[AUTHOR'S NOTE: This isn't really a story I've looked forward to updating. Los Angeles groups were much friendlier to each other than groups from other cities and freely interchanged members. Even granting that, the story of the Hollywood Flames is more convoluted than most. Additionally, Bobby Byrd told differing stories to various researchers. I'll do the best I can. The quotes from Bobby Byrd appeared in Yesterday's Memories #3, back in September 1975. NOTE: he's not the Bobby Byrd who was in James Brown's Famous Flames.]
The Hollywood Flames existed from 1949 to 1966. In that time, they recorded under a bewildering variety of names, for a bewildering number of labels, with a bewildering cast of personnel.
They began as the Flames in 1949. Bobby Byrd said:
The Flames originated in 1949, when we were all in our teens. We met at the Largo Theater in Watts [a section of Los Angeles] at a talent show given by the theater's owner, which brought together many people from various high schools in Los Angeles. There were 10-15 lead singers there so the owner suggested that we get together to form several groups. This got the ball rolling.
The first one I got for the new group was a tenor, David Ford. I had a friend who could sing harmony pretty well. His name was Willie Ray Rockwell (who sang 2nd tenor); I am sorry to say that he has since died in an automobile accident. I could sing tenor, baritone, or bass, but usually sang bass. We were a trio for a while and then decided we wanted a fourth voice. I had another friend, Curlee Dinkins, who sang baritone and knew harmony fairly well. (When I sang lead, Curlee would move down to bass.)
We learned quickly; we began to sound pretty good. By this time we needed money to live so we went to a club we had heard about, the Barrelhouse, to audition. We were hired to entertain there and we also worked amateur shows for a while. (At this time Johnny Otis was the owner of The Barrelhouse.) We started winning a few prizes here and there and were offered a few little jobs, making maybe five dollars each.
So, according to Bobby, the initial group was David Ford (first tenor), Willie Ray Rockwell (second tenor), Curlee Dinkins (baritone/bass), and Bobby Byrd (bass, baritone, tenor). However, it looks like the second tenor spot was the initial revolving door: a particular recording could have had Willie Ray Rockwell (try saying that three times fast), Leon Hughes, or Clyde “Thin Man” Tillis.
Their first recordings, as the Flames, were made for John Blackburn's Selective label: “Please Tell Me Now” and “Young Girl,” both led by Bobby, were released in January 1950. “Please Tell Me Now” was re-released soon after, with “See See Rider” (led by David Ford) as the flip. In March, Selective issued “Sugar Man (Parts 1 and 2),” by Peppy Prince and His Sugarmen. It's the Flames doing the vocals.
It took the Flames a year and a half to have another recording. In late 1951, they hooked up with alto sax player Sherman Williams, who owned the Unique label. In November 1951, Unique released “Dividend Blues” and “W-I-N-E” (both led by Bobby) by the “Hollywood Four Flames.”
Sherman Williams had some kind of deal going with Art Rupe, owner of Specialty Records and its Fidelity subsidiary. Thus, several Unique masters found their way to Rupe's labels. In November 1951 “W-I-N-E” was also released on Fidelity (as by the “Four Flames”), but this time the flip was the David Ford-led “Tabarin.”
“WHAT'S A TABARIN?”
The song “Tabarin” was written by Murry [sic] Wilson, father of the Beach Boys. Not only did the Hollywood Four Flames release it in November 1951, but so did Bob Williams, singing with the Red Callender Orchestra (as “Tabor Inn” - Federal 12049).
But what does “tabarin” mean? You'd think it meant “tavern” by the way it's used in the song, but it doesn't. The word “tabarin” is the diminutive of “tabard,” a small cloak (the word is related to “tapestry”). It's also French for a “charlatan” or a seller of quack medicines. Confused yet?
By the first quarter of the 20th Century, “Bal Tabarin” was the name of many cabarets in the Montmartre section of Paris (“bal” is French for “ball”). “La Duchessa del Bal Tabarin” was a 1917 Italian opera.
After World War I, the name was exported to the U.S. There was a New York nightclub called “Bal Tabarin,” owned by singer Ted Lewis. A place by the same name was San Francisco's most famous nightclub (lasting until at least the mid-40s). A Lake Tahoe (Nevada) Bal Tabarin operated from 1955-60.
The 1939 movie “Midnight” (Claudette Colbert & Don Ameche), mentions a “Bal Tabarin” in Paris. There were also several movies with the word in the title: “L'Héritier du Bal Tabarin” (“The Heir Of Bal Tabarin” – 1933; French); “Une Nuit à Tabarin” (“One Night At The Tabarin” – 1947; French); “Tabarin” (1958; French-Italian); and “La Reina del Tabarín” (“The Queen Of The Tabarin” – 1960; Spanish-French).
There was even a 1952 American movie called “Bal Tabarin” (Republic Pictures) starring the ever-popular Muriel Lawrence and William Ching. It's a crime melodrama set in the Bal Tabarin cabaret in Paris.
