 938) 1951 - Pretty Baby Blues / I'll Always Love You (Atlantic 952) 1952 - Wheel Of Fortune / Kiss Me Baby ( Atlantic 958) 1952 - She Rocks / The Bump (Atlantic 972) 1953 - Lovie Darling / You Are My Only Love (Atlantic 995) 1954 - Please Baby / Under A Blanket Of Blue (Atlantic 1025) 1955 - The Door Is Still Open / Misirlou (Atlantic 1054) 1955 - Come Back My Love / Two Things I Love (Atlantic 1067) 1955 - Lovely Girl / Here Goes My Heart To You (Atlantic 1079) 1956 - Off Shore / Choo Choo (Atlantic 1090) 1956 - I Won't Make You Cry Anymore / The End Of The Story (Atlantic 1103) 1957 - One Love / Near You (Atlantic 1126) 1977 - Would I Love You / I'll Always Love You (Robin Hood 154)
Eps: 1974 - Train (Choo Choo) / Love Me / Have I Been Gone Too Long / Sure Nuff (Bim Bam Boom EP 1000)
Unreleased : 1951 - (Give Me) A Little Something (Atlantic) 1951 - Give Me Another Chance (Atlantic) 1952 - This Can't Be The End (Atlantic) 1952 - If You See My Baby (Atlantic) 1953 - For A While (Atlantic) 1955 - Love Came Tumbling Down (Atlantic) 1955 - You Won't Be True To Your Heart (Atlantic) 1955 - Today, Tomorrow, Forevermore (Atlantic) 1955 - Bang-A-Lang (Atlantic) 1956 - The Show Is All Over (Atlantic) 1956 - Let The Sunshine Shine On You (Atlantic) 1956 - Neki Hoki (Atlantic)
Biography:
The Cardinals, early balladeers that few remember, recorded 12 singles for Atlantic Records (their only label) between 1951 and 1957. They debuted with "Shouldn't I Know," a willowy ballad featuring a prominent lead guitar, tight harmonies, and a deep bass; lead Ernie Warren impressed listeners at the fade by holding a long note in breathtaking fashion. One of the bird groups, the Cardinals formed in their hometown, Baltimore, MD, in 1946, a year before a more famous bird group from Baltimore, the Orioles. Originally they were the Mellotones.
Johnson,Brothers, Warren, Hardy & Aydelotte
The lineup was Warren, Donald Johnson, Meredith Brothers, Leon Hardy, and guitarist Sam Aydelotte, who also sang. They did the Baltimore bar scene for years, imitating all the ballad and modern harmony groups including the Ink Spots. A recording opportunity came in 1951 when a representative from Atlantic Records inked them after a talent search audition.
The Cardinals arrive in Philadelphia For a Show at The Uptown. Brothers, Hardy & disc jockey Georgie Woods
Atlantic renamed them the Cardinals to avoid confusion with another Mellotones group that recorded for Columbia Records. The first single "Shouldn't I Know" (1951) mimicked the Orioles sound; it rode into the R&B Top Ten and took the fellows on tours at big-city venues with other star R&B artists. A second single "I'll Always Love You," a 1951 release, didn't do as well but wasn't a total flop either. They followed with "Wheel of Fortune," a song from their first recording session.It wasn't a scheduled release; Atlantic took advantage of four pop releases of "Wheel..." at the same time by Sunny Gale, Bobby Wayne, Kay Starr, and the Bell Sisters; all cracked the pop Top Ten except Gale's which nailed down the number 13 spot. The Cardinals competed with Dinah Washington for R&B honors and managed a number six R&B showing.
The Cardinals At New York's Paramount Theater : Johnson, Warren, Brothers, Hardy & Aydelotte
Uncle Sam drafted Warren who was replaced by Leander Tarver for the fourth single "The Bump" b/w "She Rocks." James Brown (not "Mr. Please, Please") replaced Tarver who left for unknown reasons; Warren, on a leave, participated in the next session which included six Cardinals. The septet recorded "You Are My Only Love" (1953) and "Under a Blanket of Blue" (1954); both flopped, Atlantic lost interest in recording and promoting the group; that interest didn't return until Warren's service duty ended and he rejoined full-time early in 1954.
