What Are Some Other Groups That Covered Over and Over Again From the Moonglows

The Moonglows By Marv Goldberg

© 2007, 2009 past Marv Goldberg

AUTHOR'S Note: The following was written, with Marcia Vance, in 1976 for Moonglows, part of the Chess Rock 'n' Rhythm Series. Since it was for a mass-market LP, I judge it didn't have to be all that detailed.

It's hard to imagine a pioneer R&B group being born in Louisville, Kentucky. One group was, and they are among the top-rated groups of all time: the Moonglows.

Their start was a small-scale one. Bobby Lester and Harvey Fuqua (nephew of Ink Spots' guitarist Charlie Fuqua) made the rounds of Louisville's amateur shows, with Bobby singing and Harvey accompanying him on piano. Getting nowhere fast, they drove upwardly to Cleveland in early 1951 and started putting a grouping together. Called at first the "Crazy Sounds," the grouping as well featured bass Prentiss Barnes, loftier tenor Alexander "Pete" Graves, and guitarist Billy Johnson.

In 1952, they hooked up with a rising Cleveland disc jockey, Alan Freed, and he recorded the group, which past at present had been renamed the Moonglows, on his Champagne characterization. Even so, Champagne didn't work out too well and in 1953, Freed fix them up with Fine art Sheridan and Steve Chandler's Hazard Records in Chicago. They had some moderate hits in a raw street corner style, including a encompass version of Doris Twenty-four hours's "Cloak-and-dagger Beloved."

Somewhat before the demise of Hazard, the Moonglows had met Phil Chess, and in 1954 they sought him out again. The Moonglows were not the first R&B group on the label - the Dozier Boys, Clefs, and Coronets had gone earlier - but now Chess pulled out all the stops in society to crash into the R&B group market. On Chess, the Moonglows polished up their sound and did it all: R&B ballads ("Most Of All"), high tenor leads ("She'due south Gone"), uptempo R&B sides ("Tempting"), R&R rockers ("Run across Saw"), ballads ("Nosotros Get Together"), and, of form, two classics ("Sincerely" and "The Ten Commandments Of Love").

"Sincerely," led by Bobby Lester, sold in the region of 300,000 copies and ranked in ninth identify of 1955'southward top R&B tunes as compiled past Billboard. The group appeared in an almost plotless movie, Rock, Rock, Stone (1956), which featured Freed and some of the biggest acts of the day, including Chuck Berry and the Moonglows' old pals from Chance, the Flamingos.

The Moonglows presented Chess with a few more hits during this menstruation, including "See Saw," "Over And Over Again," and "Don't Say Goodbye." So the inevitable - the hits stopped coming. It was a year and a one-half earlier the Moonglows' next hit, only information technology was worth waiting for: "The X Commandments Of Dearest." This vocal, once again featuring Harvey Fuqua [no, we never mentioned him singing lead before this; no idea why we said "again"], fabricated both the R&B and pop charts (something "Sincerely" failed to do). Shortly after its success, in late 1959, the group broke up. Fuqua picked up a local Washington, D.C. group called the Marquees (James Nolan, Chester Simmons, Reese Palmer, and Marvin Gaye - yes that Marvin Gaye) to be the new Moonglows. The New Moonglows made their debut on "Twelve Months Of The Year," which only lists Harvey Fuqua on the characterization.

In 1960 the New Moonglows dissolved and Harvey left Chess to join Berry Gordy in forming the Tri-Phi characterization. The Moonglows are gone, but not their music. Nosotros hope that Moonglows' fans will capeesh the quality of this collection [don't forget, this was written as liner notes for a Moonglows anthology] and that those who knew the Moonglows from but 1 or two recordings will take this opportunity to better acquaint themselves with one of the musical giants of the 1950s.

ME AGAIN: Well, some of it was good; some of it was [let's be charitable hither] lacking. Any happened to Danny Coggins? No mention at all of Chuck Barksdale. Oh well. Let's encounter if nosotros can gear up information technology up a bit; the Moonglows deserve a improve write-upwards than that. I'll accept it through their last Chess single and not try too hard to document what went on past that. I've said before and I'll say again: the Chess files can charitably be called "chaotic." For a company that size, it'southward amazing that verbal recording dates (and even some master numbers) can't be figured out. I'll exercise the best I can.

NOTE: 1 Moonglows song ("We Go Together") features the duet lead of Harvey Fuqua and Bobby Lester. However, vii others ("And so All Alone," "He Lied," "New Gal," "In Love," "Mean Erstwhile Blues," "Kiss Me Infant," and "Sweeter Than Words") were strictly duets. That is, only Harvey and Bobby were on them.

The Moonglows were some other of those rare groups (like the Clovers, the 5 Keys, and the Flamingos) that all the other groups were listening to. Shorter-lived than the others, they all the same managed to make a lasting impact on R&B over about a five-twelvemonth period.

High school friends Harvey Fuqua (baritone) and Bobby Lester Dallas (a tenor, known professionally equally simply "Bobby Lester") had both been in the war machine past the time they became a duo in Louisville, Kentucky in 1949. Both sang, with Harvey accompanying on the piano. In 1950, they teamed upwards with bandleader Ed Wiley for a bout of the South.

[Harvey was the nephew of the Ink Spots' baritone/guitarist Charlie Fuqua. Although Charlie was an obvious inspiration, Harvey had only met him two or iii times. Harvey pronounces his name "FOO-quah," whereas Charlie pronounced information technology "FOO-quay."]

Afterwards the tour, tragedy struck: both of Harvey's children were killed in a fire. In grief, he and his married woman moved to Cleveland, in order to make a new starting time.

Once settled in Cleveland, he met up with tenor Sanford Daniel "Danny" Coggins III, whom he had known in the service (both having been assigned to Panama in 1946). They tried vocalizing and, when that sounded expert, fabricated it a trio by adding a neighbor, bass Prentiss Barnes. (The spelling of his proper name is uncertain. He told Social Security that it was "Prentiss", only he signed photographs "Prentis".) Thus were the "Crazy Sounds" born. Of course, they all had "real" jobs and this was but fooling around at this point. They weren't really singing R&B, but "vocalese," a kind of jazz singing that improvises lyrics for instrumental songs (every bit opposed to scat singing, which improvises nonsense syllables) and uses each voice as a replacement for an instrument.

They practiced; they got better. Just there was still something missing. So Harvey went to Louisville and brought Bobby Lester dorsum with him. Now they were four.

In late 1952, they were in a Cleveland club called the Loop, auditioning for its direction. A dejection vocaliser named Al "Fats" Thomas, who had recorded "Oob Bob Aloo Bo" [boy, does that sound familiar!] for National in 1949, heard them and immediately called a local WJW DJ named Alan Freed.

They auditioned for Freed over the phone, with a song they were working on, chosen "I Merely Can't Tell No Lie." It wasn't very good at the beginning, only Freed saw promise and had them make changes until information technology could be recorded. He also became their director.

Finally, sometime in early on 1953, Alan Freed started his ain Champagne label (along with Cleveland promoter Lew Platt) to tape the Crazy Sounds. But offset, that proper name had to go. Since Freed was known every bit the "Moondog," he'd been referring to them as the "Moon-Puppies." That wouldn't work either, and they finally settled on "Moonglows." History was about to exist fabricated.

Well, really, history would have to wait for a while. They kicked off their recording career with "I Just Can't Tell No Prevarication" (led by Harvey Fuqua, with Bobby Lester on the bridge) and "I've Been Your Dog" (fronted by Prentiss Barnes). "I've Been Your Dog" was a tribute to the sound of the Ravens, although Barnes couldn't touch Jimmy Ricks every bit a bass lead. Past the fourth dimension it got to record, "I Just Can't Tell No Lie" had been magically re-written by Al Lance (a pseudonym for Alan Freed).

