The Chantels 

By Ronnie Italiano

By 1957, female groups were not uncommon, but no other before them created the impact that the Chantels did. In fact, there were many pop styled white female groups continuously placing records on the charts, i.e. the Fontaine and Maguire Sisters and the Chordettes. Although Shirley Gunther and the Queens (a black group) had an R&B hit in 1954 with "Oop Shoop", the Chantels were the first black female group to capture the white listening audience.

The original Chantels came out of a choir at St. Anthony of Padua school in the Bronx: Arlene Smith, soprano lead; Lois Harris, top soprano; Rene Minus, lower Alto/base; Sonia Goring, second soprano; and Jackie Landry, second alto. All five girls had sung together since the second grade.

The name Chantels were derived from a neighboring school, St. Francis de Chantelle, as one of the girls thought that the word chantelle would make a unique name for their group. The girls all agreed after Lois Harris, who was taking French, pointed out that chantelle sounded like the word chateau, meaning singer. 1956 saw this young teenage female group, the Chantelles on the threshold of a promising career. By the time of their 1st recording session, the spelling of their name was slightly altered to Chantels.

It was in early 1957 when Richard Barrett entered the picture. Barrett with the Valentines had been relatively successful recording for George Goldner's RAMA label and had recently produced the Teenagers. After a couple of promises, Barrett met the girls at a rehearsal at Arlene Smith's house at 163rd St. and Prospect. Seeing promise, he worked out arrangements for two songs, "He's Gone" and "The Plea". These two songs became their first single and Barrett convinced George Goldner to record them on his newly formed END label.

The Chantels' second recording session produced their biggest hit "Maybe". Most of their sessions took place at Bell Sound Studios in Manhattan, but the "Maybe session" was recorded in a converted Catholic church in Midtown Manhattan, chosen for its substantial pipe organ.

By the spring of 1959, Lois Harris dropped out of the group to finish college and Arlene Smith left as well to pursue a solo career. Richard Barrett replaced her with Annette Smith and recorded them as the Veneers for the Princeton record label as well as using them to back up himself on a few releases for END and GONE. The quartet with Annette Smith on lead had a hit in 1962 with "Look In My Eyes" for the Carlton label. By late 1962, the Chantels had a new lead singer, Sandra Dawn. Her most notable lead and a collector's favorite was "Eternaly", recorded in January of 1963 for the LUDIX record label. During this time, Arlene Smith was very active in her solo career with numerous recordings for the BIG TOP, END, and SPECTORIOUS labels.

 The Five Satins

 By Ronnie Italiano

When you mention the name Five Satins, "In The Still Of The Night" instantly comes to mind. This 1956 monster hit through the years has seemed to become the measure of the 1950's group sound.

It all started in New Haven, CT Hillside High School, late 1953, with Fred Parris along witha few of his schoolmates. Fred's favorite color had always been red thus the "Scarlets" emerged as his first group. A trip from New Haven to NYC in 1954 materialized a recording contract with Bobby Robinson's RED ROBIN record label. 1954 and 1955 brought 4 record releases on RED ROBIN by the Scarlets, all from the pen of Parris. The most notable was the much collected “Dear One”.

Late 1955, numerous personnel changes brought a name change also. Governed by his passion for the color red, Parris dubbed his group the Five Satins. A local New Haven label, STANDORD, owned by Marty Kugell, gets claim as the first to record the Five Satins. At the VFW hall on heavily traveled Congress Ave., if New Haven, "All Mine" was recorded in early 1956. Although the band nevei showed up and "All Mine" turned out, not by design, an acappella recording, if you listen closely you can hear a truck driving by. The group's second recording for Kugell on Feb. 26, 1956, in the basement of St. Bernadette's church in East Haven, made rock & roll history. An original pressing of "I'll Remember" ("In The Still Of The Night:") on STANDORD, can now demand from a frenzied collector, up to $1,000.