A new recording session resulted in the Chuck Willis-penned "The Door Is Still Open to My Heart" (1955) The lineup was now Warren, Johnny Douglas, Brothers, Hardy, and Johnson.The gigs picked up and the Cardinals toured extensively on shows sponsored by Alan Freed, Buddy Johnson, and others. They appeared with the Ravens, the Moonglows, the Nutmegs, Chuck Berry, Dinah Washington and other stars.
They hit the Midwest many times. In Cleveland, OH, they played the Circle Theater two or three times, and once did a show at the Uptown in bright orange suits, sharing the bill with Luther Bond & the Emeralds, Arthur Prysock, Tiny Grimes, and others. Atlantic issued six more singles that didn't do well, though a couple are considered classics. The interest in the Cardinals' singing style was waning.
About the time Atlantic dropped the final Cardinals single "One Love" (1957), the group had splintered. Warren formed another group before reuniting the originals with different members. The new guys hung in until the early '60s before breaking up for good. Atlantic thought a lot of the group - they recorded 36 sides, though only 24 were released via 12 singles. The 36 singles have not been released as an album. Andrew Hamilton, All Music Guide
The Opals (4) 1964 - Does It Matter / Tender Lover (Okeh 7188) 1964 - You Can't Hurt Me No More / You're Gonna Be Sorry (Okeh 7202) 1965 - I'm So Afraid / Restless Days (Okeh 7224)
Otis Leavill (bb the Opals) 1963 - Rise Sally Rise / I Gotta Right To Cry (Lucky 1004)
Betty Everett (bb the Opals) 1964 - The Shoop Shoop Song (It's In His Kiss) / Hands Off (Vee-Jay 585)
Biography :
The Opals recorded for Three singles for Okeh Records from 1963 to 1965 and also backed Otis Leavil and Major Lance on recordings. Their fame never extended outside the Windy City boundaries despite recording material by Curtis Mayfield, Billy Butler, and sax player Clifford Davis, the brother of producer Carl Davis. Rose Addison (lead singer), Myra Tillison, and a member only remembered as Tootsie were the Opals; the trio made their recording debut in 1963 accompanying Leavil (uncredited) on both sides of his Lucky Records' single: "I Got a Right to Cry" b/w "Rise Sally Rise." When Carl Davis assumed the A&R duties at Okeh Records the Opals were brought along, along with Davis' assistant Leavil; a young Curtis Mayfield, making a name for himself with the Impressions, contributed independent productions. They backed Major Lance (uncredited) on the B-side "Crying in the Rain" of his number 13 pop and number 12 R&B smash "Hey Little Girl.
Major Lance Betty Everett
The spectacular job they did on "Crying" earned them a contract. Okeh issued their debut single late in 1963, two Clifford Davis songs "Losers Weepers" b/w "Take It Right," the latter co-written with Phil Upchurch, and they were off and running. It was followed by Billy Butler's "Does It Matter" in 1964 and Curtis Mayfield's "You Can't Hurt Me No More," later that year. The Opals backed Major Lance (again uncredited) on Van McCoy's "Everybody Loves a Good Time," released May 1965, but Lance had peaked and the song bubbled under Billboard's Pop 100 at number 109. A final single "I'm Afraid" b/w "Restless Days" dropped in July 1965, Verne Allison and Mickey McGill (the Dells) wrote the latter, but the results were the same; nothing the Opals recorded took off nationally or even regionally and the trio vanished from the music scene. Their sides are available on many compilation albums and are getting more acclaimed and play these days then when first released in the mid-'60s. Andrew Hamilton, All Music Guide
