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Groupe Doo Wop
US fondé en 1947 à Los Angelès (Californie) et composé de Bobby Nunn (20
Septembre 1925 à Birmingham, Alabama - 5 Novemre 1986 à Los Angeles,
Californie), Terrell "Ty" Leonard, Billy Richard et Roy Richard. Les Robins ont enregistré
pour Score, Aladdin, Savoy, Hollywood, RCA, Spark, Whippet, Knight, Arvee, Gone,
Lavender et Push Records.
Los
Angeles vocal group the Robins are best remembered today as the forerunner of the
Coasters, though their own record of hits was substantial in its own right.
What's more, their history is a lot more complicated than most fans of the
Coasters are aware, and can be divided into two key phases. The Robins'
roots go back to Alameda High School in San Francisco, in 1945. That year, tenor Terrell
Leonard (aka Ty Terrell) joined with baritone siblings Billy Richards and Roy
Richards to form what was known originally as the A-Sharp Trio, doing repertoire
that showed the distinct influence of the Golden Gate Quartet, the Nat King Cole
Trio, and the Delta Rhythm Boys, among other established harmony groups of the
period. They moved to Los Angeles and found lots of work in the area around
Watts, but their first break came when they placed second in a competition at
the Barrelhouse Club, owned by bandleader Johnny
Otis, who hired them to perform on weekends. It was at the Barrelhouse Club
that they crossed paths with bass/baritone Bobby Nunn, who did odd jobs around
the place in between singing, waiting for his break. That moment came when Otis thought
to turn the trio into a quartet, and see if they couldn't cut in on some of the
audience that was coalescing around the rival group the
Ravens.
Terrell, the Richards brothers, and Nunn thus initially became the Four
Bluebirds (a name chosen by Otis) and cut one side under that name (backed by
an Otis side), entitled "My Baby Done Told Me," for the Excelsior label early in
1949. The quartet discarded the Bluebirds name soon after, and at its second
recording session -- this time for Aladdin Records -- in May of 1949, the group
was known as the Robins. The first Robins single, "Around About Midnight" b/w
"You Sure Look Good To Me", appeared in June of 1949. A second Aladdin single, "Don't
Like The Way You're Doing" b/w "Come Back Baby," showed up just a couple of
weeks later. They were next signed to the Savoy label, along with the rest of Otis'
performing outfit, which resulted in a series of releases that included Johnny
Otis playing with them and their appearance on the single "Double Crossin'
Blues" backing his lead singer Esther Jones(aka Little Esther). The latter
record went on to become one of Savoy's biggest sellers. In the meantime, the
first Savoy single actually credited to the Robins, "If I Didn't Love You So"
b/w "If It's So Baby," showed up in December of 1949. They cut a huge number of
singles for Savoy in 1950, some credited to the group and others released as Johnny
Otis, Little Esther, and Mel Walker singles (of which, on the latter, they
were credited as "the Blue Notes"). Their debut Savoy single was eventually
flipped, the upbeat "If It's So Baby" replacing the bluesier original A-side as
the "play" side, and peaked at number ten on the R&B charts, the group's first
national chart placement. To add to the promise they seemed to enjoy that year,
"Double Crossin' Blues" became an even bigger hit, rising all the way to the top
spot on the R&B charts.
It seemed as though the Robins were on their way. And then, suddenly, in the
spring of 1950, their first string of success came to a halt. They had
approached Johnny
Otis about the amount of money they were getting, and Otis responded
by firing the Robins from his show, on the eve of what would have been their
first national tour. The Robins were gone from Otis'
orbit and their recording contract, but Savoy issued several Robins singles over
the ensuing months, thanks to the large stockpile of recordings that they'd left
behind; additionally, Bobby Nunn, who had already cut some sides on his own,
recorded some singles in the wake of the split. The summer of 1950 saw them pick
up their career under a new contract with Dolphin Records, which yielded "Race
of Man" b/w "Bayou Baby Blues." Then it was off to the Bihari Brothers' RPM and
Modern Records imprints later in the year, where they cut some sides backing Mickey
Champion. But it was in 1951, on a session that yielded four songs, that fate
took a hand -- one of the numbers they cut was "That's What the Good Book Says,"
a fairly undistinguished composition that was notable as one of the earliest
successful songwriting ventures by a pair of white teenagers, Jerry Leiber and Mike
Stoller. The song was relegated to a B-side, and in order to keep the group from
overtly running afoul of their Dolphin contract, it was credited to "the
Robbins" -- but it did mark the first time that Leiber & Stoller would cross
paths with this group professionally.
