Fanita Barrett, Gloria Jones, Jewel Cobbs, Pat Howard and twin sisters Annette and Nanette Williams all came from musical backgrounds. The twins had taken vocal and dancing lessons as youngsters. Fanita’s brother Ronald was already a success with his vocal group, The Meadowlarks. The Dreamers were introduced to local musicians through Dexter Tisby, then successful with his own group, The Penguins, who had hit the big time with Earth Angel.

The Dreamers joined Richard Berry in the studio after much rehearsal. During 1955 and 1956, the unit made several recordings for Flair and RPM Records. Among them was a version of Harry Warren and Mac Gordon’s “At Last” and several of Richard Berry’s compositions, “Together”, “Wait For Me”, and “Daddy, Daddy”. The Dreamers gained attention as versatile singers and began getting studio work singing backup for other artists — as well as recording a few singles of their own — as The Dreamers and The Rollettes, although only Fanita, Gloria and Annette were involved in The Rollettes projects.

The Dreamers then signed with Capitol Records. One of the executives, noticing their different skin tones, said they looked like a bouquet; which is how they became The Blossoms. Even though signing to Capitol was considered a step up, the group’s stay at Capitol was short, yielding only three singles, none of which made the charts. The Blossoms also underwent significant changes at this time. By 1958, Annette was married, pregnant, and planning a leave of absence from the group.

Darlene Wright (later known as Darlene Love) replaced Annette, and she was also selected to be the lead, which the ensemble-based Blossoms had not previously had. The addition of Wright would change the style of the group, but despite Darlene’s unique presence as lead on songs like “No Other Love” for Capitol in 1958, “Sugarbeat” for RCA (as The Playgirls) in 1960 and “Write Me A Letter” for Challenge in 1961, chart success was still elusive.

During the summer of 1962, The Blossoms finally emerged successful on the charts, but under an alias. Then-unknown producer Phil Spector used them on a song he had acquired from singer-songwriter Gene Pitney. Spector was having success on the East Coast with a quintet of young Brooklyn girls named The Crystals, who already had two hits with Spector.

Problems between The Crystals and Spector prompted him to record this new song without them. Instead he used The Blossoms, who received a meager session fee. The song, “He’s a Rebel,” turned out to be a monster hit, firmly establishing Spector as a force to be reckoned with in the music industry. The single with The Blossoms’ voices was billed as The Crystals, much to the dismay of the real Crystals. Over the next three years, The Blossoms, with Darlene as lead, would be the favored singers on all of Spector’s sessions recorded in California. They were The Crystals once again on “He’s Sure the Boy I Love.” Darlene and Fanita sang with Bobby Sheen as Bob B. Soxx & the Blue Jeans. This combo achieved hit singles for Spector, including a version of the Disney classic “Zip-a-Dee-Doo-Dah.”

The Blossoms more than likely recorded all the backgrounds on numerous sessions by The Crystals and The Ronettes as well as on Darlene’s solo efforts under the new stage name Spector had given her, Darlene Love. The surname was in honor of Dorothy Love-Coates, a gospel singer he was impressed with; however, this association would prevent the group from establishing themselves as primary artists. At a crucial time in the industry, when new sounds were striking the listening public at full speed, The Blossoms seemed to be floundering as recording artists.

In 1964, the trio, now Darlene, Fanita, and newcomer Jean King, were a featured part of a relatively successful weekly rock’n'roll television program called Shindig!. The Blossoms used their vocal versatility to their advantage, singing in various styles behind a variety of artists, including Patty Duke, Shelley Fabares and Marvin Gaye. They were the backup group for Fabares on her recording of “Johnny Angel”; Fabares stated in an interview quoted in The Billboard Book of #1 Hits that her strongest memory of that recording session was the “beautiful voices of the backup singers”.

The Blossoms appeared in 1964′s “The T.A.M.I. Show”, providing backup vocals and dancing for all of Marvin Gaye’s songs; their name appeared in the opening credits, but they were not introduced – they are later seen at stage left encouraging an exhausted James Brown to take the stage one last time after his climactic performance. The Blossoms also provided backing vocals to Doris Day’s “Move Over, Darling” from the film of the same name. They resumed recording under their own name later in the 1960s for labels such as Reprise, Ode and MGM. They recorded their only album, Shockwave, in 1972 on Lion.

Too bad he is crazy-nutz!!

The first one is fantastic.

This one is pretty good too.