The Spring of 1956 brought a label change to the Five Satins and "In The Still Of The Night", the master, was bought by Al Silver's EMBER label. It enjoyed a 24 week run on Billboard's National Pop Charts during the summer and fall of 1956. The Satins second release for EMBER in 1956, "Wonderful Girl", established the group as a rock & roll mainstay for many years. After the group's third release, "Oh Happy Day", Fred Parris, who had previously joined the army, departed for Japan. After an attempt to try to switch the lead chores to an original member failed, the group turned to a young local talent by the name of Bill Baker.

Bill Baker's tenure as lead singer of the Five Satins was very successful. Bell Sound Studios in NYC, May 20, 1957, produced the Satins second biggest hit. "To The Aisle" reached #25 on Billboard's National Pop Charts, enjoying a 17 week run starting in August of 1957. The group's next release with Bill Baker on lead, "Our Anniversary", became their 3rd most popular and best selling release. It was during Nov. of 1957 that the Five Satins classic album, "The Five Satins Sing" was issued. After "A Million To One" was recorded With Baker in late 1957, Fred Parris returned from service and reclaimed his position as lead singer of the Five Satins.

While Parris and the Satins kept recording for EMBER, "A Night To Remember, "Shadows", I'll Be Seeing You" and others during the late 50's, Baker turned to another local New Haven group, the Chestnuts. If my sources are correct, Fred Parris and Bill Baker never sang together.

 Fred Parris continued with the Five Satins through the 60's enjoying the success of his now million selling composition, "In The Still Of The Night". Being a prolific writer, Parris recorded for many labels during the 60's and 70's with his emphatic voiced ballads. Some of these renowned recordings can be found on the CUB, CHANCELLOR, RCA, WARNER BROS., KIRSHNER and ATCO labels. Some even credit various names: the Wildwoods, Restless Hearts, and Black Satin among them. Today Fred Parris continues entertaining with his Satins group as one of the top acts in the "oldies" circuit, enjoying a faithful dedicated 1950's fans following. His nostalgic "In The Still Of The Night", heard countless times on radio, jukeboxes, and in movies has become the #1 standard of its prototype.

Bill Baker also had a prolific recording career in the 60's and 70's with many of his own compositions with the Chestnuts, Dell-Satins, Bleeding Hearts, and Bill Baker Satins. Other on labels including VIM, AUDICON, ELGIN, CORAL, MUSIC NOTE, and CLIFTON, are included in his recording credits. Before his untimely death in August of 1994, Baker was entertaining and also enjoying his faithful dedicated following as Bill Baker's New Era.

Lee Andrews and The Hearts 

By Charlie Horner

When reminiscing about the great R&B vocal group ballads of the 1950's, it's hard to imagine what the music era would have been without songs like "Lonely Nights", "Teardrops" and "Try The Impossible". These songs, and countless others, were all given to us by a great quintet from Philadelphia -  Lee Andrews and the Hearts.

Coming from a city known for vocal harmony, the Hearts had it all: a lead singer with an exceptional voice, great harmony, self confidence, polished stage presence and great material! As a group, the Hearts began singing in 1952 on the street comers of their southwest Philadelphia neighborhood. At lead was North carolina born, Arthur Lee Andrew Thompson, soon to be known to the world as Lee Andrews. The other original members included Roy Calhoun (first tenor), Thomas "Butch" Curry (second tenor), Jimmy McCalister (baritone) and John Young (bass). First calling themselves the Dreamers, the teenage group later changed its name to the Hearts.

The Hearts auditioned for local dee jay, Kae Williams in 1954. Williams liked the group and decided to manage and record them. After adding Kenny Lowe as pianist, the Hearts made several recordings which Kae ]eased to Rainbow records. None of the Hearts'early recordings ("Maybe You'll Be There", "White Cliffs Of Dovcr", "Bells of St. Mary", "The Fairest") sold very well, though they are all magnificent examples of early Philly R&B harmony, and much sought after by recording collectors today. By 1956, the Hearts had severed their relationship with Kae Williams and signed with Gotham records.