The quartet became inactive during mid-1951 thanks to the military draft, which
caught up with the Richards brothers and Terrell. Bobby Nunn was the only member
not in uniform for most of the next year, and he pursued a string of singles
under his own name during this hiatus, as well as working with Little Esther on
a few sides for Federal. The four originals reunited in late 1952, opening what
was essentially the second phase of the group's history, and they did it by
adding a fifth member to their ranks, Grady Chapman. His presence, with a
second, higher-range tenor voice, extended their upper range considerably and
gave the group what was essentially a new sound. The re-formed Robins also
gained the services of a new manager, Jack Lewis, who pushed them up into the
big time with an RCA Victor recording contract in early 1953. In February of
that year, they made their RCA bow with "A Fool Such as I" b/w "My Heart's the
Biggest Fool," the latter notable as a group original. The quintet remained with
RCA through the end of the year, though their last recording session took place
in the fall -- despite several impressive recordings, they never charted with
the label. In October of that year, RCA released the Robins' recording of "Ten
Days in Jail," a Leiber & Stoller composition that gave a jocular treatment to a
subject with some serious undertones, all done to a comic fault; it stood out
thanks to the comical yet gritty vocal approach of the group, and released as an
RCA Victor single it did fairly well.
But Leiber & Stoller, like a lot of songwriters in that era, found themselves
cut out of a big chunk of their rightful royalties, an experience that led them
to protect themselves in the future by forming their own publishing company and,
in tandem with the latter, their own record label, Spark Records, with veteran
record company man Lester Sill as the third partner in the company. The Robins
had bounced from RCA back to the Bihari Brothers, this time to the Modern label
imprint Crown Records, through which they released a handful of sides in 1954.
It was during this period that they added a new member, tenor Carl Gardner -- it
seems that Grady Chapman had become unreliable, owing to some personal and legal
situations, and wasn't always a certain bet to be available, and Gardner came
aboard as insurance that they would have at least five voices at their shows
(and when Chapman did make it, there were six, which was even better). Finally,
in the spring of 1954, the group was once more between contracts and when Leiber
& Stoller approached them -- having had a good experience working with them
before, and seeing some potential for a serious future with the group -- and
wanted the Robins signed to Spark, and the group was willing. And they hit the
second time at bat for Spark with "Riot in Cell Block #9," a more outrageously
comical and over the top treatment of the theme that had worked so well with "Ten
Days in Jail," complete with machine-gun sound effects -- the two producers,
however, replaced Bobby Nunn as lead singer on the track with a guest vocalist, Richard
Berry, later of "Louie, Louie" fame.
The group followed this up with the similarly themed "Framed," which seemed to
click with everyone who heard it. The problem for Leiber & Stoller, partner Lester
Sill, and the Robins, however, was that Spark had no reliable national
distribution or promotion; as a result, their releases, good as they were,
simply weren't seeing the sales that they should have, or making the charts. The
recording of "Smokey Joe's Cafe" in the summer of 1954 brought matters to a head,
and also gave the two producers a song that they could parlay into something
much bigger than Spark Records was ever going to be. Leiber & Stoller had
already piled up impressive credits as songwriters with the Big
Mama Thornton hit "Hound Dog," and in mid-1954 Nesuhi Ertegun, the co-founder
of Atlantic Records with his brother Ahmet Ertegun, approached them about
licensing "Smokey Joe's Cafe" for release on Atlantic's Atco imprint. As a
result, the record appeared on both the Spark and Atco labels, peaking at number
79 nationally on the pop charts and number ten on the R&B charts. It seemed as
though the Robins were finally breaking through somewhere beyond Los Angeles,
and that's when matters got complicated.
