Up For Auction: Mega Rare Early R&B / Doo Wop LP In Spectacular Condition!!!

1958 Fury / Glory Records, 12 inch, 33 1/3 RPM Mono LP, Cat. #Side One (on the White Glory Label - G-1001) / Side 2 (on the Red Fury Label F-1001) , First Pressing. Featuring: The Leaders and The Kodoks . Titled: "The Leaders Meet The Kodoks".

Song Titles Include: Side 1 - The Leaders: 1.Stormy Weather, 2.A Lover Of The Time, 3.Nobody Loves Me, 4.Dearest Beloved Darling, 5.Can't Help Lovin' That Girl Of Mine and 6.Lovers, Side 2 - The Kodoks:1.Little Boy And Girl, 2.Teenager's Dream, 3.OhGee-Oh Gosh, 4.Make Believe World, 5.My Baby And Me, 6.Kingless Castle, 7. Guardian Angel and 8. Runaround Baby.

If you're not familiar with The Leaders, here's some additional information: A product of Newport News, Virginia's thriving postwar R&B scene, the Leaders formed in 1952. According to Marv Goldberg's profile in the April 1996 issue of Discoveries, tenors/siblings Harry and James Burton, second tenor Edward "Snipper" Alston, baritone Buster Moore, and bass Charles Simpson met while in high school and originally performed as the Pokenoes, borrowing the name from a card game. By 1953 the group billed itself as the Five Swans, a nod to local heroes the Five Keys. That same year, baritone Ronald Judge replaced Moore, and when James Burton was called for military duty, Simpson's cousin Nelson Shields assumed his tenor responsibilities. In late 1954 the Five Swans won a local talent contest, collecting a slot on an upcoming amateur showcase at Harlem's famed Apollo Theater; the group went on to take top honors for four weeks running, driving back and forth between New York and Virginia between each appearance. Finally the Apollo brass awarded the Five Swans a one-week engagement, during which time they auditioned for the Glory Records imprint. Owner Phil Rose agreed to sign the group on the condition that they change their name to avoid confusion with other acts touring under the Swans aegis. Their 1955 debut single, "Stormy Weather" — a bluesy rendition of the pop classic with some delightfully odd new lyrics — was thus credited to the Leaders; though a hit in the Los Angeles and Boston markets, the group's high school commitments conspired to keep them off the touring circuit. A second Glory session followed by year's end, with "Nobody Loves Me" hitting radio and retail in January 1956. A reading of the Rodgers & Hammerstein composition "Can't Help Lovin' That Girl of Mine" appeared in the spring, bringing to a close the Leaders' relationship with the label. The group split soon after, with Burton, Alston, and Simpson continuing on as the Three Voices while Judge and Shields relocated to New York City, forming the Corvairs with tenors Joe Shepard and Prince McKnight along with bass Billy Faison. In 1962 the Corvairs signed to the Comet label to release their Dave "Baby" Cortez-produced debut single, "Hey, Sally Mae"; the record quickly disappeared, and a year later the group resurfaced on Leopard with "No Tears Left for Crying," mistakenly credited to the Westsiders. When the single was subsequently licensed to United Artists, the label further muddied the waters by calling the group the West Siders, and for reasons no less mysterious, their next Leopard release, "I Don't Wanna Be Without You Baby," restored the Corvairs moniker. Faison exited the lineup in 1965, with bass Edgar Brown appearing on the Corvairs' next effort, the 1966 Columbia release "Swinging Little Government." When the follow-up, "Ain't No Soul (In These Old Shoes)," flopped, the group split. In November 1995, the surviving Leaders — Burton, Alston, Simpson, and Shields — played their first reunion gig in well over a quarter century."

Click the link below to hear "Little Boy-Little Girl" by The Kodoks (Courtesy of YouTube).

LISTEN!