So to answer the question, “Tabarin” was a fairly popular name for a nightclub in the first half of the 20th Century. However, I really don't know what the word itself has to do with a nightclub.
In December 1951, Fidelity issued “The Bounce” by the Sherman Williams Orchestra. Part 2 has a vocal by the Four Flames. These were also Unique masters.
Specialty released a cover version of “The Wheel Of Fortune” (led by David Ford) in January 1952. It's flip was “Later,” which might have been led by Curlee Dinkins. Once again these Unique masters were billed as the Four Flames.
Then it was back to the Hollywood Four Flames, when “Tabarin” was re-released on Unique, this time with the Bobby Byrd-led “Cryin' For My Baby” as the flip. The label claims that the personnel were David Ford, Bobby Byrd, Curlee Dinkins, and Clyde Tillis.
In April, the final Unique recordings were issued: “Please Say I'm Wrong” (led by David Ford), backed with “The Masquerade Is Over” (fronted by Curlee Dinkins).
After this, the Hollywood Four Flames broke with both Unique and Specialty, turning to John Dolphin's Recorded In Hollywood label. There were two releases in August of 1952: “I'll Always Be A Fool” (David Ford)/“She's Got Something” (Bobby Byrd) and “Young Girl” (Bobby)/“Baby Please.” “Young Girl” was a re-recording of the Selective cut. I'm not really sure who the lead on “Baby Please” is. It's totally unlike any other voice you hear on a Hollywood Flames record. The first time I heard it, I was ready to write it off as some other group that Dolphin stuck on the back of a Flames record, but at the very end you can hear the unmistakable voice of Bobby Byrd. My wild guess is that it's Willie Ray Rockwell doing lead.
In September, Dolphin reissued “Young Girl,” but this time it had “The Glory Of Love” on the flip. Led by David Ford, the recitation was performed by Robin “King” Bruin a DJ on both KGFJ and KWKW (which originated from the window of John Dolphin's record store).
About the same time as the first Recorded In Hollywood disc, there was a release on Otis and Leon René's Spin label. Credited to the Flames, the sides were: “Strange Land Blues” (led by Willie Ray Rockwell) and a remake of “Cryin' For My Baby” (Bobby).
Bobby Byrd claimed that the group was relatively stable during this period:
We recorded for several labels with the same members (Selective, Unique, Specialty, John Dolphin's Recorded in Hollywood, and Spin).
However, since the Unique label mentions Clyde Tillis and not Willie Ray Rockwell, that isn't really an accurate statement. On the other hand, with all the recording and switching record companies, a few things are bound to get lost in the shuffle.
And then, the Flames hooked up with Leo and Eddie Mesner's Aladdin Records (and its 7-11 subsidiary):
In 1953 we went to Aladdin Records and got two new members. Willie Ray Rockwell had left to sing with the Lamplighters; his place was taken first by Leon Hughes, who later sang with the Coasters, and then by Gaynel Hodge, a second tenor who had been singing with a new group, the Platters. Curlee Dinkins also left (although he was to return many times) and was replaced by Curtis Williams. This is a name which has a familiar ring to most people. He is the same artist who started the Penguins and also wrote “Earth Angel.” (I know because he wrote most of it at my house.) Curtis was a member of the Flames before he wrote “Earth Angel.” In fact, he tried to get us to record it, but we never did.
Just to put it in perspective, Gaynel Hodge would have left the Platters sometime after their May 1954 Federal session and Curtis Williams would have gone to the Penguins around the same time. However, nothing in Los Angeles is easy and Gaynel has said: “we were 'duped' into it by Bobby Day and David Ford, who promised a better career than the one we seemed to be enjoying as the Flamingos.” (When Gaynel says the “Flamingos,” he's talking about the original name of the Platters. Both Gaynel and Curtis were charter members. Curtis left them for the Flames, but Gaynel seems to have bounced back and forth.)
So it looks like the Aladdin/7-11 sides (on which they were [almost] always called the Flames again) were done with David Ford, Bobby Byrd, Leon Hughes, and Curtis Williams. They started their Aladdin career in December 1952 by backing up Patty Anne (the step-daughter of owner Eddie Mesner, whose name is also seen as "Patti Anne"). The tunes were “My Heart Is Free Again” and “Midnight” (a cover of the Margie Day/Griffin Brothers song).
Their next sides were issued on Aladdin's 7-11 subsidiary in March 1953: “Volcano” and “Gomen Nasai” (both led by David). On this record they're billed (for unknown reasons) as the “Jets.”
The next 7-11 release was July's “Keep On Smiling” (David)/“Baby, Baby, Baby” (Bobby). The following month saw “Together”/“Baby, Pretty Baby” (both led by Bobby). That same month saw another backup to Patty Anne: “Sorrowful Heart” (the flip was a Patty Anne solo). These were all issued as by the Flames.