Spark was already attracting attention from major labels, and at one point it
seemed as though Decca Records was going to be buying out Leiber & Stoller and Sill.
But the Spark owners and Decca's management were never able to nail down a final
agreement, and in 1955 it was Ahmet Ertegun of Atlantic Records who came
knocking on Leiber & Stoller and Sill's corporate door. Ertegun and producer Jerry
Wexler (who was a partner in Atlantic) loved what they heard in the Robins'
music and saw in the future of Leiber & Stoller, and offered the duo a contract
with Atlantic and a buyout of Spark Records' entire existing library. Leiber &
Stoller would function as independent producers, a first in the business -- they
would have a legal partnership as producers and songwriters, but they would be
under the Atlantic umbrella. A deal was made that would soon turn Leiber &
Stoller into wunderkinds within the record industry, but the Robins weren't in
quite so cooperative a mood. For starters, signing with Atlantic would mean
moving to the East Coast, and none of the members -- mostly long transplanted
from the South and Texas to California -- were in a hurry to make that move.
Also complicating matters greatly was the fact -- according to historian Marv
Goldberg -- that Terrell had taken it upon himself to register a copyright
in the Robins' name himself. In the end, he and the Richards brothers refused to
sign with Atlantic.
Chapman was apparently out of the picture at that moment, and so their decision
left Gardner -- the newest member of the group -- and co-founder Nunn as the
only members that Leiber & Stoller and Atlantic had to work with, and even Gardner wasn't
with them at first. He initially stayed on with Terrell and the Richards brothers,
but Leiber & Stoller were able to convince him to shift his alliance to Nunn --
so the producers had two singers without a group name that they could use
legally. They ended up recruiting Leon Hughes and Billy Guy and forming the
Coasters, signing with Atlantic, and going on to years of success (that were
still continuing as the first decade of the new millennium drew to a close with Gardner coaching
a performing version of the group that included his son, Carl Gardner, Jr.).
Meanwhile, the Robins had hardly ceased to exist -- they had a record of hits
that people remembered well, especially on the West Coast. Terrell and the
Richards signed with Whippet Records and got one especially promising single
out, entitled "Cherry Lips," which ultimately failed to chart. They continued
performing on the West Coast for years, recording intermittently, with Grady
Chapman handling the leads. After their Whippet contract ended in 1957, they
moved on to the Imperial Records subsidiary Knight Records the following year,
but late in 1958 Grady Chapman left. He was replaced by Bobby Sheen, and with
him as lead singer they later recorded for Arvee Records and Lavender Records,
continuing into the early '60s. They cut their last two records, "White Cliffs
of Dover" b/w "How Many More Times and "Magic of a Dream" b/w "Mary Lou Loves to
Hootchy Kootchy Coo," for the latter label in 1961.