If you're not familiar with The Kodoks, Here's some additional information: "In a different, fairer reality, the Kodaks might be remembered at least as rivals to Frankie Lymon & the Teenagers. True, they never performed in any movies and only made one national television appearance, and they never wrote a song like "Why Do Fools Fall in Love" — but they had the sound, and the beat, and a lead singer with a voice as powerful as Lymon's. Formed in Newark, NJ during the mid- and late '50s, the Kodaks' sound was driven by Pearl McKinnon's powerful lead vocals, and as a mixed male/female singing group, they stood out from the pack. They cut four singles, none of which made the national charts, but all of which are prized by collectors and enthusiasts. The Kodaks were originally a quartet: Jimmy Patrick (lead, first tenor), William Franklin (second tenor), Larry Davis (baritone), and William Miller (bass). They were good, but they sounded a lot like every other singing group coming out of Newark's Central Ward in the middle of the '50s. Enter Pearl McKinnon, a 15-year-old friend of Jimmy Patrick's sister, who sang with Marian Patrick and William Miller's future wife Jean in a trio of their own at school. Her voice had a slightly, deeper, richer tone than most teenage girls, but also a fresh innocence and clear articulation that one more often associated with preteen boys — the resemblance to Frankie Lymon's singing was unmistakable, and joining the male quartet, she made them unique. The group auditioned for Harlem-based impresario Bobby Robinson. He had, until the end of 1957, recorded Louie Lymon & the Teenchords, and heard in the Kodaks a sound uncannily similar to that of Louie's more successful brother Frankie and his group, the Teenagers. He signed the group (changing the spelling of their name on record labels to the Kodoks, to avoid a lawsuit from Eastman Kodak), releasing their first single, "Teenager's Dream" b/w "Little Boy and Girl," on his own Fury label in late 1957. That record got heavy local airplay in Newark, New York, and other nearby cities, even though it never made the national charts. With rehearsals and some polishing of their sound, they issued a second single, "Oh Gee, Oh Gosh" b/w "Make Believe World," in the spring of 1958, that made the local charts in Newark (number eight on the local Cashbox chart) and other East Coast cities, and saw sales in the Midwest as well. The A-side, in particular, was popular with many local deejays, and even the legendary Alan Freed played it heavily on his show. The result of all of this was lots of East Coast gigs for the quintet, including shows at the Apollo Theater alongside the likes of Jerry Butler, the Coasters, and Lee Andrews & the Hearts, and an appearance on Dick Clark's American Bandstand. Not everybody was happy with the nature of their success, or the sound the group was cultivating — by the summer of 1958, Davis and Franklin, tired of emulating the music of Frankie Lymon & the Teenagers, quit the group, to be replaced by Richard "Pumpy" Dixon and Harold "Curly" Jenkins. Ironically, in the estimation of many (including Pearl McKinnon), their arrival, as veteran performers, only improved the group, strengthening their sound and making their stage choreography more exciting. The group released two more singles, "My Baby and Me" b/w "Kingless Castle," and "Runaround Baby" b/w "Guardian Angel," but neither sold as well as their predecessors. The group dissolved when Jimmy Patrick exited to join the Monotones, and Pearl McKinnon got married. William Miller tried to keep the ball rolling, forming the "Kadaks" with his wife Jean and Harold Jenkins, and a new member, Renaldo Gamble, but they faded after two failed singles. McKinnon returned to the business less than a year later, leading Pearl & the Deltars. They issued two singles, including a recut version of "Teenager's Dream," but never had more than local success. She later appeared in the '70s in an outfit known as 2nd Verse, but seemed to find a part of her true destiny later still, fronting a re-formed version of the Teenagers, taking Frankie Lymon's role as lead singer."

Click the link below to hear "Stormy Weather" by The Leaders (Courtesy of YouTube).

LISTEN!

The Vinyl is absolutely Near Mint (9-9.5 of 10) in condition. With Plain Paper Inner Sleeve. The cover is made from soft stock and is showing it's age - there is moderate edge wear, light ring and shelf wear. Nothing too serious on this 53 year old Doo Wop Relic!!.

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