Then it was time to wave goodbye to Aladdin (for a while), as they headed off to Jack Lauderdale's Swing Time label. There, they released “Let's Talk It Over” (David), backed with “I Know” (led by Gaynel Hodge) in December 1953. This would indicate that Gaynel was singing with both the Platters and the Flames at the same time, because he was on the Platters May 1954 session). Note that this record was a milestone in the career of the Flames: it was the first time they were credited as the “Hollywood Flames.”
There was a second release on Swing Time in February 1954, and it's a mess. One side is “Go And Get Some More” (clearly led by Bobby Byrd). The flip, however, is “Another Soldier Gone,” a gospel song originally on Drummond (a Detroit label) by the Violinaires. Jack Lauderdale was buying up masters all over the place (including some by Detroit's Serenaders) and “Another Soldier Gone” seems to be an alternate take by the Violinaires; it certainly isn't the Flames. To make matters more confusing, both sides are credited to the “Question Marks” (or, to be more accurate, the “? Marks”).
The Hollywood Flames then returned to John Dolphin, who now owned the Lucky label. In March 1954, they released the pretty “One Night With A Fool” (David)/“Ride Helen Ride” (Bobby).
In May, Aladdin issued a couple of their older masters (once again as the Jets): “I'll Hide My Tears” (David; another song written by Murry Wilson)/“Got A Little Shadow” (Bobby).
The next Lucky release (July 1954) was "Peggy" (Gaynel)/"Oooh-La La" (David and Bobby duet lead). In September, Lucky issued "I Know" and "Let’s Talk It Over," which John Dolphin had purchased from Swing Time. Since "I Know" had been a local hit, Dolphin was trying for national distribution. Also released in September was "Fare Thee Well" (David) and "Clickety Clack I’m Leaving" (David and Bobby in a duet lead). These were on Money, another Dolphin label.
"Oooh-La-La" started making some local noise, and, on September 4, the trade papers announced that Decca had signed the Hollywood Flames. They had acquired the group from John Dolphin, who was listed as the owner of Lucky Records. They not only got the Flames, they picked up four of the Lucky masters too: "Peggy," "Oooh-La La," "Let's Talk It Over," and "I Know." To make it even more confusing, "Peggy" and "Oooh-La-La" were reissued on Don Pierce’s Hollywood label (in which Dolphin had, until recently, been a partner) in October, at the same time that they were released on Decca. This was probably the result of a deal wherein Decca would release the tunes nationally, but Hollywood would have the Los Angeles territory to itself.
In January 1955, Decca released the other two masters they'd purchased: "Let's Talk It Over" and "I Know." There was no more talk of the Hollywood Flames on Decca after this. I think that's significant.
Aladdin Records then released "Shtiggy Boom" in February 1955. This was another Patty Anne tune, on which we always assumed she was backed by the Flames (the flip, "Baby, Baby, I’m In Love With You" was a Patty Anne solo). "Shtiggy Boom" had been recorded that month as a cover of Leo Diamond's original on RCA. There were also versions by the Musical Notes, the Nuggets, the Dooley Sisters (backed up by the Jac-O-Lacs), and Joe Houston (with vocal by the uncredited Platters). Was her backup group the Hollywood Flames? I doubt it. The entire contribution by the uncredited group was to chant "Shtiggy Boom, Shtiggy Boom" throughout the song. It's possible that some of the guys were there, but, as I hope to show below, not all of them.
That same month Dolphin released another Hollywood Flames cut on Money: "Emily" (led by Gaynel). It had been recorded in September 1954, and, for reasons that are now becoming clear to me (I hope), he billed them as the "Turks."
Here's what I wrote in my Turks article:
On September 4, 1954, the Hollywood Flames (with Gaynel Hodge, David Ford, Curlee Dinkins, and Bobby Byrd) recorded at least four songs for John Dolphin: “Fare Thee Well,” “Clickety Clack I'm Leaving,” “Emily,” and “Wagon Wheels.” The first two of these were released, under the Hollywood Flames name, later that month on Dolphin's Money label. The other two songs would make life more confusing for us all. [Notice that Curtis Williams is gone from the Hollywood Flames. He'd been booted out of the group for being “too independent,” according to Gaynel. But singers didn't stay quiet long in L.A. Soon, Curtis was back, with his new group, the Penguins, poised on the brink of the authorship war over “Earth Angel.”]
“Emily” (with Gaynel in the lead) was first released in February 1955, also on Money. However, the name on the label wasn't the Hollywood Flames, but the “Turks” (even more confusing, the flip side was “When I Return,” by the [West Coast] Turbans).
Why the Turks? It wasn’t a tune by anyone called the Turks, it was a tune by the Hollywood Flames. Possibly Dolphin was mad at them for some reason. He’d taken some of their Lucky sides (another label he owned) and placed them with Decca, which was pretty big time. … The short answer is "I simply don’t know." (The long answer is suspiciously similar.) As far as the name goes, the best evidence is that Dolphin simply made it up.