http://www.angelfire.com/mn/coasters/robins.html
http://www.uncamarvy.com/Robins/robins.html
https://en.wikipedia.org/wiki/The_Robins
Talents : Bobby Nunn : Lead vocals & Bassist - Terrell "Ty" Leonard : vocals - Billy Richard : vocals - Roy Richard : vocals
Style musical : Doo Wop, Rhythm 'n' Blues
HOW WOULD YOU KNOW (1953)
WHADAYA WANT
(1955)
ONE KISS
(1955)
SMOKEY Joe's Cafe
(1955)
CHERRY LIPS
(1956)
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Years in activity :
| 1910 | 20 | 30 | 40 | 50 | 60 | 70 | 80 | 90 | 2000 | 10 | 20 |
DISCOGRAPHY
78 t., singles & EP
| 05/1949 | 78 t. SCORE 4010 (US) | . | Around About Midnight / You Sure Look Good To Me |
| 09/1949 | 78 t. ALADDIN 3031 (US) | . | Don't Like The Way You're Doing / Come Back Baby |
| 12/1949 | 78 t. SAVOY 726 (US) | . | If I Didn't Love You So / If It's So Baby |
| 02/1950 | 78 t. SAVOY 731 (US) | . | Double Crossing Blues (Johnny OTIS QUINTET with The ROBINS & Little ESTHER) / Back Alley Blues (The Beale St. Gang) |
| 02/1950 | SP SAVOY 45-731 (US) | . | Double Crossing Blues (Johnny OTIS QUINTET with The ROBINS & Little ESTHER) / Back Alley Blues (The Beale St. Gang) |
| 02/1950 | 78 t. SAVOY 732 (US) | . | Turkey Hop, Part 1 (Johnny OTIS ORCHESTRA with The ROBINS) / Turkey Hop, Part 2 (Johnny OTIS ORCHESTRA) |
| 02/1950 | SP SAVOY 45-732 (US) | . | Turkey Hop, Part 1 (Johnny OTIS ORCHESTRA with The ROBINS) / Turkey Hop, Part 2 (Johnny OTIS ORCHESTRA) |
| 04/1950 | 78 t. SAVOY 738 (US) | . | THE ROBINS with The Johnny OTIS QUINTET - There Ain't No Use Beggin' / Our Romance Is Gone |
| 04/1950 | SP SAVOY 45-738 (US) | . | THE ROBINS with The Johnny OTIS QUINTET - There Ain't No Use Beggin' / Our Romance Is Gone |
| 1950 | 78 t. SAVOY 748 (US) | . | Johnny OTIS ORCHESTRA with Mel WALKER, Esther PHILLIPS & The ROBINS - Mistrustin' Blues / Dreamin' Blues |
| 1950 | SP SAVOY 45-748 (US) | . | Johnny OTIS ORCHESTRA with Mel WALKER, Esther PHILLIPS & The ROBINS - Mistrustin' Blues / Dreamin' Blues |
| 1950 | 78 t. SAVOY 750 (US) | . | Johnny OTIS ORCHESTRA with Mel WALKER, Esther PHILLIPS & The ROBINS - Deceivin' Blues / Cupid's Boogie |
| 1950 | SP SAVOY 45-750 (US) | . | Johnny OTIS ORCHESTRA with Mel WALKER, Esther PHILLIPS & The ROBINS - Deceivin' Blues / Cupid's Boogie |
| 07/1950 | 78 t. SAVOY 752 (US) | . |
The Robins, Johnny OTIS Quintette - I'm Living OK / There's Rain In My Eyes |
| 07/1950 | SP SAVOY 45-752 (US) | . | The Robins, Johnny OTIS QuintetteI'm Living OK / There's Rain In My Eyes |
| 09/1950 | 78 t. & SP Recorded In Hollywood 121 (US) | . |
Maggie Hathaway with The Robins & 2 Sharps & A Natural - A Falling Star / When Gabriel Blows His Horn |
| 10/1950 | 78 t. SAVOY 762 (US) | . | I'm Through / You're Fine But Not My Kind |
| 10/1950 | SP SAVOY 45-762 (US) | . | I'm Through / You're Fine But Not My Kind |
| 08/1951 | 78 t. & SP MODERN 807 (US) | . |
Bobby Nunn with The Robbins - Rockin' / That's What The Good Book Says |
| 1951 | 78 t. & SP HOLLYWOOD 150 (US) | . | Schoolgirl Blues / Early Morning Blues |
| 01/1953 | 78 t. RCA VICTOR 20-5175 (US) | . | A Fool Such As I / My Heart's The Biggest Fool |
| 01/1953 | SP RCA VICTOR 47-5175 (US) | . | A Fool Such As I / My Heart's The Biggest Fool |
| 04/1953 | 78 t. RCA VICTOR 20-5271 (US) | . | Oh Why / All Night Baby |