In the meantime, Jimmy McCalister had left to join the Navy. He was replaced by another southwest Philly teenager, Ted Weems. Gerald Thompson replaced Kenny Lowe on piano. The Hearts had three releases an Gotham ("Bluebird of Happiness", "Lonely Room" and "Just Suppose"). Numerous other unreleased sides from the Gotham sessions have since surfaced and each is a masterpiece. In fact, while at Gotham, the Hearts actually recorded (though they were not released) several songs that would later bring the group fame, including "Long Lonely Nights", "Why Do I" and "Try The Impossible". Following the Gotham sides, John Young left the group, being replaced as bass by Roy's brother, Wendell Calhoun.

When the Hearts' Gotham recordings failed to achieve more than regional success, the group auditioned for disc jockey Jocko Henderson. Jocko was simultaneously doing radio shows in Philadelphia and New York and was partners with Barry Golder in a record distributing company called Mainline. Mainline soon became a record label, recording Lee Andrews and the Hearts. Golder and Henderson

The Robins 

By Ronnie Italiano

 To trace the origin of the Robins, we go back to the late 40's and 3 high school buddies, Terrell Leonard and the Richards brothers, Bill and Roy. As the A-Sharp Trio they entered a talent show at the Johnny Otis Club, The Barrelhousc, in Watts early 1949. After capturing second prize, Otis suggested that they add a bass lead to their group so they cound diversify on their material. Upon agreeing, Otis set them up with another local talent, Bobby Nunn. Changing their name this quartet became the 4 Bluebirds featuring Bobby Nunn on lead. They were greatly influenced by the Ravens in their style.

A recording session with ALADDIN Records in May of 1949 brought 2 releases, one on ALADDIN and one on subsidiary, SCORE, along with a name change to compete with the Ravens, The "Robins". Next label stop for the Robins, under the guidance of Johnny Otis, was for Newark, NJ based SAVORY records where the group found success with a 112 dozen releases in ' 1949 and 1950. They also backed up Little Esther Phillips on SAVORY in 1950, including the national R&B hit, "Double Crossing Blues". 1950 and 51 saw the Robins recording for various labels such as RECORDED IN HOLLYWOOD as the Robbins on MODERN and the Nic Nacks on RPM.

1953 brought a recording contract from the major RCA label from the Robins, They added the sweet tenor lead of Grady Chapman to compliment Bobby Nunn's bass voice, and developd a mature, polished sound that is evident on their 5 RCA releases. The one RCA release that stands out among those five to collectors and students of R&B music is "How Would You Know", featuring Chapman's smooth, lilting tenor.

Before successfully teaming up with Leiber and Stoller in 1954, they had a couple of good but light selling releases for the CROWN record label. Leiber and Stoller then took the Robins, now a sextet, and produced hits for the short lived SPARK record label. Carl Gardner was added in 1954 as another tenor lead after Tye Leonard heard him singing while he was shining Leonard's shoes one afternoon on Western Ave. in Los Angeles. "Riot In Cell Block #9", the Robins first hit for SPARK, featured Richard Berry of the Flairs who was brought in to the recording session after Bobby Nunn's attempts were unsatisfactory to Leiber and Stoller. All in all, there were six releases on SPARK in 1954‑55 including my personal favorite and a classic ballad, "If Teardrops Were Kisses" with Carl Gardner on lead and also the Robins last release, the ever popular, "Smokey Joe's Cafe".

The Swan Silvertones

 By Charlie Horner

Selection of a pioneer group to UGHA's Hall of Fame depends on demonstrated influence on quartets that have followed them. No where is that clearer than in this year's selection of the Swan Silvertones and their most famous lead singer, the Reverend Claude Jeter. Jeter's use of a falsetto lead revolutionized the way we think of vocal harmony. In fifty seven years of singing, the Swan Silvertones excelled in vocal harmony and set the stage for countless groups that came after them.

