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Standing On The
Corner
A Breeze Back by Steve Feinberg
You don't see it anymore. Not for decades. Guys singing
harmony on the street. But if you were growing up in the
cities of the 1950's or early 60's and could sing, being a
member of a rock 'n' roll "singing group" was the thing.
It wasn't everyone who could direct their voice to
produce a melody or who had an ear for harmony wired to
their vocal chords. Singing put you in a special category
and was one of the few social activities that ranked both
creative and glamorous. In whatever light you were thought
of or seen, once you were known as a singer, that light
became brighter.
As if springing out of thin air, groups of three, four or
five guys would be harmonizing and serenading almost
anywhere.
These were the acappella days, before everything went
electric and you needed a wall outlet to make music. All you
needed then was you. You were your own instrument.
Groups sang on the street corners, rooftops, stoops, in
hallways, alleys, bowling alleys, subways, school bathrooms,
poolrooms, apartment house lobbies, at the beach, the park
you name it.
Hallways and bathrooms were the best because of the echo
provided by the tile and stone, but wherever you were, so
was your symphony. It was a ritual and a brotherhood.
If you kept at it and got good enough, and with a little
luck, you got noticed by the right person, went for an
audition, signed a recording contract, and cut a record. You
were now on wax, in league with your musical idols. Your
voice had become a permanent part of that great fraternity
of rock 'n' roll.
All the practicing and the struggle to perfect your sound
had taken you into the enviable realms of your generation
and into the history of those to follow.
You were certified. A recording artist. An official
member of "The Big Beat" And once your record hit the charts
or you heard it in the jukeboxes, the cool, pride-filling
glory of the achievement was your invisible crown.
You'd hear your song on the radio and know it was you the
crowd was dancing to. Your friends knew it too, and so did
the girls. You had it made in the shade.
Countless good young singers in cities across the country
sang their hearts out on the street but never found their
way into a recording studio.
You were among the relatively few who had gotten their
act together and rose to recognition. And it was all
natural, all self motivated. No one had to make you do it.
It wasn't like going to school to learn a profession where,
if you followed a prescribed curriculum of study, the
results were guaranteed. You had no such guarantee. You
learned it on your own. in a school without walls. Your
talent and desire was your tuition. The discipline required
was self-imposed because more than anything else you did it
for the love of it. It was in your blood, part of who you
were. You had your group and now the world was listening.
History
of the Mystics by Bob Ferrante, Original Mystic
Back
in 1956, Philly, me and a guy named Tony
Carosella used to sing some of the "Doo
Wop" songs that were popular back then. We
used to go to the wash room in the basement of
the apartments where I lived on Bay 19th Street,
because it had an echo. We recorded our singing
on an old Recorder my uncle gave me. Philly and
I brought the recordings to Kelly's poolroom and
played them for Albee, Punchy (Tony Armato), and
the other guys. We agreed to form a singing
group, but decided that Carosella would be
excluded since we really needed a Bass voice. So
Albee got Philly Campano to join.
In 1957 we entered the talent contest at the
Loews Oriental on 86th street, but at the last
minute Philly Campano got stage fright and quit,
so we performed with Phil, Albee, Punchy, Allie
and me.
During
this same time, Jimmy Hudson, Albie Gallione and
Tony Conigliaro (Conig) were trying to start a
group. "Conig" who is Allie's cousin
wanted Allie in their group but when things did
not seem to be working out for them, Conig
came to us and told us about Allie and asked
that we give him a chance with our group. We all
met at Mitchell's Drive-In and Conig introduced
us to Allie. Our group were in Albee's car and
we told Allie to get in and start singing. We
knew immediately that we had found our Bass guy.
Now we thought the Overons were set. But then
Philly decided to join the Navy so we needed a
lead singer. One of the guys from the
neighborhood told us about a friend of his named
Joe Strobel. Joe joined the group and we started
doing small shows all around Brooklyn.
Then in 1958, both Strobel and Tony decided to
quit the group. At this
point, Phil returned from the Navy and re-joined
the group
The Overons were
finally the group that
became the Mystics.
