THE ELDORADOS CRAZY LITTLE MAMA VEEJAY ORIG MAROON DG VJLP-1001 DOOWOP EX+

$

245

PROUDLY OFFERING FOR YOUR CONSIDERATION TODAY,IS A MEGA-RARE CLASSIC! THE ELDORADOS' 1960 ORIGINAL PRESSING "CRAZY LITTLE MAMA" LP IN EX TO EX+ CONDITION!

PLEASE DO NOT PURCHASE THIS UNLESS YOU CAN TAKE THE TIME TO READ & UNDERSTAND THE ENTIRE DESCRIPTION! I WOULD BE HAPPY TO ANSWER ANY QUESTIONS OR PROVIDE ADDITIONAL PICTURES PRIOR TO PURCHASING. THANK YOU!!

CHECK OUT THE SONG LIST BELOW TO SEE THE INCREDIBLE COLLECTION OF ROCKIN' TUNES THAT WILL REALLY GET YOUR FEET TAPPIN AND YOUR HEAD BOPPIN'!

THIS IS THE ORIGINAL 1960 MEGA RARE DEEP GROOVE PRESSING!  RECORDED IN HIGH FIDELITY ON THE VEE-JAY MAROON LABEL WITH SILVER PRINT# VJLP-1001. MACHINE STAMPED(NOT ETCHED!) IN THE DEAD WAX OF BOTH SIDES ARE THE FOLLOWING MATRIX NUMBERS. SIDE 1- 57670 HO9P -1482-2 & SIDE II- HO9P 1483 1 57671  BOTH THE COVER AND LABEL READS VJLP-1001.

VISUALLY, THE 65 YEAR OLD THICK VINYL DISC IS IN BEAUTIFUL (EX TO EX+) CONDITION! I HAVE EXAMINED THIS UNDER BRIGHT LIGHT AND DO SEE THAT THE PLATTER HAS RETAINED MUCH OF ITS ORIGINAL DEEP RICH LUSTER...PLENTY OF SHINE! THERE ARE MANY EXTREMELY LIGHT SCUFFS/HAIRLINES MOSTLY OF THE SWIRLY VARIETY. NOTHING DEEP ENOUGH TO BE FEEL-ABLE WITH THE EXCEPTION OF A  PORTION OF ONE LINE WHICH I CONSIDERED TO BE JUST BARELY FEEL-ABLE. HOWEVER, NOTHING THAT WOULD SERIOUSLY EFFECT THE WONDERFUL LISTENING EXPERIENCE!

THE LABELS ARE FREE FROM ANY WRITING OR STICKERS THEY SHOW MINOR WEAR AND AS YOU CAN SEE ARE EX TO EX+ AS WELL!

PLEASE NOTE THESE LABEL PICS ARE BLOWN UP LARGER THAN THE ACTUAL SIZE! ANY IMPERFECTIONS APPEAR WORSE THAN THEY ACTUALLY ARE!! 

OVERALL I GRADE THE VINYL AS EX TO EX+

THE COVER PRESENTS VERY WELL! THERE IS NO  WRITING, OR STICKERS ANYWHERE. THE SEAMS WERE REPAIRED BY A PREVIOUS OWNER. IT APPEARS THEY WERE RECENTLY REDONE AS THERE IS EVIDENCE OF SOME GLUE RESIDUE UNDERNEATH THE NEW SUPER CLEAR TAPE. THEY WERE VERY NICELY DONE THE SECOND TIME AROUND. THE SPINE IS WORN BUT STRONG AND MOSTLY LEGIBLE. 

THE LINER NOTES WERE EXTREMELY INFORMATIVE AND PERFECTLY READABLE & CLEAN. THERE IS  VERY MINOR  EVIDENCE OF  RING/SHELF WEAR TO EITHER SIDE! THERE ARE SOME  MINOR CORNER DINGS/CREASING & SOILING AS SHOWN. BASED ON THE ABOVE IMPERFECTIONS I FEEL THAT THE COVER GRADES EX TO EX+ AND PRESENTS EXTREMELY WELL!

I HAVE PLAY GRADED THIS AND THE LISTENING EXPERIENCE WAS EXCELLENT!!!  THERE WAS SOME MINOR NOISE/DISTORTION OCCASIONALLY NOTICEABLE. MOSTLY DURING THE 2ND SONG SIDE 1 WHICH HAD A FEW SOFT TICS HERE & THERE. BUT  NOTHING I FELT WAS DISTRACTING OR OVERWHELMING IN ANY WAY  WAY!  

THERE WERE NO SKIPS, STICKS,  OR LOUD/DISTRACTING- POPS, HISSES, CLICKS, TICKS OR BURPS! THE LISTENING EXPERIENCE GRADES EX TO EX+ SHE PLAYS LOUD & PROUD WITH AN INCREDIBLE SELECTION OF TUNES!

THIS BABY PLAYS LOUD & PROUD!BY PLAYS LOUD & PROUD!