The songs (recorded in the WJW studios and pressed in Philadelphia by Gotham) were released in March 1953. (Gotham's files indicate that they pressed up 2500 78s and 1500 45s.) In the end, the platter didn't exactly prepare the world on burn. With Freed pushing it on his show, it had some Cleveland sales, but footling else. They got some gigs out of information technology (Ohio cities like Akron, Warren, and Youngstown), but they were low paying ones. That was enough to make Danny Coggins re-think the whole show-biz affair, and he ended up quitting.

Fortunately, Harvey and Prentiss had another neighbor, a high tenor named Alexander "Pete" Walton, who was thrown into the mix and the Moonglows connected actualization at modest clubs and refining their deed.

Who Was Pete? The newest Moonglow was born Alexander Graves, in Jemison, Alabama, on April 17, 1936. His mother was Jesse Mae Hardy and his male parent was Caldwell Graves. However, they never married and, in the 1940 census, Alex Graves, and his brother, Robert, lived with their grandmother in Jemison. His female parent ultimately married someone named "Walton", reclaimed Alex, and renamed him "Alex Walton". He called himself "Pete" Walton when he autographed photos in the 1950s, so it'due south possible that Peter was his eye name. It looks like he was unaware of his begetter, Caldwell Graves, until the late 50s or early 60s. After that, he took to calling himself "Pete Graves". In 1951, he registered with Social Security every bit "Alexander Walton"; in 1967, he changed it to "Alex Graves". NOTE: Since most people are familiar with the proper name (and because I annotated the photos before this research), he'll continue to be identified in all the photos every bit "Pete Graves".

On August 23, the Moonglows appeared, along with Fats Domino and Joe Turner, on Alan Freed'south "Big Rhythm And Blues Show" at the Cleveland Arena. Their advent resulted in a contract with Art Sheridan and Steve Chandler's Chance label. At that place, on September 27, they recorded "Merely A Lonely Christmas" (Harvey), "Whistle My Honey" (Bobby), "Baby Please" (Harvey), "Hey Santa Claus" (Bobby), "Fine Fine Girl" (Harvey), and "My Love" (Harvey). The latter ii songs remained unreleased until a 1964 Constellation LP.

"Whistle My Love" and "Baby Delight" were released in October (when Chance finally got around to announcing the Moonglows' signing), but the platter doesn't seem to accept been reviewed. While Take a chance occasionally advertised the Flamingos, at that place don't seem to have been any trade paper ads for whatever Moonglows record on Chance.

"Only A Lonely Christmas" and "Hey Santa Claus" were paired for a Dec release. They were reviewed on December 12 (both "fair"). Other reviews that week were for the Magic-Tones' "How Can You Treat Me This Fashion," Amos Milburn'due south "Good, Expert Whiskey," the 5 Keys' "My Saddest 60 minutes," the Prisonaires' "A Prisoner's Prayer," and Guitar Slim'south "The Things That I Used To Practice."

On January x, 1954, the Moonglows had their second (and last) Risk session. This time, they recorded six tunes: "Secret Love" (Bobby), "I Was Wrong" (Harvey), "219 Train" (Harvey), "My Gal" (Harvey), "Ooh Rocking Daddy" (Bobby), and "Existent Gone Mama" (Harvey).

"Secret Dear" (a comprehend of the Doris Day hit from "Calamity Jane") and "Real Gone Mama" were issued in February 1954. Reviewed on February 27, "Real Gone Mama" received an "first-class" rating. Other reviews that week went to the Royals' "Work With Me Annie," the Hawks' "Joe The Grinder," the Robins' "I Made A Vow," the 5 C's' "Tell Me," and the Crystals' "My Love." On April 3, "Surreptitious Love" was a Tip in Newark.

On Apr nineteen, the Moonglows were office of an Alan Freed "Moondog Ball" at the Akron [Ohio] Arsenal. They shared the phase with Charles Dark-brown, Margie Day, and the Paul Williams Orchestra. Ever the entrepreneur, Freed ready sound equipment and broadcast a couple of segments of the Ball over the air during his WJW testify.

Side by side, "I Was Wrong" and "Ooh Rocking Daddy" were paired for a May 1954 Chance release. They were reviewed on June 5 ("Ooh Rocking Daddy" receiving an "splendid" rating), along with the Midnighters' "Sexy Ways," the Drifters' "Honey Dear," the Orioles' "Drowning Every Hope I Always Had," the Eagles' "Tryin' To Go To You lot," and the Deep River Boys' "Truthfully." "I Was Wrong" became a Tip in Philadelphia on July three.

The Moonglows' last Chance release was "219 Railroad train"/"My Gal," issued in September 1954. Still, by this time, Art Sheridan had lost involvement in running a record company and was just going through the motions. While it looks like there were only promotional copies of this record, that may not be the example; Chance had recently switched to a black and white blueprint. Older blackness and whites were promos; they said something like "Disk Jockey - Advance Sample," just Chance seems to have stopped printing carve up promo labels onetime in 1952. Probably sent out as an afterthought, it wasn't reviewed, but was mentioned in Billboard's "Other Records Released This Calendar week" column of October sixteen. Other records released that calendar week included the Bees' "Toy Bell" and Fay Simmons' "Large Joe Mambo."

In September 1954, Alan Freed had just relocated to New York's WINS and was quickly being recognized as the leading DJ in the land. This helped him secure a contract for the Moonglows with Chicago'southward powerhouse Chess Records.

At an unknown date in September, the Moonglows held their showtime Chess session. Information technology produced: "Shoo Doo-Be Doo (My Loving Infant)" (Harvey), "Sincerely" (Bobby), "And then All Alone" (the first of the Harvey and Bobby duets without the rest of the group), "Such A Feeling" (unknown), and "Tempting" (Harvey).

Chess, sensing greatness, released "Sincerely" in Oct, coupling it with "Tempting." Information technology was reviewed (with "Sincerely" ranked "first-class") on November xiii. Other reviews that week were for the Checkers' "I Wasn't Thinking, I Was Drinking," the Platters' "Shake It Upwardly Mambo," the Chanteclairs' "Someday My Love Will Come My Way," the Orioles' "Runaround," Earl Curry & the Blenders' "Late Ascension Moon," the Counts' "Waitin' Around For You," and the Flamingos' "Blues In A Letter of the alphabet." On November xx, "Sincerely" was a Pick Of The Week, along with the 5 Keys' "Ling, Ting, Tong."

Much has been written nearly how the McGuire Sisters ripped off the Moonglows, scoring a #1 Pop chart striking with "Sincerely." However, that was standard industry practice. (Didn't the Moonglows cover Doris Day? No one ever seems to mutter about that!) What I've never seen in print is that Harvey Fuqua (credited with writing "Sincerely") ripped off the bridge from "That'due south What You're Doing To Me" (written by Baton Ward), a #vii R&B hit for Clyde McPhatter and the Dominoes in 1952. I've never seen annihilation about information technology, merely I can't imagine Ward not suing Chess for part of the profits from "Sincerely."

By the fourth dimension "Sincerely" finished its 20-calendar week national R&B chart run, it had reached #i (#xx Popular). Information technology must take been a pretty practiced ditty, the melody it replaced at #1 was the Penguins' "World Angel." However, such are the fortunes of the recording industry that it was unceremoniously dumped from the top spot two weeks later by Johnny Ace's posthumous hit, "Pledging My Love."

While Chess had high hopes for "Sincerely," they hedged their bets past releasing ii other songs in November: "Shoo Doo-Be Doo (My Loving Baby)" and "Then All Solitary." However, but to be sure that the public would plunk down every bit much money as possible, these were issued on their Checker subsidiary, under the name "Moonlighters." The disc was reviewed the same week as "Secret Love" (with "So All Lone" getting an "splendid"). "Shoo Doo Exist Doo" was a Tip in Philadelphia on December 4 and a Option Of The Week on December eighteen. Information technology was yet going in the new year, when it was a tip in Los Angeles on January ane.

