The Cadillacs were a hard act to follow in their heyday of the mid-fifites. Their use of choreography and flashy threads garnered them a hip reputation and audience raves. Their hits "Gloria," "Speedoo," "No Chance"and "Zoom," (all included here) established their chart presence. Unfortunately, to capitalize on their newfound fame, a second "Cadillacs" group was drafted to meet demand and sent out on the road. Various incarnations then recorded under the same name and ultimately undermined the group's credibility. Though the later tracks are lacking by comparison, the early singles capture the Cadillacs energy and verve, whether on uptempo rockers or smoky ballads. Fiery sax work and understated piano distinguish the accompaniment

8716 CD $12.98

The Chantels were one of the first black all-girl groups to hit the national Billboard charts ("He's Gone," 1957) and they inarguably set a new standard of quality that reflects well on their Catholic school musical training! Fronted by Arlene Smith, who was a classical pianist and songwriter, the young ladies were protogees of George Goldner's staff producer/writer/arranger Richard Barrett; they recorded for Goldner's End label in its early inception. This "Best of" collection has the best of their recorded efforts, including their last hits, "Look In My Eyes" and "Well, I Told You," that were made with replacement lead Annette Smith (no relation to Arlene). The group then disintegrated, but are still considered one of the best female harmony groups of all time.

8814 CD $12.98

The Del-Vikings went through more personnel changes than there are months in the year, so many that it's a labor in and of itself keeping track. A racially integrated group, they formed in 1955 from enlistees at a Pittsburgh Air Force Base. Their first hit, on Fee Bee, was called "Come Go With Me." Subsequent hits, such as "Don't Be A Fool," are every bit as melliflous and agreeable now as then: an easy tempo, the five voices balancing each other tunefully, the arrangement and orchestration in perfect compliment. This recording comprises most of their recording career, at least up to 1960, when they were dropped by Mercury (though the group continued to exist and enjoyed a modicum of success throughout the 1980's, appearing on television, recording and touring on the oldies circuit). The Del-Vikings epitomize the sound of the '50's.

8717 CD $13.98

This recording of Chicago's Dells, featuring Johnny Funches, showcases their early years (1953-1959); the group continued to perform through the 1990's with lead singer Johnny Carter, ex of the Flamingos). Longer on enthusiasm than polish for their first release, on Chess, "Christine," the group would accumulate an expertise that resulted in hits such as "Oh What A Night," "Why Do You Have To Go" and "Pain In My Heart.," issued on Vee Jay. Furthermore, upon exploring more complex harmonies and getting tighter, they became in-demand session singers, providing backup on over sixty recordings! Their sound is carefree, smooth and fundamental (suggesting a Spaniels/Moonglows influence). Nine of the cuts were previously unreleased.

8718 CD $15.98

Twenty-eight tracks from Chicago's El Dorados, who won a record contract with Vee-Jay after winning a competition against Vee-Jay's own Spaniels. As the CD's title implies, their vocal approach and instrumentation is the primordial sound of rock: "At My Front Door" is a staple. The title track is in like vein, with jangly guitar and uncultured 2 and 4 snare whacking. "She Don't Run Around" straddles the parameters vocally, with a falsetto overlay and "ling-a-ling" back-ups. The CD leaves off at the El Dorados' 1957 recording sessions, after which they continued to appear sporadically with a retinue of replacement members. Novelty track: "Annie's Answer," the El Dorado's response to the "Annie" phenomenon, where various groups would issue singles around a certain theme; singer Hazel McCollum takes the lead.