Groups
such as Lonnie and the Carollons from Bedford
Stuyvesant section of Brooklyn would come down
to Coney Island to get tattooed and then
immediately head for the Bop House. (It's too
bad no one took pictures of the happenings at
this place, but as Allie Contrera recalls -
"If someone did they probably would've
gotten the hell beaten out of them"). The
re-formed Overons practiced the original tunes
that Joe Strobel had written (with the help of
the original Overons).
The
group knew that they were good and went into
Manhattan looking to audition for a record
contract. On their first audition they were
offered a contract by George Goldner. After
speaking to George Goldner, they went home and
ripped up the deal he offered, feeling that
Goldner was not the right person for them. The
Overons would often go into nearby Borough Park
to hear The Neons sing and get advice. The Neons
had already achieved success with "Angel
Face" in 1956 and were the first white
doo-wop group to have a hit record. Besides
giving pointers on singing, The Neons told The
Overons to cut some demo recordings for audition
purposes.
Soon
a local older fellow who said he had
"connections" told The Overons that if
they could come up with $1000, he would get them
into a recording studio and on their way. The
Overons took out a loan and in mid-1958 they
went into the Broadway Recording Studio at 1650
Broadway in Manhattan. They recorded, with
musical backing, four original tunes: "The
Bells Are Ringing", "Prayer To An
Angel", "Why Do You Pretend" and
"Big Brown Eyes". At the end of the
session The Overons realized they were being
ripped off because $1000 was way too much too
pay for what they had just done. The
entrepreneur with "connections" was
soon on his way.
But
after seeing what happened, the studio owner
tried to console The Overons, telling them they
were good and offering some free recording time
should they decide to come back. Undaunted by
the financial setback, The Overons returned to
the studio and cut the same four original tunes,
but this time accapella. In the studio this day
was Jim Gribble, a friend of the owner.
Gribble
was a successful lawyer and talent agent down
south until his marriage broke up and he landed
in Manhattan destitute. It took a while for
Gribble to land on his feet, but when he did, he
opened up an office in what now is the Ed
Sullivan Building on Broadway and started to
manage vocal talent. Gribble immediately took a
liking to The Overons and told them to stop by
his office as he would be glad to help them get
started as a singing group. Gribble liked The
Overons' sound, and felt he would have no
trouble getting this good-looking group signed
to a recording contract.
But
the name "Overons" had to go. To find
a new tag, all five members wrote one new name
they liked on a slip of paper, and all the
papers were put into a hat. Allie Contrera
remembers finding "Mystics" by going
through a dictionary. When his piece of paper
was drawn out of the hat, The Overons became The
Mystics. In late 1958, Gribble secured a
recording contract with Laurie Records for The
Mystics using the demo tunes the group had cut.
Upon finding out that they were going to record
for Laurie, the group were ecstatic as this
label was the home of Dion and the Belmonts.
Word spread quickly in Bensonhurst about The
Mystics' good fortune.
It
wasn't long before the local fellow who had
ripped off the group was at Jim Gribble's
office, contract in hand, stating that he was
their manager. A closed door meeting ensued with
The Mystics waiting outside nervously. When the
meeting ended, Gribble said he had taken care of
the problem and The Mystics were free of the
previous contract. The Mystics soon recorded two
songs for Laurie, "Adam And Eve", and
the old Weavers' tune "Wimoweh". (When
members of the original Overons, and later The
Passions, used to hang out at Bay 3 on Brighton
Beach, they would sing "Wimoweh".
This
definitely influenced The Tokens who were from
Brighton Beach and who were persuaded to record
this song as "The Lion Sleeps Tonight"
in 1961 by producer Bob Feldman. Feldman was
also from Brighton Beach). The Mystics first
efforts were arranged and produced by Elliot
Greenberg. But Laurie was not happy with
the results and commissioned Doc Pomus and Mort
Schuman to write an original tune for the group.
Mort Schuman was friends with The Mystics, as he
knew them from Bensonhurst where he also lived.
Soon the Pomus and Schuman team came up with
"A Teenager In Love" for the group,
but The Mystics were quickly disappointed.