November 25, 1954, found the Moonglows at the Masonic Temple in East Chicago every bit part of a tour with Lowell Fulson and Lynn Hope. On January 2, 1955 the Moonglows were at the Circumvolve Theater in Cleveland for the "Happy New Year Holiday Testify." The MC was Billy Long and the rest of the bear witness consisted of Fats Domino, Dolores Ware, and the comedic dance team of Long & Short.

In January 1955 (probably), the Moonglows had some other session. This time they recorded: "Most Of All" (Bobby), "Hug And A Buss" (all), "Doubtful" (Bobby), "He Lied" (a Harvey and Bobby duet), "New Gal" (another Harvey and Bobby duet), and "She'southward Gone" (Pete Graves).

The Moonglows came to Manhattan for the Jan 14-15 "Rock And Roll Jubilee Brawl," held to celebrate Alan Freed's motion to New York's WINS the prior September. Held at the St. Nicholas Loonshit, it also featured Clyde McPhatter and the Drifters, Joe Turner, the Clovers, Danny Overbea, Fats Domino, Red Prysock, the Harptones, Charles Brown, Ruth Brown, Varetta Dillard, Dakota Staton, and the Buddy Johnson Orchestra, with Ella Johnson and Nolan Lewis. As an extra added allure, Freed presented the Moonlighters too (in this instance, but Harvey and Bobby singing their duets). My feeling is that it was probably worth the $ii.00 admission. Note that, because Thomas Louis "Moondog" Hardin had successfully enjoined Freed from using his trademark catchphrase, it was now a "Rock And Roll," rather than a "Moondog" Jubilee Ball. "Promotional considerations" (as they say) were handled by Morris Levy, owner of Birdland, a famous jazz guild on 52nd Street.

The Ball dovetailed nicely with the Moonglows' first advent at the Apollo Theater, the week beginning January 21, 1955. Too on the bill were Faye Adams and the Joe Morris Orchestra. As soon as that show was finished, they headed out as function of the Shaw Agency's "Top 10 R&B Show." Kicking off on Jan 28 in Norfolk, information technology was billed as the first show featuring all Shaw Agency artists and the first show fully produced past Clovers' managing director Lou Krefetz. Up and down the highway for 60 grueling days, the tour also featured the Clovers, Faye Adams, the Charms, Joe Turner, Lowell Fulson, the Paul Williams Orchestra, the Nib Doggett Trio, and the Spence Twins. It would play the entire country, except the far West, ending upward in Buffalo, New York on March 20. If you procrastinated about buying tickets in advance, you lot could see all this for only $ii.00 at the gate!

As shortly as "Sincerely" had started doing well, the Moonglows picked up a fifth member: a guitarist named Wayne Bennett. However, after the Apollo show, he decided that traveling wasn't for him. His replacement was the bespectacled Baton Johnson, who'd been with Sonny Thompson for a while in 1952. (Bennett presumably changed his listen afterwards on, since he after spent many years with Bobby "Blue" Bland, likewise every bit becoming a respected session guitarist.)

"Hug And A Buss"/"New Gal" became the 2d (and concluding) Moonlighters release, in Feb 1955. That aforementioned month, Chess issued "Most Of All"/"She'southward Gone" (an often-overlooked jewel).

"Hug And A Buss"/"New Gal" were reviewed (both "good") on March 12. Other reviews that week were for Cistron & Eunice's "This Is My Story," the Dodgers' "Baste Driblet," the 5 Royales' "Mohawk Squaw," the Dukes' "Oh Kay," the Gentlemen's "Don't Leave Me Baby," and the Debs' encompass of "Shoo Doo Exist Doo."

"Most Of All," which doesn't seem to have been reviewed, was a Tip in New York on Apr 2, on its way toward being a big hitting for the Moonglows: it would tiptop at #5 on the R&B charts in its xi-week run.

Around March, the Moonglows were back in the studio laying downwards "Starlite" (Bobby), "Foolish Me" (Bobby), "No I" (Bobby), "Hundred-to-one" (Bobby; the second version), "Dull Down" (Harvey), and "In Love" (a Harvey and Bobby duet). Probably at the aforementioned session, they backed upwardly Bo Diddley on "Diddley Daddy" (released in May 1955).

"Foolish Me" and "Slow Downwardly" became the Moonglows' April 1955 release. It coincided with the Moonglows' appearance in Alan Freed's "Easter Jubilee" at the Brooklyn Paramount. Running for a week, starting April 12, that show besides featured the Clovers, B.B. King, Lavern Baker, Danny Overbea, the three Chuckles, the Penguins, Red Prysock, and Eddie Fontaine. Once again, Harvey and Bobby appeared as the Moonlighters.

On May twenty, the Moonglows were part of an Alan Freed week-long "Stone And Roll" show at the Loew's State in Boston. From at that place, the whole testify went to Providence, Rhode Isle for three days. The other acts were: Dinah Washington, the 5 Keys, Bo Diddley, Nappy Brown, Little Walter, Dakota Staton, Al Hibbler, and the Buddy Johnson Orchestra, featuring Ella Johnson. As far as I can tell, this was the concluding appearance of the "Moonlighters."

The Moonglows began another week at the Apollo Theater on June 10, 1955. They were part of a Dr. Jive prove, forth with Buddy Johnson, Gene & Eunice, Bo Diddley, the Nutmegs, Etta Jones, the 4 Fellows, Nolan Lewis, and Dolores Ware.

Baronial 1955 saw the release of "Starlite," backed with "In Honey." The record was reviewed on September 10 ("In Love" was rated "excellent"), along with the Empires' "I Want To Know," the Feathers' "Love Simply Yous," the Sheiks' "So Fine," and the Chimes' "Zindy Lou."

Side by side, the Moonglows were part of Alan Freed'south Labor Day "Large Stone And Whorl Show" at the Brooklyn Paramount. Kick off September 2, the other acts were Tony Bennett (singing all his R&B hits), the Harptones, Nappy Brown, the Cardinals, the Nutmegs, the Flamingos, Ruddy Prysock, and Chuck Berry.

Sometime around October, the Moonglows recorded some more than tracks: "In My Diary (Bobby and Pete), "Lover" (Bobby), "Lover, Honey Me" (Harvey), "Lover" (Harvey), "Let'southward Go" (all), "Thrill Me" (Bobby). Things at Chess were really complicated. Also equally not listing specific session dates, sometimes Chess assigned discrete master numbers to diverse takes of a song. That'due south what happened higher up. I've never heard either recording of "Lover," but I'm willing to bet that it's the same song every bit "Lover, Love Me." One unreleased take had Bobby singing lead; the other i had Harvey. The released version was, presumably, a third accept, with Harvey in the lead. "Lover, Love Me" came out in November 1955, with "In My Diary" equally the flip.

On November v, "In Dearest" was a Tip in Washington, D.C. On Dec 10, "In My Diary" got an "excellent" review, along with the Cardinals' "Hither Goes My Heart To Y'all," the Nutmegs' "Whispering Sorrows," the Harptones' "It All Depends On You," Dolly Cooper's "Teen-Historic period Prayer," the Penguins' "A Christmas Prayer," the Barons' "Common cold Kisses," and the Nu-Tones' "Believe." On January 21, "In My Diary" was a Tip in Washington, D.C.

November 25 found the Moonglows at the Apollo Theater. With them, were the Penguins, Choker Campbell, Al Jackson, the Collegians, and Mildred Anderson.