Claude leter was born in Montgomery, Alabama, and grew up singing quartet harmony. While in his teens, Claude's family moved to Kentucky and he began working in the coal mines of nearby Coalwood, West Virginia. in 1938, he formed a group called the Four Harmony Kings with his brother and two other coal miners. Touring nearby churches on weekends, the group changed its name to the Silvertone Singers and sang locally for a few years. In the early 1940's the group, now consisting of Claude Jeter, John Miles, Leroy Watkins and Eddie Boroughas, landed a daily radio program on a 50,000 watt radio station in Knoxville, Tennessee. Since the program was sponsored by the Swan Baker, their name changed again to the Swan Silvertones.

In 1946, the Swan Silvertones were given some time off from the radio show to record for King records in Cincinnati. The group now consisted of Claude Jeter (lead), Albert Reed (tenor). Solomon Womack (baritone), John Miles (baritone) and William Johnson (bass). In contrast to Jeter's falsetto lead, Womack was brought in to provide a hard, Gospel lead. After the first King session, Roosevelt Payne replaced Albert Reed and Henry Brossard became the new bass. Rev. Percell Perkins also provided an extra baritone voice on some of the King recordings.

In the early 1950's the Swan Silvertones moved their base of operations to Pittsburgh, Pennsylvania. By 1952, the Swan Silvertones had signed with Specialty records. In three years with Specialty, the group recorded over twenty five sides, though only a handful were issued on singles during the group's stay. Payne and Perkins left the group prior to 1952. New additions to the group during this period included tenors Robert Crenshaw and John Manson, as well as baritone Paul Owens. Owens had sung with the Sensational Nightingales and Dixie Hummingbirds prior to joining the Silvertones. As well as becoming the group's second lead, Paul Owens was a brilliant arranger and helped the Swan Silvertones develop a style. By the last Specialty session, Dewey Young had replaced Reverend Crenshaw.

 By Charlie Horner

As black Gospel quartet singing helped shape the course of American R&B and Pop harmony, the Dixie Hummingbirds helped shape the course of black Gospel quartet singing. In a sixty‑seven year career that is still going strong, the "Birds" have done it all. To say they've had a profound influence on all fields of quartet singing, not just Gospel, is an understatement. The "Birds" have toured the world over, performing in churches as well as folk and jazz festivals, concert halls and at colleges and universities. They are rightfully considered the grandfathers of Gospel quartet singing and one of the greatest vocal groups of this century.

The Dixie Hummingbirds trace their roots back to Greenville, South Carolina in 1928. It was there that 11 year old baritone James Davis started a quartet called the Church of God Juniors. Besides Davis, the original group contained Barney Gipson (lead), Barney Parks (baritone) and J.B. Matterson (bass). Matterson was soon replaced by Fred Owens and the group stayed together through school, changing their name to the Stirling High School Quartet.

After high school, the young quartet decided to tour, becoming the Dixie Hummingbirds. By the 1950's, groups named after birds became commonplace, but in the early 1930's, James Davis' choice of the name was quite unique. Thus, the Dixie Hummingbirds officially became one of the first "bird" groups.

Throughout the mid and late 1930's the Dixie Hummingbirds toured the Southeast, singing in hundreds of churches. The Hummingbirds' personnel also went through some changes. James Davis assumed the lead. Sam Briggs took over bass but lasted only a short time. The Hummingbirds found his replacement, Jimmy Brown, singing with a Spartanburg, South Carolina quartet called the Royal Lights. The Birds were also impressed with another young member of the Royal Lights, baritone Ira Tucker. Though they did not have a place for Tucker at that time, they told him that they'd back for him at a later time. Later, Jimmy Brown was himself replaced by Jimmy Bryant, the legendary former bass of the Heavenly Gospel Singers. By the time the Dixie Hummingbirds first recorded for Decca in 1939, the group consisted of James Davis (lead/baritone); Fred Baker (tenor); Barney Parks (baritone); and Jimmy Bryant (bass).