Laurie
decided to give the material to the already
successful Dion and the Belmonts. Laurie
executives felt that a song more in the style of
The Elegants "Little Star" would be
better suited for The Mystics and told Pomus and
Schuman to come up with something else. The next
day, Pomus and Schuman came back with "Hushabye".
Prior to recording "Hushabye" and up
to the time that this record became a huge hit,
The Mystics did vocal back-up work on several
recordings at the request of Laurie Records and
Jim Gribble.
The
group was very happy doing these back-up vocals,
figuring that even if they never did anything
else, at least their voices were now on records
and they were getting paid for it. For Laurie
Records, The Mystics backed up Judy Allen on
"Don't Sit Under The Apple Tree" b/w
"Sentimental Me", Scott Garrett on
"Love Story" b/w "Graduation
Souvenirs", Rusty Lane (real name, Karl
Zeeb Jr..) on "Karen" b/w "Ask
The Robin". These four Laurie releases came
out in 1959. Connie Francis' manager worked on
the same floor as Jim Gribble and The Mystics
wound up doing vocal back-up (along with some
girls) on one song cut by Connie Francis.
Recorded in 1959, this side, "Tommy",
was released in 1964 on the MGM label. Also at
the behest of Gribble, The Mystics backed up
Rocky Hart on "Come With Me" released
in 1959 on the Cub label. (The flip side of this
record, "Everyday" features vocal
back-up by The Passions who were good friends
with The Mystics). What's more, the group
backed up Rocky Hart on two unreleased tunes
that no one now remembers the titles of. (Rocky
Hart's release of "I Played The Part Of A
Fool" on Glo Records feature neither The
Passions nor The Mystics). But once "Hushabye"
took off Gribble would not allow The Mystics to
do any more vocal back-ups. In May of 1959
Laurie released "Hushabye" b/w
"Adam And Eve" and within a few weeks
the record was a smash.
Peter
Tripp on WMGM radio was the first to play it.
Soon Alan Freed started featuring "Hushabye"
as the closing tune on his televised Saturday
night Big Beat Show. In fact, one night Freed
played "Hushabye" four times in a row!
At it's peak, "Hushabye" was Top Ten
in most of the tri-state area, and nationally it
climbed to around #20. The Mystics made an
appearance on Clay Cole's TV show which, at the
time, was located in Providence, Rhode Island.
This appearance had much significance later on.
The Mystics became very good friends with Clay
Cole and they became close friends with The
Tradewinds who also appeared on the Providence
show.
The
Tradewinds vocal group would soon change their
name to The Videls. The Mystics also appeared on
Jim Gallant's Bandstand in Connecticut, did
record hops in Philadelphia, made Palisades Park
appearances hosted by Cousin Brucie Morrow, did
Ted Steele record hops, appeared on American
Bandstand and on an Alan Freed Stage Show at the
Brooklyn Fox. They went on a Cavalcade Of Stars
tour run by the General Artists Corporation.
This
was followed up tour to the ill-fated one that
claimed Buddy Holly, The Big Bopper and Richie
Valens. It ran from June 12, 1959 to July 5,
1959. Besides The Mystics, this tour featured
Johnny and the Hurricanes, Freddy Cannon,
Frankie Ford, Barbara Evans and Carl Dobkins Jnr.
While on the road doing a string of shows on the
strength of "Hushabye", The Mystics
started pressuring Laurie Records for studio
time to record a follow-up release. Never
interested in recording the four tunes written
by the original Overons, Laurie came up with
"So Tenderly" (the supposed
"A" side) and "Don't Take The
Stars". Around this time, The Mystics also
wanted to record an album of old standards.
Laurie
liked this idea, but unfortunately for The
Mystics, the project was given to Dion and the
Belmonts. In the late summer of 1959, Laurie
released The Mystics second single with
"Don't Take The Stars" doing very well
locally and in the tri-state area. Nationally,
the record made the top 60. However, at
the recording session, The Mystics started
getting disillusioned with Elliot Greenberg's
arrangements. The group made another TV
appearance with Clay Cole. His show was now on
Channel 13 in New York. Around this time, The
Mystics recorded "Red Red Robin",
which remains unreleased to this day, and
"Paper Moon" which was released in
1980 on the Crystal Ball LP Laurie Records - A
Full House. In the fall of 1959,
At
Jim Gribble's suggestion, Paul Simon (aka Jerry
Landis), who frequently hung around Gribble's
office, became The Mystics' new lead. In January
1960, "All Through The Night" (with
five voices singing together with no distinct
lead), "I Began To Think Of You" and
"Let Me Steal Your Heart Away" were
recorded. The Mystics were now more upset than
ever with Elliot Greenberg's arrangements.
