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Hotel California (2013 Remaster) · Eagles

Legacy

℗ 1976 Asylum

Engineer: Allan Blazek
Remastering Engineer: Bernie Grundman
Mixing Engineer: Bill Szymczyk
Producer: Bill Szymczyk
Engineer: Bruce Hensal
Guitar: Don Felder
Solo Guitar: Don Felder
Electric Guitar: Don Felder
Backing Vocals: Don Felder
Drums, Percussion, Vocals: Don Henley
Backing Vocals: Don Henley
Engineer: Ed Mashal
12 String Guitar: Glenn Frey
Vocals: Glenn Frey
String Arranger: Jim Ed Norman
Conductor: Jim Ed Norman
Guitar: Joe Walsh
Solo Guitar: Joe Walsh
Backing Vocals: Joe Walsh
Bass Guitar: Randy Meisner
Backing Vocals: Randy Meisner
Concert Master Conductor: Sid Sharp
Writer: Don Felder
Writer: Don Henley
Writer: Glenn Frey

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I'll tell ya what, if you've someone that loves you and you love them, you had better be thanking someone, whether or not it's the moon, I can't tell you, but I think I'd add a prayer or two, enjoy this excellent tune, Dave :0)

One of the classic vocal groups from the first generation of rock’n’roll, the Crests were formed on the Lower East Side of Manhattan in the mid-1950s. Originally, the group consisted of two African-American teenagers (J. T. Carter and Tommy Gough), one member of Puerto Rican descent (Harold Torres), a black female (Patricia Vandross), and an Italian-American (John Mastrangelo). The group’s first release, “My Juanita”, issued on the small Joyce label, became a national hit. In 1958, the group signed on with Coed Records. Pat ultimately had to drop out when her mother refused to let her tour with the group to promote their releases.
Featuring Maestro’s dynamic lead voice, the Crests scored ten national hits in a row including “16 Candles”, “Six Nights A Week”, “The Angels Listened In”, “Step By Step”, “Trouble In Paradise”, and “Isn’t It Amazing”, before Johnny left to embark on a solo career. The reorganized Crests and Maestro recorded with limited success until Johnny and the Del Satins formed the Brooklyn Bridge in 1968 and hit with “The Worst That Could Happen”, “Welcome Me Love”, and “Blessed Is The Rain”. J. T. Carter was the mainstay of the Crests and kept the group active as a trio, performing with James Ancrum, who had replaced Maestro as lead singer in 1961, and Gary K. Lewis, who would later work with Charlie Thomas’ Drifters and the Cadillacs. This trio continued on until 1978. A popular and long-running series of revival concerts held at the Academy of Music in New York brought dozens of pioneering artists back to the stage, beginning in 1970. The producers first persuaded Johnny Maestro and J. T. Carter’s Crests to perform together in November of 1971. No less than six additional reunion shows followed over the next few years at the Academy of Music. At least one other took place in Boston in 1972. For the record, the four original male members of the group performed one special reunion show in Peekskill, New York, in 1987. Throughout this entire span, Johnny also led the Brooklyn Bridge as they performed across the country.
Beginning in the early 1970s, Boston-area disc jockey, concert host and producer, historian and enthusiast, Little Walter DeVenne began documenting the pioneers of vocal group harmony, rhythm and blues, and rock and roll using Super 8 movie film, reel to reel tape recorders, and whatever means were available to him. Concerts in New York, Massachusetts, New Hampshire and other locations were preserved. Sadly, Walter died in 2021, and the films were feared lost or destroyed. Through the efforts of Walter’s friend and longtime disc jockey, Mike Bollea, many of these recordings have been preserved.
Through Mike’s generosity and a desire to see Walter’s historic films shared with fans and devotees of this music, we present the Little Walter’s Time Machine Official Archives series, remixed and synched by Todd Baptista, from the original source material.
At the 17th Original Rock& Roll Show, held at the Academy of Music on East 14th Street in New York City on June 22, 1974, Johnny Maestro and the Crests shared the bill with the Flamingos, Monotones, Dubs, Mystics, Diamonds, Cleftones, Larry Chance and the Earls, and Dee Clark. Walter’s color film of the Crests' performance is approximately 15 minutes in total and contains complete performances of “Trouble In Paradise”, “Six Nights A Week”, “The Angels Listened In”, “16 Candles”, and “Step By Step”. Johnny Maestro is joined by J. T. Carter, James Ancrum (the original lead of the Crests' "Little Miracles"), and Gary K. Lewis. Bobby Jay is also briefly shown at the end as emcee. Copying, reuploading, distributing, selling, or any unauthorized use is strictly prohibited.