In that location was supposedly some other redundancy to Bo Diddley, onetime in the fall of 1955: "Diddy Wah Diddy" (released in January 1956). However, since this didn't coincide with a Moonglows' session, but seems to be on the same 24-hour interval every bit a Flamingos' session, it's probably the latter grouping (or some of the Moonglows along with the Flamingos; with Chess, you can never exist sure).

At that place was another session effectually March 1956. This time they recorded, every bit far as I tin can tell, two songs that managed to receive six master numbers: "Chick Cumba" (Harvey), "We Go Together" (Harvey and Bobby duet lead, with the rest of the group nowadays), "Permit's Go Steady" (I'll bet annihilation this is the same song equally "We Go Together"), "Chickie-Um-Bah" (Harvey; the same as "Chick Cumba"), "Let'southward Go Steady" (another try at this i), and the hyphenless "Chickie Um Bah" (Harvey).

"We Get Together" and "Chickie Um Bah" were issued in March. They were reviewed (both "fantabulous") on March 31, forth with the 5 Dollars' "So Foreign," Fats Domino's "My Blue Heaven," Joe Turner's "Corrine, Corrina," the Cadillacs' "You Are," the Fi-Tones' "I Call To You lot," the Cadets' "Church Bells May Ring," and the Chromatics' "Devil Blues."

The Moonglows were office of an Easter week Dr. Jive bear witness at the Apollo on March 30, 1956. This fourth dimension, they shared the stage with Bo Diddley, Claudia Swann, Charlie & Ray, the Solitaires, Dean Barlow, Brook Benton, the Fi-Tones, the Schoolboys, the Teen Queens, Carbohydrate & Spice, and the Buddy Griffin Orchestra.

On Apr xiv, "We Go Together" was a Choice Of The Week. A couple of weeks later, it was a Tip in Chicago. It turned out to be a balmy striking, reaching #9 (R&B), but only remaining for two weeks. The style Alan Freed played it in New York, however, you'd recall information technology was a major hitting.

The Moonglows played the Municipal Auditorium in Buffalo, New York on April 22. They shared the phase with Roy Gaines, Dakota Staton, and the Paul Williams Orchestra. In May, they played the 5-4 Ballroom in Los Angeles, along with Lowell Fulson.

On June 22, 1956, the Moonglows started another calendar week at the Apollo. This fourth dimension, they shared the boards with Featherbrained Gillespie, Paul Himmelstein & the Heartbreakers, Mr. Blues, Sally Blair, and Lonnie Satin.

In July 1956, their side by side session produced "When I'k With Yous" (Bobby), "Run into Saw" (Harvey), "Kiss Me Baby" (a Harvey and Bobby duet), and "Penny Arcade" (Bobby). At a subsequent July session, they recorded "Over And Again" (Bobby), followed the next month by "I Knew From The Start" (also Bobby).

"See Saw" and "When I'one thousand With You" were released in July and reviewed on July 28 (both "splendid"), along with the Drifters' "Soldier Of Fortune," the Coasters' "One Kiss Led To Another," Big Walter's "Pack Fair And Foursquare," the 5 Royales' "Come up On And Save Me," the Tangiers' "Remember Me," and the Avons' "Our Love Will Never End." "When I'k With You" was a Tip in Los Angeles on September 15. Both "See Saw" and "When I'm With You" made the R&B charts, reaching #6 and #15, respectively. "See Saw" too made #25 on the Pop charts.

Baronial 1956 saw the Moonglows pic their lip-synching for the two songs that would be used in the movie Rock, Rock, Rock. They conveniently did "Over And Over Once again" and "I Knew From The Start," which were paired for a November release (to dovetail with the early Dec opening of Rock, Rock, Rock). Just to ensure that no one could keep track of what Chess was doing, "Over And Over Over again" was issued in a fast and a slow version, both with the same record number (the slow version was master 8189A), and in the same calendar month. (The musical performances for Rock, Rock, Stone were filmed in a studio in New York and later spliced into the main film.)

Stone, Rock, Stone was a Big Deal. Not only was it the kickoff true R&R film, but it stood to make a lot of money (non, of grade, for the performers, simply hey, not everyone can do good from these things).

While they were in town, the Moonglows were featured in Alan Freed's Labor Mean solar day bear witness at the Brooklyn Paramount, commencement on August 28. Sharing the stage were Fats Domino, the Cleftones, the Harptones, Joe Turner, the Teenagers, the Penguins, Mabel Rex, Cirino & the Bow Ties, the Shepherd Sisters, the DeMilo Sisters, and Jimmy Cavello & His Firm Rockers.

On Nov 23, Alan Freed hosted a week at the Apollo Theater. Also the Moonglows, the other acts were the Cleftones, the Harptones, the Pretenders, Eddie Cooley & the Dimples, Little Billy Mason, the Gee characterization Angels, the Lanes, the Joytones, the Rhythm Jesters, and Sonny Knight.

Would you like to know how these things work? Why those particular acts? Alan Freed was close with Morris Levy, owner of the Birdland jazz club. Levy, the promoter for past Freed shows, had a partner named Phil Kahl. Kahl's brother was Joe Kolsky, who was partners with George Goldner in Rama and Gee. Thus, we tin can business relationship for the Cleftones, the Harptones, the Pretenders, Little Billy Mason, the Angels, the Lanes, the Joytones, and the Rhythm Jesters existence on the bear witness: they were all Rama/Gee artists. Jack Hooke, possessor of Royal Roost Records, was a close friend of Freed'south since the early 50s. It will come every bit no surprise that Eddie Cooley & the Dimples recorded for Royal Roost. That but leaves Sonny Knight, whose Dot recording of "Confidential" was a large hit at the time. Dot was owned past Randy Wood, and gauge who was another Freed buddy? When Freed moved to California after the Payola scandal, it was Forest who continued to befriend him.

Just when the release of Rock, Rock, Stone was imminent, at that place was a trade newspaper item that the Moonglows had been signed by the Jolly Joyce Agency, which would represent them in all time to come movie deals (too as Telly and radio).

Dec vii found the Moonglows as ane of the acts on the Goodwill Revue, sponsored by WDIA (Memphis). Ray Charles, B.B. King, the Magnificents, and the Spirit Of Memphis Quartet all appeared in this do good show to aid needy children.

"Over And Over Once more" and "I Knew From The Start" were reviewed on December 8, 1956 (both sides "excellent"). Other reviews that week were for the Flamingos' "Would I Be Crying," the Clovers' "A Lone Fool," the Sensations' "Little Wallflower," the Schoolboys' "Delight Say Yous Want Me," Nappy Brown's "Little By Piddling," the Copesetics' "Believe In Me," the Jaguars' "The Way You Look This night," the Danderliers' "She'south Mine," the Baltineers' "Moments Like This," the Marquis' "Maverick Daddy," the Fi-Tones' "Waiting For Your Call," and the De Bonairs' "Mother'south Son."

On Dec thirteen, 1956 the Moonglows had another session. [Hold the presses! An actual session that tin exist dated!] They must have been gasping for air after this ane; they recorded nine tunes: "I'll Cease Wanting You" (Bobby), "This Love" (Harvey), "Don't Say Goodbye" (Bobby), "Honey Is A River" (Bobby), "Delight Send Me Someone To Dearest" (Harvey), "Permit Me Hold Your Paw" (Harvey), "Blue Velvet" (Bobby), "The Beating Of My Heart" (which has them all singing), and "I'm Afraid The Masquerade Is Over" (Prentiss Barnes). These songs had heavier orchestration than the Moonglows had been used to and were supposed to be the basis for an LP that never materialized. I've read that this was a reaction to the Platters having hits with strings and lush arrangements. Nope. The Platters' first stringed biggie, "Twilight Fourth dimension," was a yr away from being recorded.