Bobby Byrd had this to say about the spate of recording during 1952 through 1955 (unfortunately, some of it is isn't really correct):
On the next several labels we were on (Aladdin, Lucky, Swing Time, Decca, Hollywood, Money) the group was David Ford (1st tenor), Gaynel Hodge (2nd tenor), Bobby Byrd (bass), and in the beginning either Curtis Williams or Curlee Dinkins (whichever baritone happened to be around). Curtis left after about a year to form the Penguins and was replaced by Clyde “Thin Man” Tillis (second tenor and baritone) but we tried to have Curtis on the sessions with us whenever the Penguins weren't busy. “Thin Man” was quite a showman - a real comedian. Now the group had singers, dancers and comedians - a different type of group. We were very popular at this time (about 1955) all over Los Angeles, but we just didn't have a hit record.
The record companies we recorded for kept changing our name but it was always the same group although we were called the Flames, Four Flames, Hollywood Four Flames, Hollywood Flames, Jets, Tangiers, Ebbtides, and Satellites. (The name “Jets” was given to us by Eddie Mesner of Aladdin.)
SPECULATION TIME
Starting in 1955, a lot of odd things happened. They weren't evident to me when I did the original interviews with Bobby Byrd and David Ford, so I never asked about them. Since both are now deceased, it seems likely that much of this section will have to remain based on educated guesses. Fortunately, I have more resources available to me now than I did in the 70s, when the interviews were done.
Here's the point of the speculation: although neither Bobby Byrd nor David Ford mentioned it, I believe that by the end of 1954, the Hollywood Flames had ceased to exist, breaking up for over a year and a half. As far as I can tell, at that time, the Hollywood Flames were: David Ford, Bobby Byrd, Gaynel Hodge, and Curlee Dinkins. My conclusion is based on several facts.
- Decca gave up very quickly on the Hollywood Flames. A good reason would be because they'd broken up.
- In February 1955, John Dolphin released "Emily," recorded at a Hollywood Flames session, as by the "Turks." The name change was probably because he'd sold the Hollywood Flames' contract to Decca. However, if the Flames were still in existence, why wouldn't he have put "Wagon Wheels" (the only other unreleased side from the September 1954 session) as the flip of "Emily"? Instead, he coupled it with a Turbans song. This might have been because Gaynel had expressed interest in forming his own group and Dolphin was "testing the waters" with a song that Gaynel was leading ("Wagon Wheels" was led by Bobby Byrd and there was probably some friction at this point).
- Around May 1955, a couple of Bobby Byrd records were issued on the (predominantly Country & Western) Sage And Sand label. On "Please Don't Hurt Me"/"Delicious Are Your Kisses" and "Candle Of Love"/"Peanut Brittle," Bobby was joined by bass Bobby Nunn and tenor Ty Terrell, moonlighting from the Robins.
Bobby Byrd then recorded with the Voices. Bobby told me that these were duets between him and tenor Earl Nelson, with Bobby overdubbing a third voice. While that’s probably true on some of the cuts, baritone Jules Castron is a third voice on some of them (but don’t ask me which). These Voices records were on Dolphin’s Cash label:
Two Things I Love/Why — May 1955
Hey Now/My Love Grows Stronger — August 1955
Takes Two To Make A Home/I Want To Be Ready — October 1955
Santa Claus Boogie/Santa Claus Baby — November 1955
All Voices leads were by Bobby Byrd, with the exception of “Takes Two To Make A Home” (led by Earl Nelson), “Two Things I Love” (Bobby and Earl duet lead), and “Santa Claus Baby” (all). Around July 1955, the Voices backed up Ravon Darnell, on Million Dollar: “One Of These Mornings”/“I'll Be Back.” In September, they went on a Texas tour (Houston, Fort Worth, and Dallas) with B.B. King, Louis Jordan, Donna Hightower, Dottie Smith, Harold Conner, and Johnny "Guitar" Watson.
One other tune recorded by the Voices (on October 10, 1955) is "Crazy," led by Earl Nelson. We'll run into it again later, when it somehow pops up as the flip of "Buzz-Buzz-Buzz."
I received a photo from Michelle Crowell, daughter of Mitchell Alexander (original bass of the Feathers), that shows Bobby Byrd, Earl Nelson, Curlee Dinkins, Bobby Relf, and Mitchell Alexander. What group is this? I have no idea (nor did she). When is it from? Again, it's debatable, but my guess is sometime in early to mid 1956 (Bobby Relf was tied up with the Laurels throughout 1955 and Mitchell Alexander joined the Chargers in early 1958). Unfortunately, as of this writing (February 2008), Bobby Byrd, Bobby Relf, and Mitchell Alexander are all deceased and Earl Nelson is suffering from Alzheimer's. The sole remaining member in the photo, Curlee Dinkins, seems to be disinclined to talk about the whole thing. Whatever it represents, it was a posed photo. Since portrait photographers weren't cheap, this was not just a bunch of guys who got together to sing; there were plans afoot. (The only hesitation that I have with dating it from 1956 is that in it, Bobby Byrd has the same haircut that he sports in his 1957 photos. However, since the Hollywood Flames were clearly together again in 1957, I'd rather stick with 1956. Besides, I don't have any photos of Bobby from 1956, so he might have been wearing his hair that way then.)