It was 1939 before the Dixie Hummingbirds added one of the most powerful leads in quartet history, Ira Tucker. Initially used as a tenor, the Spartanburg born Tucker was soon doing most of the leads. Jimmy Bryant left, being replaced first with William Henry and then with William Bobo.  Bobo, a phenomenal bass singer, also from Spartanburg, had grown up down the street from Tucker. He'd also sang in the Heavenly Gospel Singers prior to joining the Hummingbirds.

In 1942, the Dixie Hummingbirds relocated to Philadelphia. There they got their own radio program on WCAU, "Ninety Minutes From Broadway", singing acappella three days a week under the name the Swanee Quintet. When Golden

Gate Quartet opened the door for Spiritual quartets to do club work, the Dixie Hummingbirds followed them into New York City's Cafe Society. For the Cafe Society performances, the Birds used the name Jericho Quartet.

 In 1943, Barney Parks entered the service. He was replaced initially by Wilson Baker, and then with Beachy Thompson. Thompson was originally from Charlotte, North Carolina. Prior to joining the Hummingbirds in 1944, he had been singing with the Willing Four from Baltimore, the group that later became the Trumpeteers. The line up of Ira Tucker (lead), James Davis (baritone), Beachy Thompson (tenor), and William Bobo (bass), did a few sides for Manor records in 1944 (some backing Ernstine Washington) before recording eighteen classic sides for Apollo between 1946 and 1949. Some of these Apollo masterpieces in harmony include, "In The Storm Too Long", "God Is Speaking", "Nobody Knows The Trouble I've Seen" and "Journey To The Sky". During the time the group really developed in style and grew in popularity.

In 1949 and 1950, the Dixie Hummingbirds recorded for Philadelphia's Gotham label, both on their own and with the female Gospel quintet, the Angelic Gospel Singers. Gotham sides included, "I'll Be Satisfied", "Search Me Lord" and "Move On Up A Little Higher".    During the last Gotham session, the Hummingbirds added another tenor, Ernest James. James didn't last long, being replaced in 1951 by Paul Owens. Paul Owens had been an original member and lead of the Sensational Nightingales before joining the Birds. In his first stint with the Hummingbirds, Paul Owens stayed only about a year  just long enough to record two sides with the group for Okeh records. "I'll Live Again" and "I'll Never Forget" both feature exquisite duel leads with Ira Tucker and Paul Owens. Paul Owens left the group in 1952 to join the Swan Silvertones, but he was to return later to play a larger role in the group.

The Dixie Hummingbirds signed with Peacock records in 1952, a label they would record for well into the 1970's. Howard Carroll, another original member of the Nightingales, joined the Dixie Hummingbirds as a guitarist. In 1954, James Walker was added to the group to share the leads with Ira Tucker. James Walker had formerly led the Southern Sons Quartet on teh Trumpet label. This established the classic line up of Tucker, Walker, Thompson, Davis, Bobo and Carroll, for which the Hummingbirds are best known. Over the next forty years, the Dixie Hummingbirds' career reached heights known to very few vocal groups. Their recordings for Peacock all were strong sellers in the Gospel music market. Songs like "Wading Through Blood And Water", "Christian Automobile" "Our Prayer For Peace", "Your Good Deeds" and "Thanks To Thee" are well known. In their 1953 recording of "Let's Go Out To The Programs", the Birds sing a medley of well known Gospel quartet songs by imitating the voices of groups like the Five Blind Boys, Soul Stirrers and others. It became an instant favorite. The group has performed at Carnegie Hall and Madison Square Garden. In 1960 they appeared in the Italian film "The World at Night".

Paul Simon selected the Dixie Hummingbirds to back him on his 1973 recording of "Loves Me Like A Rock". The record became a top ten hit and gave the group even wider exposure. The Hummingbirds also came out with their own version of the song which spent eight weeks on the Soul Charts. The Hummingbirds received a Grammy for the song.