Rosemary Clooney was one of the most popular singers of the early 1950s, scoring with four #1 hits -- "Come On-A My House" (1951), "Half As Much" (1952), and the two-sided "Hey There" (from the Broadway musical The Pajama Game)/"This Ole House" (1954) -- but she really blossomed as a fine jazz vocalist in the 1970s through her death in 2002; her nephew was George Clooney, the actor, and her brother, Nick Clooney (George's father), was a leading TV news anchorman in Cincinnati in the 1970s.
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The original Dell-Vikings group served together in the US Air Force singing together in their spare time. In October 1956 they recorded nine a-capella songs in the basement of a local deejay. Three months later backed by a pickup band of Air Force buddies in a makeshift studio set up by Fee-Bee records, they recorded "Baby, Let Me Know", "Come Go With Me", "True Love", "When I Come Home", "Don't Be a Fool", and "Watching the Moon". "True Love" began receiving local airplay in early December prompting Fee-Bee to re-release it with a stronger B-side. In January 1957, the re-titled "How Can I Find True Love" was released with "Come Go With Me" on the flip side. The popularity of "Come Go With Me" began to spread from Pittsburgh and a deal was made with Dot Records that allowed release of small quantities on the Fee-Bee label locally with the national sales for the Dell-Vikings being on the Dot label. Dot released "Come Go With Me"(Dot 15538) in the first week of February. Strong demand for the record saw it appear on the national charts within a week. After settling legal disputes with Fee-Bee and Dot, the group recorded on the Mercury label as the Del-Vikings. The result was that the Mercury's Del Vikings and Dot's "Dell-Vikings" had singles released the same week in June 1957. Also in 1957, their basement tapes had surfaced and the material was overdubbed with instruments and released by Buchanan and Goodman on their Luniverse label. With records being issued by four labels by three groups of Dell-Vikings they had three hit singles on the chart in August, 1957.AlexBrowne said:
Barrett Strong holds the distinction of being the performer on the first hit for the Motown record empire, the memorable "Money (That's what I want)," which was released on Berry Gordy's Tamla and Anna labels in 1960, and although Strong turned out to be only a one-hit wonder as a performer, after teaming up with producer Norman Whitfield he became one of Motown's leading lyricists in the '60s and '70s, the writer of the words for such classics as "I Heard It Through the Grapevine" by both Marvin Gaye and Gladys Knight & The Pips, "War" by Edwin Starr, "Smiling Faces Sometimes" by The Undisputed Truth, and the "psychedelic soul" records of The Temptations, including "Cloud Nine," "I Can't Get Next To You," "Psychedelic Shack," "Ball of Confusion (That's What The World Is Today)," and "Papa Was A Rollin' Stone."
Sue Thompson (born Eva Sue McKee) signed on with Hickory Records and ”Sad Movies (Make Me Cry)" became a top five hit on the pop charts in 1961. She followed this up successfully with "Norman"(#3 Pop) in 1962. Both of these hit singles were written by songwriter John D. Loudermilk. Thompson became a favorite among the teenage crowd of the time, even though she was in her late thirties. Two further hits, also written by Loudermilk, were "James (Hold the Ladder Steady)" and "Paper Tiger".AlexBrowne said:
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Those RRRRs
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Little Eva may have been best known for "The Loco-motion," but who could forget "Keep Your Hands Off My Baby," and "The Turkey Trot?"
Carole King's "It Might As Well Rain Until September" was also on Little Eva's/Del Shannon's DIMENSION label.
That RCA story about the demolition in interesting, but question I some of it's facts. There is no major Pier at the RCA site. Only a small loading dock/pier at the old RCA-Victor plant on the Delaware River in Camden. They built home electronics and transmitters there. Every station I worked at in Philly/South Jersey had RCA transmitters because of easy, immediate shipping, and incase of failure, a short drive to Camden would net any need part replacement. It meant very low down-time and dead air.
That building, with the stained glass "Nipper" logo on top, was saved and is now converted into ultra luxury waterfront condos with fabulous views of the Walt Whitman Bridge and Center City Philadelphia, and centered in the corrupt Camden County government and outrageous taxes of New Jersey. The rest of the RCA/Campbell's Soup site is now Campbell's Field, ballpark home to the Camden Riversharks.