On June 9, 1955, David Ford and Gaynel Hodge joined with Jesse Belvin and Gaynel's brother, Alex, to record as the Tangiers for Decca. There were two resulting records: a re-recording of "Tabarin," backed with "I Won’t Be Around" in August, and "Remember Me"/"Oh Baby," which wasn’t issued until July 1956. The Decca Tangiers were not the Hollywood Flames.
- Then there were the Sounds, who recorded for the Bihari Brothers’ Modern Records. The first record, "Cold Chills"/"So Unnecessary" was released in November 1955. The second, a cover of the Colts' "Sweet Sixteen," backed with "Anything For You," came out in January 1956. All the sides were led by Bobby Byrd. The only other discernable voice is that of Earl Nelson. Were they the Hollywood Flames? I no longer think so, but that's one I can't prove one way or the other.
- Sometime in late 1955, Gaynel Hodge started his own group, the Turks, which consisted of himself as lead tenor, brother Alex Hodge (baritone), Jody Jefferson (second tenor), and Delmer Wilburn (first tenor). Gaynel had reached an agreement with John Dolphin to use the "Turks" name (first used by Dolphin with "Emily") for his new group. The first Turks release was "I’m A Fool"/"I’ve Been Accused," on Dolphin's Money label, in February 1956. Their next record, on Dolphin's Cash label (from around July 1956) was "It Can't Be True." It was backed with "Wagon Wheels," led by Bobby Byrd, from the Hollywood Flames' September 1954 session. This side is credited to the "Original Turks," presumably to separate one group from another. In a way it was by the original Turks, since "Emily" was released under that name.
-
On January 18, 1956, Bobby Byrd recorded four masters for Cash: "This Is Our Love," "Little House On The Hill," "My Confession," and "Fortune Teller." The tape box had no indication of the artist, but all four tracks were unquestionably led by him. Unfortunately, there's no clue as to who the backup group might be. My guess is that it's whoever the Sounds were. However, this is Los Angeles, so any of dozens of singers might be present.
- Other cuts that Bobby Byrd did for Cash included "Let’s Live Together As One"/"The Truth Hurts," released in April 1956 as by "Bobby ‘Baby Face’ Byrd and the Birds." Presumably these are by the same group as the January 1956 recordings.
- In September 1956, Bobby Byrd recorded some sides for Atlantic with a group billed as the "Crescendos": "Finders Keepers"/ "Sweet Dreams." The others were Bobby Relf, Prentice Moreland, and Dub Jones. Bobby Relf had been the lead of the Laurels, Dub Jones was the current bass of the Cadets, and Prentice Moreland had recently been on the Cadets’ "Stranded In The Jungle" (he’s the guy who screamed "great googa mooga, lemme outta here"), as he continued his quest to record one session with every group on the planet.
- I can't find a single mention of the Hollywood Flames appearing anywhere in all of 1955 or 1956.
END OF SPECULATION
And let's go right into another mystery: The Aladdin files list “So Alone”/“Flame Mambo” [possibly “Flam Mambo”] as #3349. That would mean a release date of October 1956. Bobby Byrd remembered singing lead on “So Alone,” and the flip has the guys backing Patty Anne again. The only trouble is, no one's ever seen the record. I don't doubt that the recordings were real, but they were probably pulled at the last moment for some reason.
The next time I know that Bobby Byrd and David Ford were together is in the Ebbtides on Specialty; that session was held in September 1956. The single record that resulted was "The Sound Of Your Voice" (led by David), coupled with "My Confession" (Bobby; a re-recording of the unreleased Cash master that was originally waxed in January of that year). The sides were issued in November. Is anyone out there following this? (Heck, is anyone in here following this?)
And now it starts to get complicated.
By 1957, the guys had hooked up with Leon René's Class Records. The group was now David Ford, Bobby Byrd, Curlee Dinkins, and Earl Nelson. However, Leon René decided to break Bobby Byrd off from the Flames and make a soloist out of him. [If it were only that simple!] The Flames (now known as the “Satellites”) continued to back up Bobby Byrd (now known as “Bobby Day”) on Class and he kept singing with them (as the Hollywood Flames) on Ebb. As he said:
The Satellites” was suggested by the president of Class Records - Googie René, Leon René's son [actually, Leon was the owner]. He also thought up my other name, “Bobby Day.”
The first Bobby Day record was “Come Seven”/“So Long Baby,” released in March 1957. On the top side, there's no group at all, just someone whistling. The flip has a group, but it's the Dread Chorus, probably not containing any of the Flames.
The following month, the group recorded as “Earl Nelson & the Pelicans” for Class: “I Bow To You” (led by Earl) and “Oh Gee, Oh Golly” (the duet lead of Earl and the returning Curtis Williams).