This session likewise marked a transition to Harvey Fuqua singing about of the leads. Of all the songs recorded and released from this point on, Bobby Lester sang pb on merely ii ("Confess It To Your Centre" and "Here I Am"), as well as the unreleased "What Are Y'all Going To Exercise."

On December 22, the Chess LP Rock, Rock, Rock got an "excellent" rating. It contained the tunes that the Moonglows, the Flamingos, and Chuck Berry had done in the film, along with other hits by those acts. [There was an actual soundtrack album, only that was simply pressed up to be sent to DJs.]

Along with being in the Freed movie, the Moonglows were with him for his Christmas week evidence at the Brooklyn Paramount (December 23-30). Other acts on the bill were Shirley & Lee, Screamin' Jay Hawkins, Jesse Belvin, the G-Clefs, the Heartbeats, the 3 Friends, the Dells, Mac Curtis, George Hamilton IV, Lillian Briggs, Eddie Cooley & the Dimples, and Barbie Gaye.

January 5, 1957 found "Over And Over Once more" to be a Pick Of The Week; information technology was a Tip in Philadelphia on the 26th.

On February 15, the Moonglows were part of the "Greatest Bear witness Of 1957" (since information technology was only Feb, I suppose information technology was named by someone with a crystal ball). It kicked off in Pittsburgh on its 80-day run beyond the U.Due south. and Canada. Other acts included Lavern Bakery, Clyde McPhatter, Chuck Berry, Fats Domino, the five Keys, the 5 Satins, Eddie Cooley & the Dimples, Charles Brown, Ann Cole, the Schoolboys, Neb Doggett, and the Paul Williams Orchestra.

"Don't Say Goodbye" and "I'one thousand Agape The Masquerade Is Over" were released in March 1957 and reviewed on March 9 ("Don't Say Farewell" received an "excellent"). Other reviews that calendar week were for the Dells' "Why Do You Have To Go," Bob ("The Wanderer") Kornegay's "The Man In The Phone Berth," the Jivers' "Ray Pearl," the Colts' "Sheik Of Araby," Johnnie & Joe's "Over The Mount, Across The Sea," the Crystals' "I Dear My Baby," and Dale (Sam Cooke) Cook's "Forever."

Sometime in March 1957 (presumably when the "Greatest Testify Of 1957" reached Chicago) the Moonglows recorded "Mr. Engineer," with Harvey in the lead.

In June, they recorded three more tunes: "What Are You lot Going To Do" (Bobby), "Here I Am" (Bobby), and "As well Late" (Harvey).

"Mr. Engineer" was paired with "Delight Send Me Someone To Love" and released in June 1957. "Please Send Me Someone To Love" (the former Percy Mayfield tune) was rated "fantabulous" on June 17, along with the Del Vikings' "Absurd Milkshake," the Del Vikings' "Whispering Bells," Huey Smith'south "Rockin' Pneumonia And The Boogie Woogie Flu," Dee Clark's "Gloria," the Pearls' "Ice Cream Infant," and the Strollers' "You're The Only 1 For Me." On July 8, "Please Send Me Someone To Love" was a Tip in New York. It turned out to be a pretty large hit for the Moonglows, reaching #5 on the R&B charts.

Sometime in July, they laid downward "Barcelona Stone" (Harvey) and "Confess It To Your Heart" (Bobby). "Barcelona Rock" was never issued on a single. It was surprising that "Barcelona Rock" was never issued on a unmarried, since they lip synched to information technology in the Freed moving picture, Mr. Rock And Curl. They were likewise part of Freed's "Summer Festival Of Stone 'n' Roll" at the New York Paramount Theater. The show starred Chuck Drupe, Frankie Lymon & the Teenagers, and Clyde McPhatter. Others on the bill were Johnnie & Joe, Joe Turner, the Teenchords, Screamin' Jay Hawkins, Jodie Sands, the Everly Brothers, Paul Anka, and Teddy Randazzo. Some other unreleased vocal from effectually this time is "Love Me True" (Harvey); the date and master number are unknown.

On July 26, 1957, the Moonglows were back at the Apollo, this time with Lloyd Toll, the Teenchords, Lee Andrews & the Hearts, George Kirby, the Hearts (the J&S group), and Pigmeat Markham.

"Confess It To Your Middle"/"The Beating Of My Middle" were released in August 1957. They were reviewed on September 16 (both "splendid"), along with the Clovers' "Downwardly In The Aisle," the Demens' "Take Me As I Am," the Tunemasters' "Sending This Letter," the Gage Links' "It'due south Besides Late Now," the Love Notes' "If I Could Make You lot Mine," and the Rob-Roys' "Tell Me Why."

The Moonglows were once again with Alan Freed for his Brooklyn Paramount Labor Solar day show. Others on the bill were Little Richard, Jo Ann Campbell, Buddy Holly & the Crickets, Ocie Smith, the 5 Keys, the Diamonds, the Del Vikings, Mickey & Sylvia, Larry Williams, and Jimmie Rodgers.

On October 4, the Moonglows became part of the "Fantabulous Rock 'north' Roll Show Of '57." [How many of y'all remember that "fantabulous" entered the vocabulary considering of Robert Strom, the 10-year-old genius who won $192,000 on the $64,000 Question in 1957?] Kick off from Fayetteville, North Carolina, the show wound through the South, the Midwest, and the Southwest. Others on the 45-24-hour interval tour were Larry Williams, Joe Turner, Annie Laurie, the Velours, Tiny Topsy, the Del Vikings, Vikki Nelson, Mary Ann Fisher, Roy Dark-brown, Bo Diddley, Ray Charles, and Nappy Brown. Only a few days later (the tenth), the Moonglows somehow got to appear on American Bandstand.

In December 1957, they recorded "Mean Old Blues" (a Harvey and Bobby duet), "Ten Commandments Of Love" (Harvey; the first, long [4 infinitesimal] version), and "Don't Be Agape To Love" (Harvey). Their next release, "Too Late"/"Here I Am," was issued subsequently in December, just in time for their calendar week-long appearance at the Apollo Theater, which began on Dec 27, 1957. Others on the show were Bo Diddley, Big Maybelle, the Drifters, the Dells, the Deltairs, Priscilla Bowman, Screamin' Jay Hawkins, Mally & Margot, and the Reuben Phillips Orchestra.

"As well Tardily"/"Hither I Am" were reviewed on Feb 10 (both "practiced"), forth with Fats Domino's "Yep My Darling," Huey Smith & the Clowns' "Don't You Just Know Information technology," the Hollywood Flames' "A Little Bird," the Miller Sisters' "The Flip Side," the Blossoms' "Have Faith In Me," the Shirelles' "I Met Him on A Sun," the Spaniels' "Crazee Infant," the Midnighters' "Daddy'due south Little Infant," and the Viscounts' "Tail Light."

Around February 1958, there was another session at which the three Harvey-led songs were: "In The Middle Of The Night," "Soda Popular" (written by Berry Gordy), and "Slop Stroll Walk." "In The Center Of The Nighttime" and "Soda Pop" (sadly, not even the worst song the Moonglows would do; they'd come a long, long way from "I Simply Tin can't Tell No Lie") were released in March. They were reviewed on April 7 (both "good"), forth with Chuck Berry'due south "Johnny B. Goode," Fats Domino's "Sick And Tired," the Rays' "Rags To Riches," Clyde McPhatter'southward "Come What May," Joe Turner's "Blues In The Dark," the Bay Bops' "Follow The Rock," the Gladiolas' "Shoop Shoop," the Bobbettes' "Zoomy," the Kuf-Linx'due south "Service With A Smiling," the Ladders' "Counting The Stars," the Gaylarks' "Somewhere In This Earth," the Ospreys' "Do You Wanna Spring Children," and the Rob Roys' "Dance Girl, Dance."