All a wonderful piece of the America's Industrial Revolution.
That RCA story about the demolition in interesting, but question I some of it's facts. There is no major Pier at the RCA site. Only a small loading dock/pier at the old RCA-Victor plant on the Delaware River in Camden. They built home electronics and transmitters there. Every station I worked at in Philly/South Jersey had RCA transmitters because of easy, immediate shipping, and incase of failure, a short drive to Camden would net any need part replacement. It meant very low down-time and dead air.
That building, with the stained glass "Nipper" logo on top, was saved and is now converted into ultra luxury waterfront condos with fabulous views of the Walt Whitman Bridge and Center City Philadelphia, and centered in the corrupt Camden County government and outrageous taxes of New Jersey. The rest of the RCA/Campbell's Soup site is now Campbell's Field, ballpark home to the Camden Riversharks.
All a wonderful piece of the America's Industrial Revolution.
Thanks for your challenge, amfmsw. My references are rather fuzzy about the original buildings at the old RCA complex, but according to what I’ve been able to find, the warehouse mentioned was demolished in the 60s and a pier (of unknown size) was built atop the rubble at the site on the Delaware. The RCA complex continued to grow with manufacture of radio and broadcast equipment. RCA moved it’s Broadcast Systems Division operations in the mid 80s and many of the buildings were then destroyed. The historic Nipper Building (RCA Building 17) was converted to luxury apartments in 2003, and is one of a few remaining buildings that once housed the vast RCA Victor complex. It is now named “The Victor”.amfmsw said:
http://www.thevictorlofts.com/history.html
And now back to the game:
Rod Bernard, originally a Swamp-Pop artist from Louisiana, recorded the ballad "This Should Go On Forever" on the Jin Label (Jin 105) in 1958. It was released for national sales on Argo (Argo 5327) in 1959 and it became a national hit.
Louis "Satchmo" Armstrong, from New Orleans, Louisiana, is recognized as the most influential jazz artist in history, and while his truly legendary recordings preceded the rock era, he still had 20 singles on the pop charts in the 1950s and 1960s, including the #1 "Hello, Dolly!" from the Jerry Herman Broadway musical, in 1964; the Dixieland-style "Hello, Dolly!" holds the distinction as the first #1 song by an artist other than the Beatles after the Fab Four had their first #1 U.S. hit, "I Want To Hold Your Hand," followed by two other #1's, "She Loves You" and "Can't Buy Me Love": those three Beatles singles held the #1 spot on the Billboard Hot 100 for 14 weeks in row before Satchmo knocked 'em out!
Oh, no challenge, only what I've seen evolve for 50 years as I drive over the Walt Whitman Bridge from Olde City/Chinatown Philly to the land of Taxes, NJ.
"She Loves You/I'll Get You" Beatles was released on Dick Clark's SWAN Label. Three pressings: $10 Black with silver, $25 White w/maroon, and $50+ White w/ blue print & logo.
"She Loves You/I'll Get You" Beatles was released on Dick Clark's SWAN Label. Three pressings: $10 Black with silver, $25 White w/maroon, and $50+ White w/ blue print & logo.
The Clover's sound was heavy on the bottom. Both the vocal group and and the instrumental backing employed an accentuated bass line. No distinctive lead tenor carried the group; rather, it was a blending of all the voices over a varied mixture of drums, saxophone, and piano that gave the recordings by the group the warm feel of warmth even on the up-tempo numbers. Of their first nine records at Atlantic, three were #1 R&B hits, three reached #2 and two went to #3. Their last hit was "Love Potion #9" for United Artist in 1959.AlexBrowne said:
Not to worry amfmsw, I took your “challenge” in a positive way and did more research. I accept any and all input to my posts due to my love for the 50s and early 60s sound, it’s sort of my life, musically speaking. Anything I learn is just more to add to my library.amfmsw said:
Dick and Dee-Dee teamed up in the 1950s, but their first major hit was "The Mountain's High" in 1961, reaching #2 on Billboard Hot 100. Their recordings were created with four voice tracks. Each of them sang two separate harmony lines. Dick sang the highest and lowest parts including the falsetto, and Dee Dee sang in the middle notes, creating a unique and popular sound.amfmsw said:
Major Lance grew up in Chicago attending school with Curtis Mayfield; he gave us two great soul hits on Okeh records, "The Monkey Time" in 1963 and "Um, Um, Um, Um, Um, Um" in 1964 -- both written by his old classmate Mayfield, who also wrote most of the songs for The Impressions, Jerry Butler, and himself.