In July, Bobby Day, backed by the Satellites, had “Little Bitty Pretty One” (which probably would have been a big hit, but he was out-done by Thurston Harris's cover version). The flip was “When The Swallows Come Back To Capistrano” (a song that made sense to record; Leon René owned the label and he'd written the tune way back in 1940). Bobby said:
Right before I recorded “Little Bitty Pretty One,” I left the Flames to record on my own. However, I continued to use them as my backup group, the Satellites. There was only one other record that I recorded as a part of the Flames and that was “Buzz-Buzz-Buzz.” That was my song and Earl Nelson sang lead (also on that session were David Ford and Curlee Dinkins). I wrote and arranged the tune and the financing came from John Dolphin. Dolphin sold the song to Lee Rupe, who was the ex-wife of Specialty Records' Art Rupe and the owner of Ebb Records.
When the song became a hit, I found out I didn't have any publishing rights and only half the writer credit. Dolphin admitted he owed me $6000, but he was killed before I could get any of it. This is just one of the things youngsters go through when they don't have any knowledge of law or contracts.
Even though Earl Nelson was singing with the Hollywood Flames and Bobby Day was both singing with them and on his own, the two of them paired to make a few Bob & Earl records (all subsequent Bob & Earl releases had Bobby Relf in place of Bobby Day). The records, all on Class, were:
That's My Desire/You Made A Boo-Boo — August 1957
Gee Whiz/When She Walks — June 1958
Sweet Pea/Chains Of Love — June 1958
That's My Desire/You Made A Boo-Boo — March 1959
There was a period during which the Hollywood Flames, the Satellites, Bobby Day, and Bob & Earl could “all” be booked on the same show. Who knows what the audience suspected? According to Bobby Byrd, the Hollywood Flames appeared at the Apollo Theater (New York), Howard Theater (Washington, D.C.), Lincoln Theater (Los Angeles), and theaters in Burbank, San Bernadino, Long Beach, Pomona, San Diego, Glendale, Pasadena, Santa Ana, and Alhambra.
So as not to be lost in the Bobby Day shuffle, the Hollywood Flames signed with Ebb Records, owned by Lee Rupe (ex-wife of Specialty's Art Rupe). The first thing that they did there (in October 1957) was a tune Bobby had written: “Buzz-Buzz-Buzz” (led by Earl Nelson). Finally, after recording for almost eight years, the Hollywood Flames had a real hit. The flip, also led by Earl, was “Crazy.” However, “Crazy” wasn't by the Hollywood Flames at all; it was a 1955 cut by the Voices. (I have no idea how Ebb came up with that one.) “Buzz-Buzz-Buzz” was the last cut on which Bobby Byrd sang with the Hollywood Flames (although they continued to back him up as the Satellites). The bass they got to replace Bobby Byrd was Don Wyatt. He'd been with the Colts/Fortunes late in their career.
On November 8, the Hollywood Flames began a week at the Apollo Theater along with the Coasters, the Ernie Freeman Orchestra, Lillian Offitt, Pigmeat Markham, and Bobby Day.
In November, Bobby Day had “Beep-Beep-Beep” with the Satellites. The flip was the solo “Darling, If I Had You.” Another entry from late 1957 was “Robert Byrd & His Birdies” on Spark: “Bippin' And Boppin'”/“Strawberry Stomp.” Unfortunately, it's hard to date exactly, since it's in a totally different series from any other Spark record. The master numbers have LS prefixes, which would seem to indicate that Leiber and Stoller reactivated the label for this one release. There's no group on the top side and “Strawberry Stomp” is actually an instrumental by Gil Bernal. The disc was reissued on Jamie in December. Also in December, Class issued Bobby and the Satellites' “Honeysuckle Baby”/“Sweet Little Thing.”
1958 started off with two Ebb releases by the Hollywood Flames: “Give Me Back My Heart” (led by David)/“A Little Bird” (Earl) came out in January; “Strollin' On The Beach” (Earl)/ “Frankenstein's Den” (Don Wyatt and Clyde Tillis). The group on “Frankenstein's Den” was David Ford, Earl Nelson, Clyde Tillis, Don Wyatt, and the “Perennial Favorite To Be With A Group For A Very Short Time”: high tenor Prentice Moreland.
On February 7, they were back at the Apollo Theater, along with Frankie Lymon, the Playmates, the Rays, the El Dorados, Jimmy Reed, and John Lee Hooker.
In March, the Hollywood Flames were used to back up Joe Jefferson (as the Tangiers) on his Class recordings of “Don't Try” and “School Days Will Be Over.” As Bobby Byrd said:
The Flames backed up Joe Jefferson (another early member of the Platters) on “Don't Try”/“School Days Will Be Over” which was released as the Tangiers on Class. Joe was never a member of the group.
Also in March, Bobby Day and the Satellites had “Little Turtle Dove”/“Saving My Love For You.” Finally, in May 1958, Bobby had his very own hit, “Rockin' Robin.” The flip was “Over And Over,” which Thurston Harris once again covered.