| 04/1953 | SP RCA VICTOR 47-5271 (US) | . | Oh Why / All Night Baby |
| 08/1953 | 78 t. RCA VICTOR 20-5434 (US) | . |
How Would You Know
/ Let's Go The Dance |
| 08/1953 | SP RCA VICTOR 47-5434 (US) | . |
How Would You Know
/ Let's Go The Dance |
| 09/1953 | 78 t. RCA VICTOR 20-5486 (US) | . | My Baby Done Told Me / I'll Do It |
| 09/1953 | SP RCA VICTOR 47-5486 (US) | . | My Baby Done Told Me / I'll Do It |
| 10/1953 | 78 t. RCA VICTOR 20-5489 (US) | . | Ten Days In Jail / Empty Bottles |
| 10/1953 | SP RCA VICTOR 47-5489 (US) | . | Ten Days In Jail / Empty Bottles |
| 1953 | 78 t. CROWN 106 (US) | . |
I Made A Vow / Double Crossin Baby |
| 1953 | SP CROWN 45X106 (US) | . | I Made A Vow / Double Crossin Baby |
| 01/1954 | 78 t. RCA VICTOR 20-5564 (US) | . | Get It Off Your Mind / Don't Stop Now |
| 01/1954 | SP RCA VICTOR 47-5564 (US) | . | Get It Off Your Mind / Don't Stop Now |
| 06/1954 | 78 t. SPARK 103 (US) | . | Riot In Cell Block N°9 / Wrap It Up |
| 06/1954 | SP SPARK 45X103 (US) | . | Riot In Cell Block N°9 / Wrap It Up |
| 10/1954 | 78 t. & SP SPARK 107 (US) | . | Framed / Loop De Loop Mambo |
| 10/1954 | SP SPARK 45X107 (US) | . | Framed / Loop De Loop Mambo |
| 02/1955 | 78 t. SPARK 110 (US) | . | If Teardrops Were Kisses /
Whadaya Want
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| 02/1955 | SP SPARK 45X110 (US) | . | If Teardrops Were Kisses /
Whadaya Want
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| 04/1955 | 78 t. SPARK 113 (US) | . |
One Kiss
/ I Love Paris |
| 04/1955 | SP SPARK 45X113 (US) | . |
One Kiss
/ I Love Paris |
| 06/1955 | 78 t. & SP SPARK 116 (US) | . | I Must Be Dreamin' / The Hatchet Man |
| 06/1955 | SP SPARK 45X116 (US) | . | I Must Be Dreamin' / The Hatchet Man |
| 09/1955 | 78 t. SPARK 122 (US) | . |
Smokey Joe's Cafe
/ Just Like A Fool |
| 09/1955 | SP SPARK 45X122 (US) | . |
Smokey Joe's Cafe
/ Just Like A Fool |
| 10/1955 | 78 t. ATCO 6059 (US) | . |
Smokey Joe's Cafe
/ Just Like A Fool |
| 10/1955 | SP ATCO 45-6059 (US) | . |
Smokey Joe's Cafe
/ Just Like A Fool |
| 02/1956 | 78 t. & SP WHIPPET 200 (US) | . |
Cherry Lips
/ Out Of The Picture |
| 1956 | 78 t. & SP WHIPPET 201 (US) | . | Hurt Me / Merry Go Rock |
| 12/1956 | SP WHIPPET 203 (US) | . | Since I First Met You / That Old Black Magic |
| 1957 | SP WHIPPET 206 (US) | . |
The Robins with Eddie Beal & His Orchestra - A Fool In Love / All Of A Sudden My Heart Sings |
| 1957 | SP WHIPPET 208 (US) | . | Every Night / Where's The Fire |
| 1957 | SP WHIPPET 211 (US) | . | In My Dreams / Keep Your Mind On Me |
| 1957 | SP WHIPPET 212 (US) | . | You Wanted Fun / Snowball |
| 1958 | SP KNIGHT 2001 (US) | . | A Quarter To Twelve / Pretty Little Dolly |
| 1958 | SP KNIGHT 2008 (US) | . | Little Bird Told Me / It's Never Too Late |
| 195? | EP GNP EPL 614 DK) |
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Night Club -
Cherry Lips
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| 1960 | SP ARVEE 5001 (US) | . | Just Like That / Whole Lot Imagination |
| 1960 | SP ARVEE 5013 (US) | . | Oh No / Live Wire Suzie |
| 11/1960 | SP ELDO 109 (US) | . | The DING DONGS - Ding Dong (Saw Wood Mountain) / Sweet Thing |
| 1960 | EP VOGUE / GNP EPL 7484 (F) |
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Out Of The Picture / Hurt Me / Where's The Fire / A Fool In Love |