8715 CD $13.98

The Flamingos are in the elite of vocal harmony groups, considered by some to be the best of the best; they emerged from the 1940's jazz idiom, and though they were certainly influenced by their precursors the Four Freshmen, Five Keys, Orioles etc., they were intent upon forging their own unique sound. From the Chicago neighborhood to the local black Jewish "Church of God and Saints," where they lived, worshipped and hung out, the young conglomeration practiced and performed (changing lead singers on the way) and subsequently were able to secure a deal with Chance Records. This was the first of many labels, including Parrot, Checker, Decca and End, for whom the group recorded, and certainly the Flamingos suffered through as much ignominy as any group could: non-payment of royalties, original compositions attributed to other writers, litigation, and the "cover" phenomena, whereby a white artist would record a hit by a black group, and make off with the sales. (Pat Boone was a notorious raider.) Nonetheless, history was kinder, and the Flamingos have since been recognized as the innovators they are. These Chess recordings come at the midpoint of their career, and include "When," "I'll Be Home," and "A Kiss From Your Lips," twenty in all.

8797 CD $15.98

One of the most important 1950's vocal groups, the Harptones, from Harlem, were a loose-knit conglomeration organized around the nucleus of Willie Winfield, lead, and Raoul Cita, pianist, arranger and utility vocalist. Though a R & B group, they had listened carefully to, and favored, the five part jazz harmonies of the Four Freshmen. The Harptones use of five part harmony in the R & B context was revolutionary at the time, and as a consequence, the Harptones sound became a primary influence on the next generation of doo-wop vocal groups after them. Songs such as the definitive "Sunday Kind Of Love," "My Memories Of You" and "What Is Your Decision,' though never big national hits, were significant musically. The group did not have the benefit of a major label push, recording for Bruce, Paradise, Andrea, and Rama, among others, but they were part of several historic gigs, Alan Freed's "Rock 'N Roll Ball" among them. Windfield's easy delivery, in concert with the smooth and clean harmonies of the group, are just as sweet today.

8799 CD $14.98

The Heartbeats, featuring lead singer and primary songwriter James "Shep" Sheppard, were considered one of the best vocal groups of the 'fifties, crediting as their influences the Orioles, Ravens and Harptones. Ballads were their strong suit; cases in point "Crazy For You," "Darling How Long" and "Your Way," with its chimed "her way" ending, each group member joining in to arpeggiate the chord, was a classic doo-wop moment. "I Want To Know" is really rockabilly, "I Found A Job" uptempo blues. Unfortunately, internal acrimony resulted in the demise of what had been up to that point a stable unit. Shep reappeared on the scene with the Limelites in 1961, his vocal talent clearly undiminished, as can be heard on the refined "Ready For Your Love." Unfortunately, the group broke up in 1966, and this gifted singer and writer was found shot to death in 1970.

8811 CD $12.98

Frankie Lymon's meteoric rise to superstardom in 1956 (and his subsquent crash) has been well-documented. As the lead singer of the most successful of the teenage doo-wop groups, Frankie's precocious talent resulted in hits such as "Why Do Fools Fall In Love," "I Want You To Be My Girl" and "Goody Goody," songs that are memorable still. The sixteen tunes on this CD were recorded between 1955 through 1958; most were issued on George Goldner's Gee label. Frankie's adolescent tenor was confident, his interpretative skills well-developed, and his pitch stable; unfortunately for him, as his voice matured, it no longer was the attraction it once was. To hear Frankie sing "I'm Not A Know It All' and "I'm Not A Juvenile Delinquent" hold a pathetic irony, but regardless, these songs are the defining sound of 1950's pop.

8798 CD $12.98

Something of a genre-bender, this all-white teenage group from Pittsburgh featured a female singer with a naturally true high range, mostly original material written by their equally talented lead singer Jimmy Beamont (in conjunction with their producer), and a sound that was equal parts Four Freshmen and fifties R & B. One of the first "rock" groups of the era to record with full orchestra, songs such as the justifiably famous "Since I Don't Have You," "This I Swear," "Lonely Way" (the latter a favorite of the Manhattan Transfer) are surprisingly mature and complex for voices so young. This CD culls material from their early releases on the Calico label, as well as a couple of cuts added for this album: "Stardust" and "Blossoms In The Snow."

8813 CD $13.98