1962

Hi, I have done this work with love for all of you to enjoy all music lovers that time.
At no time have made nonprofit.
I try not to infringe copyright

The Angels Listened In - The Crests (Co-Ed Records) 1959, 45 rpm! A Direct Recording!

Coed 561, 1962

rare song by the Crests - cool!

Johnny Maestro（Lead）

Talmadge Gough（Tenor）

Patricia Van Dross（Tenor）

Harold Torres（Baritone）

J.T. Carter（Baritone/Bass）

0ne of the most popular of the late '50s groups, the Crests were often thought to bean all black aggregation. In fact, they were about as integrated as a group could get, with four men (two blacks, a Puerto Rican, and an Italian), and one black female. Talmadge (Tommy) Gough (first tenor), Harold Torres (second tenor), and Patricia Van Dross (tenor) were all from the Alfred E. Smith housing projects in Chinatown on the Lower East Side of Manhattan. In 1955, while students at P. S. 160 Junior High, they teamed up with Jay (J. T.) Carter (bass) of Delancey Street to forma singing group.

With influences ranging from THE MILLS BROTHERS to THE AMES BROTHERS(with THE HARP-TONES, THE CLOVERS, THE 5 ROYALES, THE FIVE KEYS, THE PENGUINS, and THE ORIOLES thrown in for good measure) the unnamed quartet started performing at hospitals and charity functions for experience while learning the craft of harmonizing from an old singer known only as Mr. Morrow.

In 1956, Mulberry Street resident John Mastrangelo met the group at the Henry Street Settlement House. John's previous group had also been integrated, and reportedly included a young Tony Orlando. Mastrangelo's strong voice and natural feel for R&B made him an instant asset to the group and they joined forces. J. T. Carter came up with the name the Crests (a good many years before the toothpaste). The group found the New York subway system to be an excellent place to polish their sound. On one occasion they boarded the Lexington IRT at the Brooklyn Bridge and took the opportunity to practice.

To their astonishment, as the train pulled into the next stop, a woman got up, walked over, handed them a business card, and left the train without even mentioning her name. The card read "Al Browne and Orchestra," Mr. Browne being the well-known arranger who backed up THE HEARTBEATS and other acts. The group scrambled to call him, set up an audition, and by June 1957 were recording two original Mastrangelo compositions. The mysterious lady on the train turned out to be Mrs. Al Browne.

The songs "Sweetest One" and "My Juanita" were tremendous first efforts for a new group, especially considering the medieval production work and studio sound. "My Juanita" was an up-tempo rocker with a slow double-chime prelude, a smooth lead from Mastrangelo (now calling himself Johnny Maestro), and a tight background by the Crests. "Sweetest One" was an understated ballad. Its simplicity was classic, but most in the know would have put their money on "Juanita." On July 15, 1957, the tiny Joyce Records (run out of the back room of a Brooklyn record store) bet on "Sweetest One," putting all two minutes and four seconds on the national Top 100 chart peaking at number 86. "My Juanita7 subsequently became a standard rehearsal tune for every street-corner group.

The Crest's next single was "No One to Love," a beautiful ballad with an "Earth Angel" intro followed by wondrous harmony and an original arrangement. Lightning didn't strike twice, but Maestro recalls that each member received a $17.50 royalty for the tune. It probably went to buy the checkered sport jackets and thin black ties they wore at their local gigs (with Pat in her gown, the performers looked like four Bo Diddleys and a prom queen).

After almost a year of shows, the Crests got a break in the form of an introduction by songwriter Billy Dawn Smith to music publisher George Paxton, a veteran of the Brill building. Paxton formed Coed Records and signed the group just as they became a quartet. Pat was forced to leave when her mother refused to let her tour with the older guys (in 1958 the members were 18 to 19 years old). Had Patricia's younger brother been old enough to do more than hang out to hear the group sing, he would have been an interesting vocal addition to the Crests. His name was Luther Van Dross.

The Crests' first Coed single was "Pretty Little Angel" b/w "I Thank the Moon," the former written by Maestro, arranger Bert Keyes, and Luther Dixon (writer of several SHIRELLE's hits), and the latter by Billy Dawn Smith. "Pretty" did well in New York (for example one Rochester station, WRVM's survey had it at number 25 and moving up on March 31st) but soon fizzled out. The next release was "Beside You," a pretty ballad with loads of harmony and a mid250s sound. When deejay Alan Freed and TV's Dick Clark received their copies they both flipped it over and took a liking to a sentimental birthday song called "16 Candles." The record entered the Billboard pop charts on November 24, 1958, and the R&B charts almost two months later.