OVERALL CONSIDERING ALL OF THE ABOVE THIS CLASSIC LP GRADES A SOLID EX TO EX+ AND WILL PROVIDE THE NEW OWNER WITH AN INCREDIBLE LISTENING EXPERIENCE FOR MANY YEARS TO COME! 

SONG LIST:

SIDE 1

1. AT MY FRONT DOOR (CRAZY LITTLE MAMA)

2. NOW THAT YOU'VE GONE

3. ROCK N' ROLLS FOR ME

4. A FALLEN TEAR

5. UP ON THE MOUNTAIN- (MAGNIFICENTS)

6. THERE IN THE NIGHT

SIDE II

1. I'LL BE FOREVER LOVING YOU

2. MY LOVING BABY

3. ANNIE'S ANSWER

4. I BEGAN TO REALIZE

5. CADDY BO (MAGNIFICEBTS)

6. BABY I NEED YOU

One of the leading R&B vocal groups on Vee Jay, the El Dorados had a relatively short career with their first lineup, during which they scored a massive crossover hit, 1955's "At My Front Door" (ALSO KNOW AS CRAZY LITTLE MAMA) (number 17 on the pop charts and number one R&B, where it remained for 18 weeks). They managed only one other charting record — 1956's "I'll Be Forever Loving You" — before their initial breakup in 1959. Subsequent lineups and name changes (and alterations) brought no further success, but they continued performing well into the '80s. The original group featured five members — Pirkle Lee Moses Jr. (lead), Louis Bradley (tenor), Jewel Jones (second tenor and baritone), James Maddox (baritone and bass), and Robert Glasper (bass) — when they formed in the Englewood section of Chicago's south side in 1952 while still attending Englewood High School (the same school that the Moroccos attended). They were calling themselves the Five Stars. Johnny Moore, their high school custodian, liked the group so much and thought they showed so much promise, that he became their manager. In 1954, just after graduation, Moses and Glasper took advantage of the Air Force's 90-day active duty program, but while Moses returned, Glasper remained with the Air Force. By then, Arthur Bassett (tenor) had temporarily replaced Moses, and Richard Nickens came in for Glasper. The Five Stars were now six, and a name change was inevitable. They were about to become the Cardinals (apparently, they had no knowledge of Atlantic's New York-based group) when the craze for naming your group after a popular car model hit, and since they couldn't call themselves the Cadillacs, the settled for Cadillacs' luxurious two-door model, the El Dorado, for inspiration. The El Dorados came to the attention of local Chicago WWCA disc jockey Al Benson, who witnessed first-hand how their gorgeous blend of harmonies and talent made for an exciting new group that he could support. They had already won first prize at a local talent show at the Club De Lisa. Benson arranged for the group to audition at a contest hosted by Vee Jay Records at the Park City Skating Rink. Amateur groups were challenged to compete against Vee Jay's Spaniels. The El Dorados rose to the challenge, winning the contest and a recording contract with the label. The El Dorados' first single, a bluesy ballad called "My Loving Baby," was issued in September 1954, and was a popular regional seller. Their next effort had the group backing up Hazel McCollum on "Annie's Answer," which was Vee Jay's contribution to the ongoing "Annie" saga begun by Hank Ballard and the Midnighters. Perhaps tiring of all the Annie nonsense, Arthur Bassett ankled the El Dorados (he also joined the Air Force), and the sextet slimmed down to a quintet. During the third week of September 1955, Vee Jay released the group's "At My Front Door," which stormed the Billboard R&B charts on September 24th and the Top 100 on October 15th. The song featured Al Duricati's pounding drum rhythm and a rousing sax solo. The so-called "baby talk" pre-finale by Moses Jr. made the record soar even further, and the lyrics about that "crazy little mama" became as legendary as the Annie saga. By the end of the year it had climbed to number 17 on the pop charts and number one R&B, where it remained for 18 weeks. (Pat Boone later did a cover version that charted at number seven pop). Their follow-up, "I'll Be Forever Lovin' You" (originally recorded by the Rip Chords but never released), was issued during the second week of December. It was a rocker that exuded jazz, pop, and R&B overtones, but although it made it to number eight R&B in February 1956, it never charted on the pop lists. Soon after the release of the follow-up, Nickens left and the El Dorados soldiered on as a quartet. A few additional singles performed well in certain U.S. cities, but didn't measure up to their prior hit status. Their next single, "Tears on My Pillow" (a different song from Little Anthony and the Imperials' hit record), was the last by all of the original El Dorados; soon after its release, the group and Pirkle Moses Jr. separated over a disagreement on new management. Moses Jr. soon joined another Vee Jay act, the Kool Gents, who had been left without a singer when their frontman, Dee Clark, departed for a solo career. John McCall (tenor), Douglas Brown (second tenor), Teddy Long (second tenor and baritone), and Johnny Carter (bass) of the Kool Gents joined with Moses Jr., to become the New El Dorados. They released two singles in 1958 for Vee Jay, but when neither sold, they eventually left Vee Jay in a money dispute and subsequently disbanded altogether. During this same time, the remaining El Dorados — Jones, Bradley, and Maddox — joined up with new lead singer Marvin Smith. Smith had moved with his family to the west side of Chicago in the late '40s, where he attended Crane High and sang on street corners and in church choirs, before joining the group as their new lead vocalist. To avoid legal problems with Vee Jay, the group's name was changed to Those Four El Dorados for 1958's "A Lonely Boy," Academy Records of Chicago. Jewel Jones' name on the label was spelled J-u-e-l-l (each member's name was listed). Those Four El Dorados' later traveled to the West Coast, and connected with a former NBA basketball star Don Barksdale, who had formed his Rhythm Record Company in Oakland, CA. The group changed monikers again, this time calling themselves the Tempos, but the group faltered again, and returned to Chicago, splitting up in 1961. Marvin Smith went on to join the Artistics on Okeh and Brunswick Records as the lead for such R&B charters as "I'm Gonna Miss You" (number 55 Top 100, number nine R&B, 1966) and "Girl I Need You" (number 69 Top 100, number 26 R&B, 1967). Johnny Carter, meanwhile, tried to keep the name alive by forming yet another new New El Dorados in late 1959, with John McCall, Danny Edwards, and Eugene Huff (formerly of the Valquins). This group lasted until 1965. Carter tried again in 1971, hooking up with Huff, Spence Goulsby, Jr., and Lee Toussaint on lead for two sides on Paula, but that group was gone by the early '80s. Moses Jr. recorded with an unknown group as the Squires in 1963 on Boss ("It's Time") and then did a solo effort titled The Docks. In 1965, Moses Jr., Melvin Morrow, and George Prager (the latter two late of the Moroccos) came together as the Major Minors. In 1969, this group once again became the El Dorados, doing a single for Torrid Records. Pirkle Moses Jr. then quit for almost a decade but returned with yet another El Dorados-lineup with tenor Norman Palm (from the Pastels on United), second tenor Billy Henderson, George Prayer (baritone), and Anthony Charles (bass). Around 1985 Henderson left and Anthony Charles passed away. Eugene Huff (of Carter's El Dorados) and Larry Johnson (Moroccos) took their places and the group recorded a ballad for Delano Records in 1987. In effect, that last El Dorados recording group contained members formerly in four Chicago-area groups: the Palms, the Moroccos, the Kool Gents, and the El Dorados. On December 26, 2000, the original El Dorados lead vocalist Pirkle Lee Moses, Jr. passed away.