Another major hit on the Swan label was "Click-Clack" by Dickie Doo and The Don'ts. (double LP caounts as two selections).
Ever grab one of those postcards from Dad's Playboy for the Columbia Record Club, fill out a friends name, and "sign" 'em up? They couldn't beileve thier good luck when "free" albums started appearing in their mailbox...and kept on comin', with a bill, for two years!
Ever grab one of those postcards from Dad's Playboy for the Columbia Record Club, fill out a friends name, and "sign" 'em up? They couldn't beileve thier good luck when "free" albums started appearing in their mailbox...and kept on comin', with a bill, for two years!
Doo-Wop in the early 50s had geographic styles and sounds, usually based upon groups from New York, Philadelphia, Chicago and Los Angeles (the West Coast sound). These styles became quite distinct from one another. Philly teens heard more shrill tenors, Chicago kids heard more mournful ballads, Los Angeles produced looser harmonies and New Yorkers heard more schoolboy and gang sounds.AlexBrowne said:
The recording studios in Chicago to make an impact on the Doo-Wop scene in the 1950s were: Chance, which existed for only four years, Parrot/Blue Lake, United/States (The Danderliers and The Moroccos), Chess, and VeeJay.
I joined the Columbia Record Club in the early 60s and some of my first 33-1/3 albums came from them. Didn’t really like their monthly selections and dropped it after the first year. Never found my Dad’s Playboys, if he had them, but I kept mine well hidden from him.amfmsw said:
;D ;DThe Association was a six-man pop group formed in Los Angeles in 1965, and was very popular in clubs in southern California; they had a string of hits in 1966-67 that have always enjoyed heavy play on top 40 and adult contemporary radio, including two #1 songs, "Cherish" and "Windy," in addition to "Along Comes Mary," "Never My Love," and "Everything That Touches You."
The American Rock ‘n’ Roll scene was invaded by British artists and groups in 1964, 1965 and 1966. British artists which reached number-one on the Hot 100 during these years included: The Beatles, The Animals, Peter and Gordon, Cilla Black, The Dave Clark Five, Petula Clark, Donovan, Wayne Fontana and the Mindbenders, Freddie and the Dreamers, Herman's Hermits, Manfred Mann, The New Vaudeville Band, The Rolling Stones, and The Troggs.AlexBrowne said:
The first charted single for The Band, the influential five-man group formed in Woodstock in 1967, was "The Weight," about the unusual characters a traveler meets during his stop in Nazareth, Pennsylvania; interestingly, the label on the 1968 single -- Capitol 2269 -- does not identify the artists as The Band, but instead just lists the five performers: Jaime Robbie Robertson (guitar and composer of "The Weight"), Rick Danko (bass), Richard Manuel (piano), Garth Hudson (organ), and Levon Helm (drums and lead vocals on "The Weight").
Dave Bartholomew, musician, band leader, composer, and arranger, has been active in many musical genres, including rhythm & blues, big band, swing music, rock and roll, New Orleans jazz, and Dixieland. His partnership with Fats Domino produced some of his greatest successes. In the mid 1950s he and Fats cowrote more than 40 hit songs for Imperial Records, including "Blue Monday", "I'm Walkin'", and “Blueberry Hill”; plus two that reached #1 on the Billboard R&B charts, "Goin' Home" and "Ain't That a Shame. Bartholomew produced a series of memorable hits such as "Lawdy Miss Clawdy" with Lloyd Price; "I Hear You Knocking" and "One Night" with Smiley Lewis; plus "Let the Good Times Roll" with Shirley & Lee.AlexBrowne said:
The Mamas & The Papas had only one #1 record, "Monday, Monday" from 1966; Papa John Phillips, who wrote the song, said he was never sure himself what the lyrics meant!
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