"All Through The Night" b/w "I
Began To Think Of You" received some local
air play, but soon Paul Simon left the group to
pursue other writing and production projects.
Eventually
"Let Me Steal Your Heart Away", with
Paul Simon on lead, was released on the Crystal
Ball LP previously mentioned. On March 9th,
1960, The Mystics appeared on the American
Bandstand afternoon show singing "All
Through The Night". On April 16th, 1960,
the group began a road trip with Alan Freed's
final mid-west tour. The other acts on the tour
were: Teddy Randazzo, Freddy Cannon, Bobby
Freeman, The Fireflies, The Singing Belles,
Sonny Til and the Oriols and Eddy Quinteros. The
tour only lasted a couple of weeks and went
bust. No one got paid. With Paul Simon gone, The
Mystics started looking for a new lead voice and
had gone through about 15 auditions when they
chose Jay Traynor.
It
was very easy for the group to audition singers
because Jim Gribble had a good reputation as
"Manager Of The Stars" that attracted
vocal talent to his office. On May 11th, 1960,
The Mystics with Jay Traynor on lead recorded
"White Cliffs Of Dover", "Blue
Star" and "Over The Rainbow" at
RCA Studios. This was the first time that Laurie
allowed the group to pick and record songs that
they liked. Inspired by The Dell Vikings'
version, they chose "White Cliffs Of
Dover", (The Mystics sang this song often
at live shows long before recording it). Backed
with "Blue Star", "White Cliffs
Of Dover" received (at best) local play.
"Over The Rainbow" remained unreleased
until the late 80s when Ace Records issued a
Mystics album.
On
June 23rd, 1960, The Mystics went into Central
Park for a photo shoot for an album that Laurie
was planning. Unfortunately, the album never
came to be and the group never saw the photos.
Jay Traynor was soon disillusioned with his job
as lead singer, feeling he was never really part
of The Mystics. He believed the other four
members were just putting up with him, hoping
their original lead Phil Cracolici would return
- and he was right. When Traynor decided to
leave The Mystics, he met with Kenny Vance and
Sandy Yaguda, who were members of another
Gribble act, The Harborlites. Soon, Jay, Kenny,
Sandy and Howie Kirschenbaum went on to form the
original Jay and the Americans based in Flatbush.
In 1961, The Mystics, once again needing a lead
singer, were introduced to Eddie
"Shots" Falcone by Lou Rotondo of The
Passions.
Eddie
had previously sung in Lou Rotondo's unrecorded
street group, the Del Rays from South Brooklyn.
Laurie felt that "teen tragedy" songs
were doing well at this time, so they recorded
The Mystics with Falcone on lead singing
"Star Crossed Lovers" b/w
"Goodbye Mister Blues". Since The
Mystics were having no luck with Elliot
Greenberg's arrangements, the label brought in
Stan Vincent to produce this session. Laurie
believed that the younger Vincent might be
better able to connect with the teenage market.
It was Vincent who gave "Goodbye Mister
Blues" to The Mystics.
This
song was also recorded by Billy DeMarco and the
Renditions on the Up label - probably before The
Mystics' version. The Mystics did a few record
hops off this release, but the record didn't
even dent the charts. Shortly thereafter, Eddie
Falcone was out of the group. The Mystics often
hung out and sang at Frankie & Johnnie's
bowling alley on 86th Street and 16th Avenue. It
was here that the group was approached by a
young Ralph Lizano with "Darling I Know
Now", a song he wrote and wanted them to
sing. The Mystics liked it, and asked Ralph to
sing lead with them on it. The group went into
the studio and cut "Sunday Kind Of
Love", "Darling I Know Now" and
"Again". All these songs featured
Ralph Lizano on lead. Laurie released
"Sunday Kind Of Love" b/w
"Darling I Know Now", but this disc
received absolutely no airplay.