ALL RECORDS ARE VISUALLY INSPECTED UNDER BRIGHT LIGHT. I TRY TO PLAY GRADE WHEN POSSIBLE OR AT LEAST IN ANY AREAS IDENTIFIED AS QUESTIONABLE FROM THE VISUAL INSPECTION.

MINT

Mint records are in most cases sealed in original shrink wrap. The only wear permissible is to the shrink wrap itself.

NEAR-MINT

NM records have glossy vinyl. There are no visible defects such as writing, tape, or stickers on the labels. The labels should not contain any spindle marks(from someone blindly trying to put the record on the turntable) The vinyl may have a few extremely fine hairline scratches or light scuffs that do not affect the sound quality. The vinyl will "appear" to have been un-played (It may very well have been played and well-cared for)The album cover will haveNO writing, tape, creases, folds, seam splits,stains, ring wear or Promo holes or cuts!

VG+(EXCELLENT)

VG+records have glossy vinyl. Slight signs of wear, including light scuffs, very light scratches or slight warping that does notseriously affect the listening experience is permissible. Very slight intermittent background noise mostly in the quiet passages is acceptable.

The album cover will have no more than three of the following imperfections: light writing such as initials or name in one area, minor creasing, seam splitsnot larger than 1". Neatly taped seams of 2" or less.It may also contain very slight ring wear or discoloration, a promo stamp, punch hole or cut-out as originally sold.

VG

VG Recordshave more obvious flaws such as more pronounced scratches & lack of gloss. Groove wear and scratches deep enough to be felt with a fingernail are common. When played there will be surface noise but it should not continuously overpower the music. There areNO skips permissible with no more than 1.5 grahams of tracking force. It is common to hear crackling and pops especially in the quiet passages. The labels may contain writing such as a persons name or initials or it may contain a piece of tape or sticker with or without writing. The cover may have some seam splits, writing, tape, stickers, ring wear and scuffs.

VG-

VG- All of the defects listed VG category would be more pronounced. The record will play through without skipping WITH tracking force. A quick skip or two with no more that 2.5 grahams of tracking force are permissible. The record will have many obvious flaws but still enjoyable to listen to. Generally if the record is rare, it is still highly collectible.

G/G+

Good (G), Good Plus (G+) Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping WITH tracking force. A quick skip or two with no more that 2.5 grahams of tracking force are permissible. It will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white). A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object.

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***BUY THIS NOW BEFORE IT YOU WISH YOU HAD!!!!!!***
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