The Cadets (1) 1955 - Don't Be Angry / I Cry (Modern 956) 1955 - Rollin' Stone / Fine Lookin' Baby (Modern 960) 1955 - I Cry / Fine Lookin' Baby (Modern 963) 1955 - Annie Met Henry / So Will I (Modern 969) 1955 - Do You Wanna Rock? / If It Is Wrong (Modern 971) 1956 - Heartbreak Hotel / Church Bells May Ring (Modern 985) 1956 - Stranded In The Jungle / I Want You (Modern 994) 1956 - I Got Loaded / Dancin' Dan (Modern 1000) 1956 - I'll Be Spinning / Fools Rush In (Modern 1006) 1956 - Love Bandit / Heaven Help Me (Modern 1012) n/a - Let's Rock And Roll (unreleased) n/a - Away (unreleased) n/a - Memories Of You (unreleased) Young Jessie (bb the Cadets) 1955 - Mary Lou/Don't Think I Will (Modern 961)
Albums
1957 - Why Don't You Write Me** / Oo Wee Baby* / Let's Make Up** / Dream A Little Longer** / This Empty Heart** / So Wrong** / /Wiggle Waggie Woo* / You Belong To Me* / Sugar Baby** / Why Did I Fall In Love** / Do You Wanna Rock* / My Clumsy Heart** (RPM LP 3006 / Crown LP 5021)
1963 - Stranded In The Jungle / Annie Met Henry / Marie My Love*** / The Riddle*** / John Henry*** / Love Bandit / Rollin' Stone / Heaven Help Me / I Had But 50 Cents*** / Rum Jamaica Rum*** (Crown LP 5370)
1963 - So Wrong / You Are The First One**** / My Love Has Gone / Be Loves Dovey**** / Why Don’t You Write Me / Hey Little Girl* / Away (prev. unrel.), Fine Lookin’ Woman* / Dream A Little Longer (Crown LP 5372)
*Cadets, ** Jacks, *** Aaron Collins with studio group, ****Rockets
Biography:
The Los Angeles-based Jacks were so good at covering popular hits of the day that their versions were often equal to (if not better than) the original versions. They were versatile in R&B, jump tunes, ballads, calypso songs, and recorded some of the greatest early rock & roll songs ever, including "Stranded in the Jungle" (released in June of 1956, and charting at number four R&B/number 15 pop). Mostly, though, the Jacks are remembered for recording under two names simultaneously: as the Jacks (for Modern) and the Cadets (for RPM). Each group had its own hits and each with a slightly different sound and musical direction. The Jacks/Cadets began as a gospel group during the late '40s in Los Angeles, under the guidance of former Dixie Hummingbirds' baritone Lloyd McGraw. In 1954, McGraw joined up with first tenor Austin "Ted" Taylor, lead and second tenor Aaron Collins (brother of Betty and Rosie Collins, who recorded as the Teen Queens), tenor Willie Davis, and Will "Dub" Jones (lead and bass), who possessed a stratospheric falsetto. The band on most of the group's sessions was lead by tenor saxophonist Maxwell Davis.
It was Modern's Joe Bihari who came up with the idea of having one group with a split personality, envisioning the Jacks as a ballad harmony group utilizing the writing talents of Aaron Collins and the Cadets as an up-tempo and novelty song quintet who mostly covered other acts' material. As a rule, either Dub Jones or Aaron Collins sang lead on the Cadets recordings, while tenor Willie Davis fronted the Jacks. In late 1954, the quintet - as the Cadets - recorded a version of Nappy Brown's "Don't Be Angry" and a calypso-flavored cover of "Rolling Stone," which outsold the original by Excello's Marigolds. Later, the Cadets issued their third single, "I Cried," backed up singer Dolly Cooper on "My Man," Young Jessie on "Mary Lou," and Richard Berry on "Jelly Roll" and "God Gave Me You."