There were another couple of masters recorded effectually June 1958: "This Love" (Harvey) and "Sweeter Than Words" (a Harvey and Bobby duet). They were supposed to go the Moonglows' next release in August, simply don't seem to have been issued on a single at this time. Chess assigned them tape number 1701, but it wasn't actually released until the early 60s. However, both songs were on the Wait, It's The Moonglows LP and one of the derivative EPs (meet below).

Besides in August, they recorded the second (and considerably shorter at two:43) version of "Ten Commandments Of Love." It was issued that month with "Mean Sometime Dejection" as the flip. They now had ii records out at the aforementioned fourth dimension. Non a skilful sign. While "This Love"/"Sweeter Than Words" were credited to the "Moonglows," "Ten Commandments Of Love"/"Hateful Old Blues" were credited to "Harvey & the Moonglows" (another sign of trouble, especially since "Mean Old Blues" was ane of the Harvey and Bobby duets).

"Ten Commandments Of Love" and "Hateful Onetime Dejection" were reviewed on September one, 1958 (both "good"), forth with Fiddling Richard's "Baby Face," the Students' "I'thousand And then Immature," the 5 Shillings' "Letter To An Angel," the Chanters' "Five Trivial Kisses," and the Kashmirs' "Tippi-Tippi-Wang-Wang."

While I would imagine most people would tend to equate the Moonglows with "Ten Commandments Of Love," it only reached #9 on the R&B charts (and #22 Pop). Of all their 50s R&B chart hits, only "When I'm With You" ranked lower.

In early September 1958, the Moonglows did a show in Charlotte, North Carolina with Jerry Lee Lewis, Bill Haley, Dave "Baby" Cortez, Lavern Baker, Bobby Freeman, the Pastels, Lee Allen, and the Gladiolas. On September 26, the Moonglows were dorsum at the Apollo, this time with Ruth Chocolate-brown, the Kodoks, the Imperial Holidays, Oscar McLollie & Annette, the Norma Miller Dancers, and the Paul Williams Orchestra.

Probably in September, Chess issued the Look, It'due south The Moonglows album, with a generous selection of the group's tunes. Strangely, the simply mention of it is in a Chess advertizement from August 1959. It contains "Love Is A River" and "I'll Stop Wanting You," which would be released every bit a single in January 1959. Strangely, Chess issued eight of the LP's songs on ii EPs, both too titled Look, It'due south The Moonglows (foreign, because I would have expected all twelve songs on three EPs).

Want more trouble? In Oct, Harvey Fuqua recorded a session by himself. The four tunes were: "Here I Stand," "I Want Somebody," "Rock And Roll Babe," and "Da Da Goo Goo." "I Want Somebody" and "Da Da Goo Goo" were issued (as past "Harvey") in December 1958. The Moonglows were barely hanging on at this bespeak, although they appeared on a Jolly Joyce evidence from Oct 15 through November xv. Others on the nib were Jerry Lee Lewis, Mickey & Sylvia, Tommy Edwards, Dave "Baby" Cortez, the Applejacks, and Joe August (who had once recorded every bit "Mr. Google Eyes").

Still going through the motions, the Moonglows joined Alan Freed, one last time, for his "Christmas Jubilee Of Stars," which opened on December 25 at the Loews' State in Manhattan. Other acts included Johnny Ray, the Everly Brothers, Bo Diddley, Chuck Berry, Jackie Wilson, Jimmy Clanton, the Cadillacs, Eddie Cochran, Frankie Avalon, the Crests, Dion & the Belmonts, the Royal Teens, Baby Washington, and Freed's married woman, Inga (singing her hoped-for-big-hit, "Silly Willy").

For the Moonglows' adjacent release (in January 1959), Chess dug out ii masters from the December 1956 session: "I'll Stop Wanting Yous" (mistitled "I'll Never Stop Wanting Yous" on the label) and "Love Is A River." Hmmm. Going back to 1956. Must exist problem hither somewhere. The tunes were reviewed on January 19 (both "practiced"), along with Chuck Berry'due south "Anthony Boy," the Imperials' "When You Wish Upon A Star," the Coasters' "Charlie Brown," Robert & Johnny's "Truly In Love," the Moonbeems' "Cryin' The Blues," and the Rob Roys' "Pizza Pie."

On Jan 9, 1959, the Moonglows made their last appearance at the Apollo. Presumably still the original grouping (because of contractual reasons), they were joined by Bill Doggett, the Cadillacs, Arnold Dover, and Cleo Bernard.

In case yous're wondering, the Moonglows were in trouble. Actually, "trouble" isn't exactly the word: they'd pretty much broken up. I've read then many differing stories that I'm not most to speculate as to why it happened. Bobby Lester would have a single solo release on Checker around March 1959: "Am I The Human being?"/"Lonely Hearts." That same month, Chess was talking about Bobby and Harvey as "formerly of the Moonglows."

[This is probably a good time to mention another master by the original group: "Common cold Feet" (led past Harvey). Information technology appeared on the Wait, It'due south The Moonglows album, but information technology doesn't seem to announced in the Chess master book. I've heard information technology and I estimate it's the Moonglows, but I accept no idea where it came from.]

Harvey before long allied himself with the Marquees (who had done "Wyatt Earp" on Okeh): Reese Palmer (first tenor), Marvin Gay (second tenor/baritone; he'd change the spelling to "Gaye" later on, when he became a soloist), James Nolan (2d tenor/baritone), and Chester Simmons (bass). Here's a slightly edited business relationship, from my Marquees article:

Since Chester Simmons had become a commuter and valet for Bo Diddley, he was able to have a chat with Harvey Fuqua, lead of the Moonglows, when that group came to town [Washington, D.C.] to play the Howard Theater in late 1958. Harvey told Chester that the original Moonglows were on the verge of breaking up, and he needed a group to supercede them. Fortunately the Marquees were practicing for a big talent evidence and Chester brought them around to meet Harvey. Harvey liked them and, for a whole week, rehearsed with them betwixt shows at the Howard. [This is what Reese Palmer told me. However, Harvey Fuqua, in an interview, said that it was Marvin Gaye who made the overtures to him and Prentiss Barnes. A fairly minor detail, since the effect was the same.]

Then Harvey left to play other engagements, and the Marquees feared that he'd forgotten all about them. But they needn't have worried. In most a month, Harvey came back for them and they constitute themselves the new Moonglows. [This would have to exist some time after Jan 15, when their week at the Apollo had ended.] They started out on tour, and when they got to Chicago, Harvey went to a puddle hall and found Chuck Barksdale, bass of the Dells (who had divide upwardly at this point considering of their automobile accident); he was added every bit a sixth member.

The original Moonglows used two leads: Harvey Fuqua and Bobby Lester. When James Nolan took over the songs that Bobby Lester had led, Chester Simmons moved upward to baritone, leaving the bass piece of work to Chuck Barksdale. When Harvey sang lead, however, both Chester and Chuck sang the same bass notes.

Fifty-fifty though he now had another group, Harvey was exploring other avenues. In February 1959, he released a couple of duets with Etta James (as "Betty & Dupree") on Kent: "I Hope You're Satisfied" and "If It Ain't One Matter."

Around Apr 1959, Harvey and the New Moonglows recorded "Twelve Months Of The Twelvemonth" (Harvey in the atomic number 82, with Marvin Gaye doing the recitation). This was released (probably in April also), with "Don't Be Afraid To Beloved" as the flip. Thus one side has the New Moonglows and the flip has the original group. Chess, e'er a bastion of practicality, just credited "Harvey" on the characterization.

