Born Linda Gertz in New York. Laurie was a high school student in Brooklyn when her ability to create trick voices caught the attention of indie label Glory Records, which rightfully saw in her potential for a hit novelty record. “Ambrose #5,” released in 1958, was a sensation. Laurie wrote the song herself, and speaks the parts of both a masculine and a feminine character who are walking through a dark subway tunnel. The record reached #58 on the Billboard Hot 100; its success helped to land her a spot on on rock and roll package shows.
Addie Lee is the stage name of Adrienne Lawner. Lawner worked as a secretary at the publishing company Monument Music, owned by Larry Uttal, when she recorded for Roulette Records in 1957.
“Alis Lesley, the female Presley” was a stage name used by a teenage performer from Arizona between 1956 and 1959. A biography printed in a program book from her 1958 appearances in Australia indicate that she was born on April 20, 1938, in Chicago, and then moved to Phoenix, where she studied theater in school. The biography also indicates that Lesley was discovered by Kathryn Godfrey, Arthur Godfrey’s sister, and began making local media appearances shortly thereafter.
Edna Lewis was a songwriter who worked in New York during the peak of the “Brill Building era” of the late 1950s and early 1960s, with more than fifty publishing credits to her name. She co-wrote several major hits including “Lipstick on Your Collar” (Connie Francis) and “Judy’s Turn to Cry” (Lesley Gore).
Lorelei Lynn and the Sparkles seem to have cut one single, “Rock-a-Bop” backed with “Bobby,” on the small indie label Award out of Oakland, California. Billboard called it “a wild disk.” Rock-a-Bop features a blistering saxophone solo and Little Richard-esque interjections from a male backing vocalist.