"Again" remained unreleased until the
aforementioned Crystal Ball LP. By mid-1961, Bob
Ferrante and Albie Cracolici decided to call it
quits and The Mystics stopped recording and
performing.
Late
in 1960, The Mystics were approached by Pete
Andreoli and Vinny Poncia whom they had met in
Providence, Rhode Island in 1959 (Tradewinds)
and were asked to record an original tune,
"Mr Lonely", which Andreoli and Poncia
had written for The Mystics. The Mystics
declined, so Andreoli and Poncia recorded it
with their own group, now called The Videls. Of
course, The Videls had a big hit with this
release on JDS Records. But by late 1961, The
Videls had broken up, so Allie Contrera of The Mystics and Pete Andreoli
and Vinny Poncia of The Videls joined forces and
performed as both The Mystics and The Videls.
Albie Cracolici also sang with this group for a
short time.
At
one point they added a girl named Rose to help
them emulate the sound of The Skyliners. To help
with personal appearances, Pete and Vinny
borrowed brown suits from two of the inactive
Mystics, and the group appeared on Clay Cole's
show as The Mystics singing "Darling I Know
Now". The next week they returned to Cole's
show (in the same brown suits) as The Videls. At
first Clay Cole had a fit and told them they
couldn't possibly go on the show. But Cole
relented and so the same guys appeared first as
The Mystics and then as The Videls singing
"A Letter From Ann". (This Videls tune
was recorded for Kapp Records with Pete and
Vinny over dubbing their own voices).
In
late 1963, Pete Andreoli and Vinny Poncia
released "Hand Clappin' Time Part 1 and
Part 2" on Big Top Records. There is a
vocal group on this release made up of Phil,
Albie, Allie and George of The Mystics. Pete and
Vinny also recorded some singles under their
original name, The Tradewinds, on Red Bird
Records in 1965 and had a hit with "New
York's A Lonely Town", Red Bird also
released "The Part Starts At Nine", a
collectors favourite. It's no wonder that this
is a very collectable record because the group
backing Pete and Vinny up here are the same
Mystics members that backed them up on their Big
Top release.
Around
this time, The Mystics recorded "In My
Faithful Heart" and "Save A
Dream". The first song remains unreleased
to this day, but in 1980 Crystal Ball Records
released a Videls album that mistakenly included
"Save A Dream". This song was on a
master tape that came from a box with "Videls"
written on it. The Mystics were completely
inactive from the mid-'60s until the rock and
roll revival hit in 1969-70. For a while, the
original five members did the revival circuit.
But when George
Galfo to
Florida and Bob Ferrante moved to Arizona, the group
needed new members.
For
a while, the replacements were Joe Esposito,
Bruce Sudano and Eddie Hockinson. They sang and
played musical instruments. During the early
1970s, Allie Contrera received a call from
Andreoli and Poncia who had relocated to
California. They wanted Allie to come out west
for a big project they were working on. Allie
declined the invite, but in his place he sent
Joe Esposito, soon followed by Bruce Sudano and
Eddie Hockinson. These three were known as
"Brooklyn Dreams" and wound up being
Donna Summers' back-up group. Bruce Sudano
eventually married Donna Summers. Kenny
Vance used Brooklyn Dreams as The Planetones in
the movie American Hot Wax and they are still
performing as Kenny Vance and the Planetones.
From
the mid-1970s to 1990, the main replacement
singers in The Mystics were John Tarangelo, Joey
Napoli and Emil Stuccio. (Emil being the
original lead singer of The Classics). In 1982,
The Mystics cut an album called Crazy For You
for the Ambient Sound label. For these
recordings, the group consisted of Phil
Cracolici, Albie Cracolici, John Tarangelo and
also original member Bob Ferrante who happened
to be in town when the album was cut. On this
album The Mystics recut three Overons original
tunes: "Prayer To An Angel", "Why
Do You Pretend" and "The Bells Are
Ringing".