And so (back to the Marquees story):

In the spring of 1959, Harvey and the Moonglows were scheduled to appear on American Bandstand. Harvey wanted to take his new grouping with him, but contractually he was obligated to take the old one. Whatever songs they sang (or lip-synched) institute Harvey as part of the group, non out in front. All the same, when he sang "Don't Be Agape To Love" (which he had recorded with the sometime group), he did information technology as a solo number (as he did for the movie Go, Johnny, Go, released in June 1959, but filmed many months earlier).

The New Moonglows had another session around May 1959, at which they recorded "Mama Loocie" (Marvin Gaye) and "Unemployment" (Harvey).

On June 12, the New Moonglows joined a Jolly Joyce bout that began at the Tivoli Theater in Chicago. The show also featured Dave "Baby" Cortez, Lula Reed, Sam Hawkins, and Valerie Carr.

"Mama Loocie" and "Unemployment" were released in September 1959 (as "Harvey & the Moonglows") and reviewed the week of October v (with "Unemployment" getting an excellent rating). Other reviews that week were for the Harptones' "Hep Teenager," Brook Benton's "And then Many Ways," Titus Turner's "We Told You Non To Ally," the 5 Satins' "Shadows," Willis Sanders & the Embers' "Hungry For Love," and the Top Rank Ravens' (who were actually Willis Sanders & the Embers also) "(There'southward A) Pigsty In The Centre Of The Moon."

Reese Palmer remembered two other songs that the New Moonglows recorded with Harvey: "Dear, I'm So Glad I Found You lot" and the original version of "That'southward What Girls Are Made For." However, these aren't listed in the Chess master book and may have only been demo tapes.

Harvey did some more than solo recording in July 1959: "Every Nighttime About This Time," "1 - 2 - 3 - 4," and "Anna." Presumably "Anna" was written for Anna Gordy, Drupe Gordy'southward sister, whom Marvin Gaye would eventually marry. Harvey, divorced by this fourth dimension, would ally her sister, Gwen.

And where was Bobby Lester all this fourth dimension? Well, for one thing, he had a Moonglows group. For another, he was getting into trouble. An article in the October i, 1959 issue of Jet said that he and Abby Mallory (described equally the "vocalist") were arrested on narcotics charges in Beaumont, Texas. This must have been a large grouping, because 8 other members were arrested on vagrancy charges.

In January 1960, Chess issued some more than solos past Harvey: "Ooh, Ouch, Stop!" and "Blue Skies." This probably indicates that the New Moonglows weren't doing much ameliorate than the old ones. Then...

In early 1960, the New Moonglows began to fall autonomously. James Nolan was the beginning to leave, and so Reese Palmer. "Nosotros had families to feed and there wasn't much money," said Reese. And then, Chuck Barksdale left, eventually rejoining the Dells [he was certainly back with them when they recorded "Oh What A Adept Nite" in March 1960]. Marvin Gaye remained with Harvey and it's possible that Chester Simmons did too; he somewhen became an independent record distributor in the mid-60s.

"We spent a lot of time in Detroit," remembered Reese Palmer. And at that place were probably things going on backside the scenes. Both Harvey and Marvin concluded up marrying Berry Gordy'due south sisters (Gwen and Anna, respectively, who had one time been the house photographers at Detroit's Flame Bear witness Bar), and both became large with Motown (Harvey in the production stop).

Somewhere along the way, Harvey had brought Etta James to Chess. In Baronial 1960, "Etta & Harvey" released "If I Can't Take Y'all"/"My Heart Cries." Past this fourth dimension, Harvey had moved to Detroit.

Still, in later 1960, there was nonetheless a Moonglows group around. It had Marvin Gaye and possibly Chester Simmons, but the other members are unknown. In September, they held the concluding Moonglows session, which produced "Beatnik" (Harvey) and "Junior" (all), released in October (as the last original record credited solely to the "Moonglows"). These Coasters-type arrangements were nearly every bit far as you could go from "I Simply Can't Tell No Lie," and Chess never sent them out for review. Peradventure the other members were from the Spinners (tenor Bobby Smith, tenor Baton Henderson, baritone Henry Fambrough, and bass Purvis Jackson). I asked Harvey Fuqua who the members were and he said that it was the Marquees. However, Reese Palmer said that he and James Nolan certainly weren't on them.

At that place was some other Etta & Harvey duet release in December 1960. This time information technology was "Spoonful"/"It'southward A Crying Shame."

In February 1961, Chess issued Harvey's last solo efforts: "Mama," backed with "The Kickoff Time." He and so went into the production end with Motown, starting the Tri-Phi and Harvey labels. He also mentored the Spinners, who recorded "That's What Girls Are Made For" on Tri-Phi. (Harvey did such a expert job of it that pb vocalist Bobby Smith sounds only like him.)

The final Moonglows release on Chess (prior to reissues) was "Penny Arcade"/"Blue Velvet" in December 1961. These were both 1956 masters, which had appeared on the Look, It's The Moonglows LP in 1958. This unmarried was probably intended for the new "oldies" craze. They were credited to "Bobby Lester & the Moonglows," every bit was the Best Of LP issued the following twelvemonth.

Possibly this was done considering Bobby had recently put together a new grouping of Moonglows and Chess figured they might render to the fold. The New New Moonglows consisted of Bobby, Alexander Walton (who was calling himself "Pete Graves" total-fourth dimension past now), Milton Turner (who had been the atomic number 82 of the Packards), and Doc Light-green [who is not, Echo Subsequently ME, " Non !!!" (c'mon, c'mon, louder) the Dock Dark-green who was in the five Crowns and the Drifters].

By 1962, at that place was an act called Judy Jae & Moonglows, who had some releases on Jacob-Carle and Brosh (2 companies that merged). While Jacob-Carle was originally from Chicago, there's no take chances that the voices accompanying Judy take anything to do with the Chess group.

When Bobby Lester and Milton Turner left the group in 1963, Pete Graves added Bearle Easton and George Thorpe (both of whom had been in the Carmine Robin Velvets) and the grouping recorded for the Times Square, Lana, and Crimson labels in 1964.

Also in 1964, all twelve of the Chance masters were issued on an LP on the Constellation label. This included "Fine Fine Girl" and "My Dearest," which had never been on singles.

Over the years, Harvey took on more responsibilities at Motown. As well as producing and writing, he headed up the Artists Development Department. This included bandleader Maurice King doing arranging, dancer Cholly Atkins doing choreography, and amuse school diva Maxine Powell making everyone look good. In 1970, Harvey left Motown and seems to take become associated with RCA Victor.

In 1970, Harvey Fuqua, Bobby Lester, and Pete Graves reunited to form a new Moonglows group. The others were Md Williams (is he the "Dr. Green" from 1964?) and Chuck Lewis. In 1972, they recorded "Sincerely '72'" for Large P records (endemic by Philadelphia DJ Georgie Woods); the flip was "You've Chosen Me." [Yep, I know that Bobby Lester had other groups before and after this, but I'm not going to certificate them.]

RCA Victor subsequently purchased these sides, plus eight others recorded for Big P. In June 1972, RCA released "Sincerely," with "I Was Wrong" on the flip. "Sincerely" actually made the R&B charts, ascent to #43. Likewise in June, RCA issued an LP called The Render Of The Moonglows. This contained nine of their Chess songs, re-sung (plus "You lot've Chosen Me"): "Sincerely," "When I'chiliad With You," "Yous've Chosen Me," "I'll Stop Wanting Yous," "Penny Arcade," "The Ten Commandments" [sic], "Most Of All," "I Was Incorrect," "The Beat Of My Heart" [sic], and "Love Is A River."

In October, RCA released "You lot've Chosen Me," with "When I'k With Y'all" on the flip. While this group didn't last out the twelvemonth, Bobby Lester kept a Moonglows grouping going for the residual of his life.