| 01/1961 | SP GONE 5101 (US) | . | Baby Love / We Loved |
| 03/1961 | SP LAVENDER LV-001 (US) | . | How Many More Times / White Cliffs Of Dover |
| 03/1961 | SP LAVENDER LV-002 (US) | . | Mary Lou Loves To Hoochy Koochy Koo / Magic Of A Dream |
| 1964 | SP Oldies 45 OL-55 (US) | . |
Leader Of The Pack (Shangri-Las) / Riot In Cell Block 9 (There's A Riot Goin On) (ROBINS) |
| 1972 | SP Last Chance LC 106 (US) | . |
How Would You Know
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| 1974 | SP GNP CRESCENDO GNP 200 (US) | . |
Cherry Lips
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| 1976 ? | SP ATLANTIC OLDIES SERIES OS 13106 (US) | . |
Smokey Joe's Cafe
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Albums
| 1958 | LP 12" WHIPPET WLP 703 (US) |
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Rock 'n' Roll with the Robins - Cherry Lips / A Fool In Love / Merry-Go-Rock / Since I First Met You / Where's The Fire / Out Of The Picture / Hurt Me / Every Night / How Long / All Of A Sudden My Heart Sings |
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| 1974 | LP 12" GNP CRESCENDO GNP 9034 (US) |
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The Best Of The Robins - Cherry Lips / A Fool In Love / Merry-Go Rock / Since I First Met You / Blues In The Night / Where's The Fire / Out Of The Picture / Hurt Me / Every Night / All Of A Sudden My Heart Sings / Snowball / That Old Black Magic |
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| 1983 | LP 12" Ace CH88 (UK) |
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Johnny Otis Presents The ROBINS, Little Esther, The Nic Nacs - Good Ole Blues (Johnny OTIS & His Orchestra) / Mean Ole Gal (Little ESTHER) / I'm Telling You Baby (NIC NACS) / Gonna Have A Merry Xmas (NIC NACS) / You Didn't Want My Love (NIC NACS) / I Found Me A Sugar Daddy (NIC NACS) / I Gotta Guy (Little ESTHER) / That's What The Good Book Says (Bobby NUNN & The ROBINS) / Rockin' (Bobby NUNN & The ROBINS) / Thursday Night Blues (Johnny OTIS & His Orchestra) / Double Crossin' Baby (ROBINS) / I Made A Vow (ROBINS) / All I Do Is Rock (ROBINS) / Key To My Heart (ROBINS) | ||
| 1987 | LP 12" Savoy Jazz SJL 1188 (US) |
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The Roots Of Rock 'N Roll - The Complete Savoy Recordings - The Robins - Johnny Otis - You're Fine But Not My Kind / I'm Through / I'm Living OK / If I Didn't Love You So / Our Romance Is Gone / There's Rain In My Eyes / Double Crossing Blues (with Little Esther) / There Ain't No Use Beggin' / If It's So Baby / I Found Out My Troubles / Turkey Hop (Part one Vocals) / Turkey Hop (Part two instrumental) | ||
| 1997 | CD Spark SCD-6000 (US) |
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The Best Of The Robins - A Fool Such As I / My Heart's The Biggest Fool / I'll Do It / All Night Baby / Oh Why? / Let's Go To The Dance / How Would You Know? / My Baby Done Told Me / Ten Days In Jail / Empty Bottles / Don't Stop Now / Get It Off Your Mind / Double Crossin' Baby / I Made A Vow / Key To My Heart / All I Do Is Rock / Riot In Cell Black #9 / Wrap It Up / Loop De Loop Mambo / Framed / If Teardrops Were Kisses / Whataya Want? / I Love Paris / One Kiss / I Must Be Dreaming / The Hatchet Man / Just Like A Fool / Smokey Joe's Cafe |
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| 1997 | CD TITAN 381946 (US) |