Several months later, I had another big hit with “Rockin' Robin.” The Flames [Satellites] were behind me on this one too: David Ford, Earl Nelson and Curtis Williams. Curtis had left the Penguins by this time and was once again singing on and off with the Flames. The Flames were now recording for two labels - Ebb (without me) and Class (behind me). I also recorded several duets with Earl Nelson, as “Bob and Earl.” The Flames weren't on these. Curlee, Curtis, and Clyde were in and out of the group so much that it's hard to keep track of them. [You see why I was reluctant to take this on? He couldn't even keep it straight.]
June 1958 saw the release of “Chains Of Love” by the Hollywood Flames on Ebb (so what if it was actually the Bob & Earl Class master?), backed with a re-recording of 1953's “Let's Talk It Over” (led by David Ford). The next month, the group, as the Satellites, released “Heavenly Angel” (led by Curtis Williams) and “You Ain't Sayin' Nothin'” (Earl) on Class (it was reissued on Malynn, later that year).
The Hollywood Flames closed out 1958 with two releases on Ebb: October's “I'll Get By”/“A Star Fell” and November's “I'll Be Seeing You”/“Just For You.” All were led by Earl. The Bobby Day & the Satellites entry for December was “The Bluebird, The Buzzard, And The Oriole,” backed with “Alone Too Long.” As far as I can figure out, these are the last sides that paired Bobby and the Flames.
By this time, Earl Nelson had pretty much replaced David Ford as the lead singer of the group, although, as far as I know, there was never a Hollywood Flames record that didn't have David.
January 1959 saw a re-release of Bobby Byrd & the Crescendos' “Sweet Dreams” on Atlantic. This time it had “I'll Be Seeing You” as the flip.
The final Ebb sides were all released in 1959. With the exception of “Hawaiian Dream” (David), they were all led by Earl Nelson. Note that “Much Too Much” was written by Jules Castron, the shadowy third voice in the Voices back in 1955. The tunes were:
So Good/There Is Something On Your Mind — February 1959
Now That You're Gone/Hawaiian Dream — May 1959
Much Too Much/In The Dark — June 1959
According to David Ford, the basic Ebb group consisted of David Ford (tenor), Earl Nelson (tenor), Curtis Williams (baritone), and Clyde Tillis (baritone). (This makes no mention, however of Don Wyatt, who wasn't there all that long anyway.) Dave also said that Jesse Belvin can be heard in the background of many of the Ebb sides, although he was never a member of the group.
On August 4, they appeared at the Apollo, as part of a Dr. Jive show. Others on the show were Larry Williams, the Cadillacs, Little Anthony & the Imperials, the Skyliners, Frankie Lymon, the Clintonian Cubs, and Eugene Church.
After this, both Curtis Williams and Clyde Tillis quit. The new members were tenor Eddie Williams (former lead of the Aladdins) and baritone Ray Brewster. (Both Eddie and Ray had been in the later Colts with Don Wyatt.) Then, the whole group picked up and moved to New York, after securing a contract with Atlantic Records' Atco subsidiary. (While the personnel changes won't get any easier, the recordings sure will.)
In December 1959, they had their first Atco release: “Every Day, Every Way” (led by Earl Nelson)/ “If I Thought You Needed Me” (fronted by Eddie Williams). Atco arranged for them to appear at the Apollo Theater to push the record (the week of December 25). Others on the show were: Lloyd Price, Tarheel Slim & Little Ann, and the 5 Keys.
They were back at the Apollo on February 19, 1960 for another Dr. Jive show. This time they shared the stage with Johnny Nash, the Flamingos, Nappy Brown, Tiny Topsy, the Centurians, Eugene Church, Barrett Strong, Jean Sampson, and the Fidelitys.
April 1960's Atco entry was “Ball And Chain” (led by Earl)/“I Found A Boy.” (While David Ford incorrectly recalled that "I Found A Boy" was led by Earl also, it turns out to be fronted by a female voice; David never mentioned that there was ever a girl in the group!) In July, they did “Devil Or Angel” (all), coupled with “Do You Ever Think Of Me” (a duet lead between the girl and, probably, Earl). On the final Atco session (held September 15, 1960), Curtis Williams returned, replacing Earl Nelson. (He won't be back; that's one less name to keep track of.) The results were “Money Honey” (Eddie Williams) and “My Heart's On Fire” (Curtis and David).
Note that Earl Nelson continued to be a part of Bob & Earl throughout the 60s. He went on to record as "Jackie Lee," on Mirwood, in the mid-60s, when he had a hit with "The Duck" (the Jackie Lee on Swan was a white piano player).
After that, the Flames made one record for Chess. At this time the group consisted of a tenor (David Ford) and three baritones: Curtis Williams, Ray Brewster and new member Donald Height, who had replaced Eddie Williams (another singer permanently gone). Released in March 1961, both “Gee” and “Yes They Do” were led by Donald Height.
On February 2, 1962, they were part of a Hal Jackson oldies show at the Apollo. Others on the bill were the Clovers, the Cadillacs, the Imperials, Charlie & Ray, the Charts, the Kodoks, the Turbans, Tiny Topsy, and the Reuben Phillips Orchestra.