The Crests

The Way You Look Tonight - Johnny Maestro & The Crests

Young Love - The Crests

The Crests (Manhattan, New York)

Personnel:
Johnny Maestro（Lead）
Talmadge Gough（Tenor）
Patricia Van Dross（Tenor）
Harold Torres（Baritone）
J.T. Carter（Baritone/Bass）


Biography:
0ne of the most popular of the late '50s groups, the Crests were often thought to have been an all-black group. In fact, they were about as integrated as a group could get, with four men (two blacks, a Puerto Rican, and an Italian), and one black female. Talmadge (Tommy) Gough (first tenor), Harold Torres (second tenor), and Patricia Van Dross (tenor) were all from the Alfred E. Smith housing projects in Chinatown on the Lower East Side of Manhattan. In 1955, while students at P. S. 160 Junior High, they teamed up with Jay (J. T.) Carter (bass) of Delancey Street to forma singing group.

In 1956, Mulberry Street resident John Mastrangelo met the group at the Henry Street Settlement House. John's previous group had also been integrated, and reportedly included a young Tony Orlando. Mastrangelo's strong voice and natural feel for R&B made him an instant asset to the group and they joined forces. J. T. Carter came up with the name the Crests (a good many years before the toothpaste). The group found the New York subway system to be an excellent place to polish their sound. On one occasion they boarded the Lexington IRT at the Brooklyn Bridge and took the opportunity to practice.

To their astonishment, as the train pulled into the next stop, a woman got up, walked over, handed them a business card, and left the train without even mentioning her name. The card read "Al Browne and Orchestra," Mr. Browne being the well-known arranger who backed up THE HEARTBEATS and other acts. The group scrambled to call him, set up an audition, and by June 1957 were recording two original Mastrangelo compositions. The mysterious lady on the train turned out to be Mrs. Al Browne.

The songs "Sweetest One" and "My Juanita" were tremendous first efforts for a new group, especially considering the medieval production work and studio sound. "My Juanita" was an up-tempo rocker with a slow double-chime prelude, a smooth lead from Mastrangelo (now calling himself Johnny Maestro), and a tight background by the Crests. "Sweetest One" was an understated ballad. Its simplicity was classic, but most in the know would have put their money on "Juanita." On July 15, 1957, the tiny Joyce Records (run out of the back room of a Brooklyn record store) bet on "Sweetest One," putting all two minutes and four seconds on the national Top 100 chart peaking at number 86. "My Juanita7 subsequently became a standard rehearsal tune for every street-corner group.

The Crest's next single was "No One to Love," a beautiful ballad with an "Earth Angel" intro followed by wondrous harmony and an original arrangement. Lightning didn't strike twice, but Maestro recalls that each member received a $17.50 royalty for the tune. It probably went to buy the checkered sport jackets and thin black ties they wore at their local gigs (with Pat in her gown, the performers looked like four Bo Diddleys and a prom queen).

After almost a year of shows, the Crests got a break in the form of an introduction by songwriter Billy Dawn Smith to music publisher George Paxton, a veteran of the Brill building. Paxton formed Coed Records and signed the group just as they became a quartet. Pat was forced to leave when her mother refused to let her tour with the older guys (in 1958 the members were 18 to 19 years old). Had Patricia's younger brother been old enough to do more than hang out to hear the group sing, he would have been an interesting vocal addition to the Crests. His name was Luther Van Dross.

A long-overlooked Crests single titled "I Remember" was actually the old FIVE SATINS standard "In the Still of the Night"; done competently by Maestro and company, it was their last Coed single together. Little Miracles" was their next single; it showcased new lead James Ancrum and became the first Crests single in 10 tries that didn't make the top 100 (#102). Gough then quit, moving to Detroit to work for auto giant General Motors. Gary Lewis (not Jerry's son) replaced him. Johnny went solo as long predicted, but what was not predicted was that his records would gain absolutely no acceptance.

A 1964 sequel to "16 Candles" leased by Craft to Coral suffered a similar fate; its prescient title was "You Blew Out the Candles." Kenneth Head filled in for Ancrum on one single for Trans Atlas in 1962, but the songs weren't as good as the ones the Coed Records staff had provided. ( George Paxton was a good publisher, with a knack for finding hits for his acts.)Through the '60s, the Crests toured on their name and signed no further record deals. Maestro went on to form THE BROOKLYN BRIDGE in 1968.