Richard Blandon - lead
Cleveland Still - first tenor
Cordell Brown - second tenor - replaced by William Carlisle
Tommy Grate - bass
James Miller - baritone
The Dubs made one of the mid-'50s' more endearing ballad records, "Could This Be Magic," in 1957.
It wasn't a huge hit, but still became a doo wop classic. The group, featuring lead
vocalist Richard Blandon, continued recording for Gone, Musictone, ABC, End, Josie,
Wilshire, Lana, Candlelite, Johnson, and Clifton through the mid-'70s, but never enjoyed
any success or made any headway outside doo wop circles. ~ Ron Wynn, All-Music Guide
Joe Vann - lead - replaced by Mike Kelly
Joe Santollo - first tenor
John Salvato - second tenor
Mike Arnone - baritone
Tom Bialaglow - bass
One of the final Italian doo wop groups to make a wave in the early '60s,
the Duprees were in some senses not a rock & roll act at all. They relied on updates
of pre-rock pop standards for most of their material, dressed up in classy big-band
arrangements. Their New Jersey street-corner roots were still audible in their doo wop
harmonies, giving their treatments of moldy oldies enough of a contemporary flavor to
compete in the rock and pop marketplace. They were very good at what they did, and in
1962-63, they were very successful: "You Belong to Me" (previously recorded by
Jo Stafford, Patti Page, Dean Martin, and Joni James) made the Top Ten, and "My Own
True Love" (from the soundtrack of Gone with the Wind), "Have You Heard,"
and "Why Don't You Believe Me" were also Top 40 hits. The Duprees were already
retro when they were at their peak, and were washed out by the British Invasion, although
they continued to record throughout the late '60s, sometimes in a Jay & the
Americans/Vogues style. ~ Richie Unterberger, All-Music Guide
Vito Picone - lead
Artie Venosa - first tenor
Frankie Fardono - second tenor
Carmen Romano - baritone
Jimmy Moschella - bass
This New York doo wop group earned notoriety for their masterpiece "Little Star" in 1958, which topped both R&B and pop charts. They were a White ensemble led by Vito Picone, With Arthur Venosa, Frank Tardogno, Carmen Romano, And James Mochella. All had been in other groups before uniting as The Elgins. They continued recording for Hull, United Artists, Limelight, Photo, IPG, and Laurie through the '50s, '60s and into the '70s, but never had another hit, despite cutting a number of solid ballads. There were two other editions in the mid-'60s, Vito Piccone with the Elegants and Vito & The Elegants. ~ Ron Wynn, All-Music Guide
The Five Satins
The Five Satins are best-known for the doo-wop classic "In the Still of theNight," a
song that was popular enough to make the group one of the most famous doo-wop outfits,
although they never had another hit of the same magnitude.
The origins of the Five Satins lie in the Scarlets, a New Haven, Connecticut doo-wop group led by Fred Parris. The Scarlets formed in 1953, while Parris was still in high school. The group had a local hit with "Dear One" the following year. In 1954, Parris formed the Five Satins with vocalists Al Denby, Ed Martin and Jim Freeman. Within the next year, Parris had the group record "In the Still of the Night," a song he had recently written, in the basement of a local church. The first single the group released was "In the Still of the Night." The single was released on Standard Records in the spring of 1956. By the end of the year, it had been leased to Ember and it became a huge hit, peaking at number three on the R&B charts and number 25 on the pop charts.
By the time "In the Still of the Night" scaled the charts, Parris had been drafted into the army. He was stationed in Japan when the song became a hit and he was still stationed in Japan when the group recorded the followup single, "To the Aisle." For that single, Bill Baker handled the lead vocals. "To the Aisle" became a Top Ten R&B hit (number 25 pop) in the summer of 1957. Parris returned from the army in 1958. Upon his return, he re-organized the group, adding Richie Freeman, Sylvester Hopkins, West Forbes, and Lou Peeples. This incarnation of the group had a minor hit in the fall of 1959 with "Shadows."
In 1960, "In Still of the Night" re-entered the pop charts thanks to its exposure on Art Laboe's first Oldies But Goodies compilation. The repeated success of the single sparked a another minor hit for the band in 1960 -- the group's cover of the standard "I'll Be Seeing You" scraped the bottom of the pop charts in the summer of that year. Early in 1961, "In the Still of the Night" entered the pop charts again. During the remainder of the '60s, Parris led various incarnations of the Five Satins through oldies revues in America and Europe; they also recorded occasionally during this time. In 1970, the group appeared in the film, Been Down So Long It Looks Like Up to Me; three years later, they appeared in Let the Good Times Roll.
In the early '70s, the Five Satins continued to play the oldies circuit under the direction of Fred Parris. In 1974, the group signed a contract with Kirsner Records and reelased a single, "Two Different Worlds." Two years later, they briefly changed their name to Black Satin and released a single called "Everybody Stand Up and Clap Your Hands (For the Entertainer)," which became a Top 50 R&B hit. Shortly afterward, the group reverted to the Five Satins name.
In 1982, the Five Satins had their last hit with a doo-wop medley entitled "Memories of Days Gone By." The single, which was released on Elektra Records, peaked at number 71 on the pop charts. For the remainder of the '80s and the '90s, Fred Parris led various lineups of the Five Satins and the group performed regularly at oldies shows in America and Europe. ~ Stephen Thomas Erlewine, All-Music Guide