Young Jessie
By the summer of 1955, the Cadets had released "Annie Met Henry," a single that fell in line with the whole "Annie" craze created in the aftermath of Hank Ballard & the Midnighters' big hit "Work With Me Annie," which had been released some 16 months earlier and was still going strong. The public was quickly tiring of the whole "Annie" phenom, however, so DJs flipped over the 45 and gave the B-side, "So Will I," the push instead. The Cadets' next Modern release was "Do You Wanna Rock," an exciting up-tempo revision of the Drifters' big R&B hit (number two) "Whatcha Gonna Do." The song also had a big impact on Hank Ballard and provided the format for Chubby Checker's "The Twist." It was the Cadets' next single, the buoyant "How Soon," that scored the regional airplay and sales. In early 1956, Prentice Moreland replaced Ted Taylor (although he only recorded with the group on three early songs, he didn't usually perform with them), who had left the group for a solo career as a solo blues vocalist. By February, the Cadets had moved on to new cover material, including Elvis Presley's "Heartbreak Hotel" and the Willows' "Church Bells May Ring." Around this time, Aaron Collins brought his two little sisters, Rosie and Betty, to Joe Bihari with an original song called "Eddie My Love." By the spring, the Teen Queens had the number two R&B record in America with "Eddie," which also charted number 14 on the pop chart.
One day, Bihari and arranger Maxwell Davis handed the group a beautiful ballad titled "Why Don't You Write Me?," the original of which - by the Feathers - was soon to be issued on the Showtime label. They quickly did a cover; the Feathers' original came out in the fourth week of April 1955 and the Jacks' copy came out one week later (on the Modern affiliate RPM). The flipside, Charlie Calhoun's "Smack Dab in the Middle," was actually cut as being by the Cadets and wound up on their first LP. Even though it was recorded by the same group, it was listed as being by the Cadets in keeping with the "two groups in one" philosophy. The Jacks' "Why Don't You Write Me?" hit the R&B charts on August 6th, and jumped up to number three R&B by September; it even managed to cross over to the pop charts to reach number 82, charting before the Cadets charted with their outlandish cover of "Stranded in the Jungle."
When the ballad side began to break big in the pop field, Bihari immediately bumped the B-side and a second pressing was hastily issued with a ballad on the flipside, "My Darling."
The instant that Bihari heard the Jay Hawks' "Stranded in the Jungle," a rough and ragged original that had been waxed first, then heard the version done by his own act, the Cadets, while in the studio, he knew that his group's was far superior. He quickly pressed up copies and got them to radio stations in strong regional markets across the country and into stores in those areas, before the Jay Hawks' even had a chance to make a move themselves. Released in June of 1956, the song shot up the charts, to number four R&B/number 15 pop.
What would prove to be Prentice Moreland's only Cadets/Jacks recording session provided the group with a catch phrase of their own; he delivered the line "Great googly-moogly, let me outta here," on "Stranded in the Jungle." It was a line he had picked up from a Cincinnati DJ.
Modern tried to forced Moreland to remain with the group instead of leaving for his own solo career, but Moreland quit anyway and was replaced by former Flairs baritone Thomas "Pete" Fox. Moreland later sang with the Colts and went on to become a single artist for various labels, recording for Edsel in 1959, Del-Fi Records' subsidiary Donna in 1960, and Challenge in 1962. Lloyd McCraw also left the group around this time. Subsequent Jacks/Cadets sides from 1956 failed to generate interest or sales for Modern, however. The Jacks tried again with a few original ballads and eventually hit with "Love Bandit," their last record of 1956, which was cut from the same cloth as "Stranded in the Jungle" and name-checked many of the outlaws and sheriffs of the Old West ("Frank James, Jesse James, and Billy the Kid...."). The Jacks never again achieved the measure of success that "Stranded" had achieved. In September of 1956, they tried again as the Cadets for "Dancin' Dan," a slightly altered version of the Dominoes big hit "Sixty-Minute Man," which featured "Dub" Jones on lead vocals. After that, they covered "Johnnie" (Johnnie Louise Richardson, later a member of the Jaynettes, of "Sally Go Round the Roses" fame) and "Joe"'s (Joe Rivers) "I'll Be Spinning," a number ten hit on the East Coast (number one in NY), distributed by Chess Records. The Cadets' quickly recorded cover version of "I'll Be Spinning" outsold the original, however, on the West Coast.