In April 1986, Harvey Fuqua, Pete Graves, Doc Williams, Chuck Lewis, and former guitarist Billy Johnson reunited for a show at Radio City Music Hall in Manhattan. In 1992, the Moonglows were inducted into the UGHA Hall Of Fame, and in March 2000, into the Stone & Roll Hall Of Fame.

Bobby Lester died in Oct 1980, Billy Johnson in April 1987, Alexander "Pete Graves" Walton in October 2006, and Prentiss Barnes too in Oct 2006. Harvey Fuqua, the concluding survivor, died of a centre assault on July vi, 2010, just brusk of his 81st birthday. Original Moonglow Danny Coggins passed abroad in July 1972.

Ads are from Galen Gart's First Pressings serial. Discography courtesy of Ferdie Gonzalez.

THE MOONGLOWS

CHAMPAGNE
7 500 I Just Can't Tell No Lie (HF/BL)/I've Been Your Domestic dog (PB) - 3/53

Adventure
1147 Whistle My Dear (BL)/Baby Please (HF) - 10/53
1150 Just A Lonely Christmas (HF)/Hey Santa Claus (BL) - 12/53
1152 Hole-and-corner Dear (BL)/Real Gone Mama (HF) - 2/54
1156 I Was Incorrect (HF)/Ooh Rocking Daddy (BL) - 5/54
1161 219 Train (HF)/My Gal (HF) - nine/54

UNRELEASED CHANCE
Fine Fine Daughter (HF)
My Love (HF)

CHESS
1581 Sincerely (BL)/Tempting (HF) - x/54

CHECKER (as the "Moonlighters")
806 Shoo Doo-Be-Doo (My Loving Infant) (HF)/So All Lone (DUET) - xi/54
813 Hug And A Kiss (ALL)/New Gal (DUET) - two/55

CHESS
1589 Most Of All (BL)/She's Gone (PG) - 2/55
1598 Foolish Me (BL)/Tedious Down (HF) - 4/55

CHECKER (backing upwardly Bo Diddley; uncredited)
Diddley Daddy/[She's Fine, She's Mine - Bo Diddley] - v/55

CHESS
1605 Starlite (BL)/In Dear (DUET) - 8/55
1611 In My Diary (BL & PG)/Lover, Love Me (HF) - 11/55

CHECKER (supposedly backing upward Bo Diddley; however, I retrieve this is actually the Flamingos)
832 Diddy Wah Diddy/[I Am Looking For A Woman - Bo Diddley] - 1/56

CHESS
1619 Nosotros Go Together (HF/BL)/Chickie Um Bah (HF) - 3/56
1629 See Saw (HF)/When I'thou With Y'all (BL) - 7/56
1646 Over And Once more (BL)/I Knew From The Beginning (BL) - eleven/56
["Over And Over Once more" released as fast & slow versions with same tape number]
1651 Don't Say Goodbye (BL)/I'm Agape The Masquerade Is Over (Lead) - 3/57
1661 Delight Send Me Someone To Love (HF)/Mr. Engineer (HF) - 6/57
1669 Confess It To Your Centre (BL)/The Beating Of My Heart (ALL) - 8/57
1681 Also Tardily (HF)/Here I Am (BL) - 12/57
1689 Soda Pop (HF)/In The Centre Of The Nighttime (HF) - 3/58
1701 This Honey (HF)/Sweeter Than Words (DUET)
[supposed to be released Baronial 1958, just not issued until the early on 60s]
1705 10 Commandments Of Love (HF)/Hateful Sometime Blues (DUET) - 8/58
1717 I'll Never Stop Wanting You (BL)/Beloved Is A River (BL) - 1/59
[mistitled on the label; it should be "I'll Finish Wanting Yous"]
1725 Don't Be Afraid To Love (HF)/Twelve Months Of The Year (HF/MG) - ca. four/59
[the full group is present, only the characterization merely credits Harvey]
1738 Unemployment (HF)/Mama Loocie (MG) - ix/59
1770 Crackpot (HF)/Inferior (ALL) - 10/threescore
1811 Penny Arcade (BL)/Blueish Velvet (BL) - 12/61

UNRELEASED CHESS/CHECKER
Such A Feeling (??)
Hundred-to-one (BL)
He Lied (DUET)
Thrill Me (BL)
No One (BL)
Doubtful (BL)
Let's Go (ALL)
Chick Cumba (HF)
Let's Go Steady (??)
Chickie-Um-Bah (HF)
Let's Go Steady (??)
This Honey (HF)
Allow Me Concur Your Mitt (HF)
What Are You Going To Do (BL)
Barcelona Rock (HF)
Love Me True (HF)
Slop Stroll Walk (HF)

EP 5122 - 58
Honey Is A River (BL)/Ten Commandments Of Love (HF)//Blue Velvet (BL)/Hateful Former Blues (DUET)

EP 5123 - 58
This Beloved (HF)/Penny Arcade (BL)//I'll Stop Wanting You lot (BL)/Sweeter And so Words (DUET)

LP-1430 Look, It'southward The Moonglows - 58
Love Is A River (BL)
Blue Velvet (BL)
This Love (HF)
When I'm With You (BL)
I'll Stop Wanting You (BL)
Don't Say Cheerio (BL)
Ten Commandments Of Love (HF)
Buss Me Baby (DUET)
Penny Arcade (BL)
Mean Sometime Blues (DUET)
Sweeter Than Words (DUET)
Common cold Feet (HF)

LP-1471 The Best Of Bobby Lester And The Moonglows - 62
Sincerely (BL)
See Saw (HF)
In My Diary (BL)
Blue Velvet (BL)
Don't Say Bye (BL)
We Go Together (HF/BL)
X Commandments Of Love (HF)
About Of All (BL)
Please Send Me Someone To Beloved (HF)
Over And Over Again (BL)

Constellation (all the Hazard masters)
CS-2 Collectors Showcase Vol. 2 - The Moonglows - 64
I Was Incorrect (BL)
Real Gone Mama (HF)
My Gal (HF)
219 Train (HF)
Oh Rockin' Daddy (BL)
Secret Love (BL)
Fine Fine Daughter (HF)
My Honey (HF)
Whistle My Love (BL)
Lonely Christmas (HF)
Baby Please (HF)
Hey, Santa Claus (BL)

Large P
101 Sincerely "72"/You've Chosen Me - 72

RCA VICTOR
74-0759 Sincerely/I Was Incorrect - 6/72
74-0839 When I'thou With You/Yous've Chosen Me - x/72

LSP-4277 The Return Of The Moonglows - 6/72
Sincerely
When I'm With You
Y'all've Chosen Me
I'll Stop Wanting You
Penny Arcade
The Ten Commandments [sic]
Nigh Of All
I Was Wrong
The Trounce Of My Centre [sic]
Love Is A River

LEADS:
HF = Harvey Fuqua; BL = Bobby Lester; PB = Prentiss Barnes; PG = Pete Graves; MG = Marvin Gaye
HF/BL = duet atomic number 82: Harvey Fuqua and Bobby Lester; DUET = Harvey & Bobby simply, no grouping

PETE GRAVES' MOONGLOWS

TIMES Foursquare
30 I've Got The Right/Baby Please - 1/64

LANA
130 Sincerely/Time Later on Time - 64
131 What A Difference A Solar day Makes/About Of All - 64
132 In My Diary/Blue Velvet - 64
133 See Saw/Dear Is A River - 64
134 Nosotros Go Together/Sho Be Du Exist Du - 64
135 10 Commandments Of Love/Half A Heart - 64

CRIMSON
1003 Gee/My Imagination - 64

Unca Marvy's Home Folio

More than Manufactures

hannancarch1957.blogspot.com

Source: http://www.uncamarvy.com/Moonglows/moonglows.html

Share this post