The “Golden Hits Of The 60s” 

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“When We Get Married”

(Don Hogan)

Heritage 1 02

No. 10   September 18, 1961




Tommy Ricks (lead), Cleveland Hammock (second tenor), Morris Gardner (baritone) and Cliff (first tenor)

and Ray Dunn (bass) had been harding a common dream since they met in 1956 in the darkened ghetto

streets of Philadelphia.   For years they hung out on the sidewalks doo-woppin’ and irking gigs where ever

they might.  In 1960 ears over at V-Tone Records heard, liked and gave the guys a dauble shot at success with

the issuance of “Annabelle Lee” and shortly thereafter “May I Kiss the Bride.”   Neither sold well but

neighboring Parkway Records hired the dreamers to provide backup for the Chubby Checker recording

session that would culminate in the creation of “The Twist.”   No need saying the dance number gyrated and

garnered money and a successful career for Chubby.   The Dreamlovers, not given any royalties nor even

credited for their part in the blockbuster, were, however, quickly offered further jobs as background vocal

supports.   Some funds did find there way into the pockets of group members but gradually the nonentity

staus of making ooh ooh and wop wop sounds behind acts who got the billing and the bread while they did

not dispirited the fellows one and all.


Nearby, Jerry Ross and Murry Wecht were forming their own label, Heritage, and the offer was extended to

the Dreamlovers to stand front and center with their very own release.   “When We Get Married”, composed

by former member Don Hogan, was it, the labels first release and the groups lone moment in the bright sun.

With a quiet simple styling, that reminded aging listeners of Shep & the Limelighters, “When We Get

Married” was a fulfilling doo-woppers delight.   So were the follow -ups, “Welcome Home” and “Zoom, Zoom,

Zoom,” but neither of these sold well.


The Dreamlovers charted with their next one, “If I Should Lose You,” for End Records, but this was to be

their last Billboard Hot 100 appearance.   Fine-fine wop-wop recordings were made for Swan, Cameo and

even big-time concerns Columbia, Mercury and Warner Brothers, but the doo-wop lovers time had passed.

Younger ears wanted that Detroit soul, not no ghetto street sounds.  The fellows tried their best to meet the

needs of the moment with numbers like “The Bad Times Make the Good,” but the public wasn’t buying



The current whereabouts of the group and its members is not known.