In February 1957, Modern issued Rockin' and Reelin', the Cadets' first LP, one of the very first R&B group LPs, which collected most of their previously released A and B-sides. In March, eight months after their last release and 22 months after the release of their only hit, RPM put out the Jacks' Jumpin' With the Jacks LP, which contained ten sides of which three ("You Belong To Me," "Do You Wanna Rock," and "Wiggie Waggie Woo") were released on singles by the Cadets. Another single called "Pretty Evey" was thought to be a Cadets release, and even listed incorrectly as such when it was issued in May 1957, but was actually Aaron singing lead with another obscure house group. By this time, Bihari and Modern had given up on the Jacks part of the equation and from that point on, the group was exclusively known as the Cadets. Their last RPM single was "Ring Chimes," issued in December 1957. By the turn of the new decade, the Cadets had been ready to call it a career.
Will "Dub" Jones later became the main bass man for the mega-popular group the Coasters. Davis and Collins soon re-formed the Cadets, this time adding Thomas Miller (baritone) and George Hollis (bass), both previously of the Flares. The new Cadets signed with the Felsted label, a New York-based label headed by Walt McGuire. After two singles in 1960, they were ready to call it a career, but in name only; Randolph Jones later joined the group, substituting for Hollis on bass, and the quartet became the Peppers. They released one single, "One More Chance," on Ensign in 1961.
That year, with Hollis back on bass, the group became the Flares (different spelling this time) on Felsted. Their third single for the label, the energetic dance record "Foot Stomping, Pt. 1," went to number 25 on the pop Charts (number 20 R&B). The group then signed to Press Records for seven more singles, all of which went nowhere. A year later (in 1962), Davis and ex-Cadet McCraw teamed to form the Thorables (Titanic Records); in total, there were six more recordings by the Flares and none went anywhere. 1964 and the British Invasion pretty much brought the end of the road for the Jacks/Cadets/Flares at this point.
In the early '80s, Aaron Collins wrote songs for John Water's Hairspray. Ted Taylor died in 1987, Lloyd McCraw in 1987, Prentice Moreland in 1988, Aaron Collins in 1997, and Dub Jones in 2000.
Bryan Tomas, All Music Guide http://home.att.net/~uncamarvy/JacksCadets/jackscadets.html http://home.earthlink.net/~jaymar41/jacks_cadets.html
(L to R) : Arthur Crier, Gary Morrison, John Murray, Gene Redd Jr.
The Five Chimes (New York) aka The Chimes(2)
Personnel:
John Murray (First/Second Tenor & Baritone)
Gary Morrison (Second Tenor, Baritone & Bass)
Gene Redd Jr. (Lead & Baritone)
Arthur Crier (Baritone & Bass)
Discography :
The Chimes (2) 1953 - A Fool Was I / Dearest Darling (Royal Roost 577)
The Five Chimes 1953 - Rosemarie / Never Love Another (Betta 2011)
Biography :
John Murray, Gary Morrison and Gene Redd Jr. were neighbors. Gary brought his friend, Arthur Crier into the group and the Gay Tones were in business. Gene Redd Sr. was a saxophone player of some note - He took the group to Teddy Reig, who owned Royal Roost Records with Jack Hook. The group was only together about two months before they went into the studio to record. They came up with the name "the Chimes." the Chimes had two singles released on Royal Roost Records and on its Betta subsidiary (as the Five Chimes), but then John Murray died of spinal meningitis at the age of only 16 and it wasn't the same without him. Crier and Morrison formed another group in early 1956, the Hummers and the Mellows.
This duo from Bakersfield, CA consisted of Della and Dorothy Quinn. Della was 15 and Dorothy was 13 years old, when they recorded “Dickie / I Hurt So” for Pike Records in 1963. Pike Records was founded in 1959 by Roy Flowers in Bakersfield, California. Both Roy and his wife Vancie originally hailed from Oklahoma but moved to California in the 1950s. At the same moment, Flowers also set up his publishing firm Flowers Music Publ. The first record of the label shows Arvin, California, as location but all subsequent singles show Bakersfield.
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