In
1989 an album that yours truly and Ed Engel
produced entitled They Sang In Brooklyn was
released.
This album featured all unreleased sides from
1950s and early 1960s by some of the old
Brooklyn groups. The Overons' 1958
accapella version of "The Bells Are
Ringing" is the lead off song on this LP.
This cut, in this writer's opinion epitomizes
what a white Brooklyn streetcorner group should
have sounded like in the late 1950s/early 60s.
In 1992, I released three They Sang In Brooklyn
EPs (Volumes 1,2 and 3). The Overons' accapella
version of "Big Brown Eyes" can be
found on Volume 2.
A QUESTION HAS BEEN ASK. OUT OF ALL THE RECORDINGS
THE ORIGINAL
MYSTICS HAVE MADE, WHO IS ON THE RECORDINGS AND
WHO IS NOT ?
HUSHABYE 1959
Al Contrere (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone) Phil Cracolici (Lead)
WHITE CLIFFS OF DOVER
(Phil is not)
Al Contrere (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
ALL THROUGH THE NIGHT
(Phil is not)
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
SUNDAY KIND OF LOVE
(Phil is not)
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
I'TS ONLY A PAPER MOON 1959
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone) Phil Cracolici (lead)
SO TENDERLY 1959
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone) Phil Cracolici (lead)
STAR CROSSED LOVERS
(Phil is not)
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
AGAIN (Phil is not)
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
DON'T TAKE THE STARS 1959
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone) Phil Cracolici (Lead)
DARLING I KNOW NOW (
Phil is not)
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
I BEGIN TO THINK AGAIN OF YOU
(Phil is not)
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
OVER THE RAINBOW (Phil
is not)
Al Contrera ( Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
LET ME STEAL YOUR HEART AWAY
(Phil is not)
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
BLUE STAR( Phil is
not)
Al Contrera (Bass) Bob Ferrante (First Tenor0
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
ADAM AND EVE 1959
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone) Phil Cracolici (Lead)
GOODBYE MR. BLUES
(Phil is not)
Al Contrera (Bass) Bob Ferrante (First Tenor)
George Galfo (Second Tenor)
Albee Cracolici (Baritone)
CRAZY FOR YOU 1982
(George Galfo is not on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Baritone)
Phil Cracolici (Lead)
HUSH MY DARLING 1982
(George Galfo is not on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Baritone)
Phil Cracolici (Lead)
YOU BABY YOU 1982 (George
(Galfo is not on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolici (Lead)
PRAYER TO AN ANGEL 1982
(George Galfo is not
on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolici (Lead) (George Galfo Second Tenor
On Demo Only)
WISH I HAD MY BABY 1982
(George Galfo is not
on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolici (Lead)
CHILLS AND FEVER 1982
(George Galfo is not on this recording)
Al Contrera (Bass Lead) Bob Ferrante (First
Tenor) Albee Cracolici (Beritone)
Phil Cracolici (Second Tenor)
DOREEN IS NEVER BORING 1982
(George Galfo is not
on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolici (Lead)
WISH I HAD MY BABY 1982
(George Galfo is not
on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolini (Second Tenor)
WHY DO YOU PRETEND 1982
(George Galfo is not on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolici (Lead) (George Galfo Second Tenor
On (Demo Only)
WILL LOVE EVER COME MY WAY 1982
(George Galfo is not
on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolici (Lead)
THE BELLS ARE RINGING 1982
(George Galfo is not
on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolici (Lead) (George Galfo Second Tenor
On (Demo only)
THAT'S THE WAY IT GOES 1982
(George Galfo is not on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolici (Lead)
NOW THAT SUMMER IS HERE 1982
(George Galfo is not
on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
Phil Cracolici (Lead)
SAVE A DREAM 1963
(George Galfo is not on this recording)
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Breitone)
Phil Cracolici (Lead)
LET IT SNOW 1995?
(George Galfo is not on this recording)
Phil Cracolici (Lead)
BIG BROWN EYES (DEMO) 1958
Al Contrera (Bass) Bob Ferrante (First Tenor)
Albee Cracolici (Beritone)
George Galfo (Second Tenor) Phil Cracolici
(Lead)
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