Enter tenor John Berry (lead of the Rainbows on “Mary Lee”). He was now a songwriter living in New York City and David Ford approached him for material. They got to know each other and John ended up joining the Hollywood Flames when Ray Brewster went off to join Bobby Spencer's Cadillacs, (that recorded for Capitol). John became sole or part writer of most of the remaining Flames' songs.
In 1962, they (David Ford, John Berry, Donald Height, and Curtis Williams) recorded “Believe In Me” (led by Donald Height), “I Can't Get A Hit Record” (Donald), and “Elizabeth” (all) for Aaron “Goldie” Goldmark, a New York songwriter/publisher. “Believe In Me”/“Elizabeth” were released on Goldmark's own Goldie label in July.
Goldmark leased all these sides to Phil Landwehr's Coronet Records (another New York company that was a subsidiary of Premier Records). “Believe In Me,” backed with “I Can't Get A Hit Record,” was released on a Coronet single in late 1962 or early 1963. A budget Coronet album (were there any other kind?), with an August 1963 date in the wax, credits the three named sides to “Charlie Francis and his group.” [“Charlie Francis” was one of the all-purpose names used by Coronet and Premier for any artist whom they wanted to disguise for some reason.] A fourth “Charlie Francis” tune, called “Mountain Of A Man,” was actually by some other group.)
After this, Donald Height and Curtis Williams left. By the time the dust settled, the new Flames were: David Ford (tenor), John Berry (tenor), Reggie Jackson (first tenor and baritone), the returning Ray Brewster (baritone), and Tony Middleton (yes, the Tony Middleton who had been the lead of the Willows). This group recorded two songs for Goldmark: “Letter To My Love” (led by John Berry) and “Drop Me A Line” (led by Tony Middleton). Goldmark placed the tunes with Vee-Jay, where they were released in April 1963. Tony Middleton was only present for the one session, but said he'd stay if the record took off (it didn't).
By 1965, the Hollywood Flames were near the end of their career. January 1, 1965 found them at an oldies show at the Apollo Theater along with Sonny Til & the Orioles, the 5 Keys, the Solitaires, the Bobbettes, Charlie & Ray, Screamin' Jay Hawkins, the Clovers, Jackie & the Starlites, and Paul Winley.
The Hollywood Flames' final records were made for Juggy Murray's Symbol label, a subsidiary of Sue Records. The group on these was: David Ford (tenor), John Berry (tenor), George Watson (second tenor), and Joe Thompson (baritone/bass). “Dance Senorita” and “Annie Don't Love Me No More” were both led by George Watson and came out in late 1965. The final Flames record was “I'm Coming Home” (George Watson)/“I'm Gonna Stand By You” (John Berry), released April 1966.
In spite of everything winding down, David Ford actually had two simultaneous Hollywood Flames groups! The group he used for appearances had Reggie Jackson (first tenor, second tenor, baritone) and two girls, Toni and Jean, whose last names he couldn't remember.
In 1967 The Hollywood Flames broke up for good as Dave returned to California. Thus ended the 18-year history of one of the most famous West Coast groups.
So many people sang with the Flames over the years that it's difficult to keep track of them all. Of the original four (David Ford, Bobby Byrd, Curlee Dinkins, and Willie Ray Rockwell), only Curlee is still alive (and performing), as are Gaynel Hodge and Tony Middleton (this is being written in November 2006). John Berry is also still with us. Curtis Williams is deceased, but I don't know about any of the others. Earl Nelson passed away on July 12, 2008 after years of deteriorating health.
Considering the length of time the Hollywood Flames were around, they probably should have had a greater impact on the music scene. Only “Buzz-Buzz-Buzz” and “Rockin' Robin” were hits, but they were biggies.
Special thanks to Victor Pearlin, Frank Gengaro, and Billy Vera. Ads are from Galen Gart's First Pressings series. Discography mainly from Ferdie Gonzalez and Disco-File.
Specialty released a cover version of “The Wheel Of Fortune” (led by David Ford) in January 1952. It's flip was “Later,” which might have been led by Curlee Dinkins. Once again these Unique masters were billed as the Four Flames.
After this, the Hollywood Four Flames broke with both Unique and Specialty, turning to John Dolphin's Recorded In Hollywood label. There were two releases in August of 1952: “I'll Always Be A Fool” (David Ford)/“She's Got Something” (Bobby Byrd) and “Young Girl” (Bobby)/“Baby Please.” “Young Girl” was a re-recording of the Selective cut. I'm not really sure who the lead on “Baby Please” is. It's totally unlike any other voice you hear on a Hollywood Flames record. The first time I heard it, I was ready to write it off as some other group that Dolphin stuck on the back of a Flames record, but at the very end you can hear the unmistakable voice of Bobby Byrd. My wild guess is that it's Willie Ray Rockwell doing lead.
In September, Dolphin reissued “Young Girl,” but this time it had “The Glory Of Love” on the flip. Led by David Ford, the recitation was performed by Robin “King” Bruin a DJ on both KGFJ and KWKW (which originated from the window of John Dolphin's record store).