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Rockin' with the Robins - Rockin' / My Baby Done Told Me / You Sure Look Good To Me / Around About Midnight / If It's So Baby / If I Didn't Love You So / Double Crossin' Blues / Our Romance Is Gone / There's No Use Begging / There's Rain In My Eyes / I'm Living O.K. / I Found Out My Troubles / Turkey Hop / I'm Through / You're Fine But You're No / Come Back Baby / I'm Telling You Baby / Gonna Have A Merry Christ / That's What The Good Book / School Girl Blues / You Didn't Want My Love / Early Morning Blues / Found Me A Sugar Daddy / Don't Like The Way You're / When Gabriel Blows His Ho / A Falling Star |
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| 1999 | CD GNP CRESCENDO GNPD 9034 (US) |
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REMEMBER Doo-Wop- THE ROBINS FEATURING "CHERRY LIPS" - Cherry Lips / A Fool In Love / Merry-Go-Rock / Since I First Met You / Blues In The Night / Where's The Fire / Out Of The Picture / Hurt Me / Every Night / (All Of A Sudden) My Heart Sings / You Wanted Fun / Keep Your Mind On Me / In My Dreams / How Long / Snowball / That Old Black Magic | ||
| 19?? | LP 12" Spark S-1000 (US) |
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The Best Of The Robins - Vol. 3 - Riot In Cell Block #9 / Wrap It Up / If Teardrops Were Kisses / Whadya What? / Smokey Joe's Cafe / Just Like A Fool / Framed / Loop De Loop Mambo / I Love Paris / One Kiss / I Must Be Dreaming / The Hatchet Man |
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| 04/2004 | CD Savoy Jazz 17357 (US) |
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Johnny OTIS Presents The Robins - If It's So, Baby / Our Romance Is Gone / If I Didn't Love You So / There's Rain in My Eyes / Double Crossing Blues / The Turkey Hop, Pt. 1 / The Turkey Hop, Pt. 2 / I Found Out My Troubles / I'm Through / I'm Living O.K. / There Ain't No Use Beggin' / You're Fine But Not My Kind |
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| 2006 | CD Collectables COL-CD-9974 (US) |
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Smokey Joe's Cafe - Smokey Joe's Cafe / Riot In Cell Block #9 / Whadaya Want / Framed / The Hatchet Man / One Kiss Led To Another / I Must Be Dreamin' / Just Like A Fool / If Teardrops Were Kisses / Loop De Loop Mambo |
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| 2007 | CD El Toro Rhythm & Blues El Toro R&B 111 (S) |
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I Must Be Dreamin' - My Heart's The Biggest Fool / A Fool Such As I / All Night Baby / Oh Why / Let's Go To The Dance / How Would You Know / My Baby Done Told Me / I'll Do It / Ten Days In Jail / Empty Bottles / Don't Stop Now / Get It Off Your Mind / Double Crossin' Baby / I Made A Vow / All I Do Is Rock / Key To My Heart / Riot In Cell Block #9 / Wrap It Up / Loop De Loop Mambo / Framed / If Teardrops Were Kisses / Whadaya Want? / I Love Paris / One Kiss / The Hatchet Man / I Must Be Dreamin' / Just Like A Fool / Smokey Joe's Cafe |
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| 02/2015 | 2 CD Jasmine JASCD 795 (UK) |
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West Coast Doo Wop 1949-1961 :
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© Rocky Productions 16/01/2018
