Classic Tri-Five

1955 to 1957 Chevrolet Car History

It’s not actually a single car, but when you say “Tri-Five,” people know you’re talking about that classic “shoebox” style Chevrolet automobiles from 1955 to 1957. Their revolutionary designs spawned a legendary history and full-on industries that cater solely to them. What made these cars special?

It’s not hard to see the Tri-Five as part of Americana, the idealized vision of the 50s and 60s in the United States and its car culture. The name comes from the three years these cars came about 1955, 1956 and 1957. Each year, the cars changed radically to match the looks of Cadillacs of the time. It was a huge effort, costing Chevrolet millions of dollars in 1950s money to make it happen. But, make it happen they did and spurned off one of the most recognized and desired set of automobiles the world has ever seen.

Prior to 1955

While we recognize the Tri-Five as a specific idea in our heads, the reality is that prior to 1955 Chevrolet had the One-Fifty, Two-Ten, and Bel Air models built and in production. All three started earlier with 1950 for the Bel Air and 1953 for the One-Fifty and Two-Ten. It was the Bel Air that set the tone for all three models and any Chevrolet until 1975.

It started as a two-door convertible with a hardtop, but that hardtop couldn’t be removed. It was a very sleek looking roof design and the Bel Air wouldn’t get a real convertible until 1953. That same year, it became a high-end model with the One-Fifty and Two-Ten being the lower trims.

…parts that made that 1940s era of cars unique to themselves was now gone…

It was also where Chevrolet evolved from pre-WWII automotive design. Torque tube drives, splash-feed six-cylinder engines, knee-action suspension, split windshields and parts that made that 1940s era of cars unique to themselves was now gone and replaced with modern designs. There was also the addition of more chrome to bigger exterior trim parts, too.

1955, The 265 V8, and The Nomad

Then came 1955 and a quick series of evolutions began for the full-size Chevrolet cars. The biggest thing that brought this about was the introduction of the 265-cubic-inch Small Block Chevrolet V8 known as the “Turbo-Fire” and the original SBC. That displacement was made by the 3.750-inch bore and 3.00-inch stroke.

It was the combination of high-compression with that short stroke that produced 162-horsepower with a two-barrel carburetor. However, it was the “Power Pack” and “Super Power Pack” options that lit the fire with 180-horsepower in the Power Pack and 195-horsepower with the Super Power Pack. What made these different were the use of four-barrel Rochester carburetors and dual exhausts.

While impressive, there was an issue with the 265 in 1955: there was no oil filtration built into the block. It was an add-on option mounted to the thermostat housing. For that reason, the ’55 265 is only desirable to period correct, numbers matching builders.

However, this engine was backed by the equally legendary Powerglide two-speed automatic. It wasn’t the only option for 1955, though, as the base One-Fifty model cars were available with the 235-cubic-inch I6.

…Harley Earl, said the Corvette-based Nomad was one of his dream cars…

’55 was also the introduction of the Nomad. It was introduced in its mid-year run with the Bel Air trim and V8 standard as a two-door station wagon. It was also the higher-end option as it came with upscale carpeting, two-tone paint, headliner trim, and other features to separate it from the One-Fifty Series. What helped set its distinction, though, was its roots from the General Motors Motorama show car with the same name.

The Motorama shows were where the public could see prototype vehicles of the time like the Corvette, Pontiac Bonneville Special, and the Oldsmobile F-88. Head Stylist at GM, Harley Earl, said the Corvette-based Nomad was one of his dream cars and followed the introduction of the 1950 Ford Country Squire, also a two-door station wagon.

1956

These are considered “carryover” models, with a few changes made. The one everyone paid attention to, however, was the bump in power and include an oil filter in the 265.

Aftermarket and tinkers, hot rodders, had already started making huge power gains in the 265 and Chevrolet was right there with them. The standard 265 went from just 162-horsepower to 225 while the Super Power Pack version upped that to 240-horsepower with that Rochester four-barrel carburetor.

The Bel Air model, though, received some interesting changes to its grille. It went from its “Ferrari-inspired” front end to a full-width grille, which more people liked. The tail lights became incorporated into their housings and were single piece save for the left-hand side. That used a Cadillac-inspired feature of housing the gas filler behind it.

Oh, and only 7.4-percent of Bel Air owners ordered seat belts.

The Bel Air also got a new model known as the Sport Sedan and was a pillarless four-door hardtop. There was even the option for a rain-sensing automatic top that was seen on the 1951 LeSabre concept car but was never believed to have ever been installed. Oh, and only 7.4-percent of Bel Air owners ordered seat belts.

1957 and the Turboglide

1957 would be the last year for the Tri-Five. All cars now got those large tailfins that made them spectacular and the “twin rocket” hoods. Cars would get a tricolor paint with even more chrome outside and in.

The horsepower wars were heating up between the Big Three and Chevrolet gave owners a choice of seven different V8s. These ranged from the original 265 to the then new 283-cubic-inch SBC—some of those even coming with early Rochester Ramjet mechanical fuel injection and produced 283-horsepower.

This was also the introduction to the Turboglide automatic transmission. Instead of being a two-speed transmission, the Turboglide was a form of continuously variable gear-ratio transmissions. The way it works is like how a sequential-dual-clutch box works. Sort of.

Usually, an automatic has a torque converter with three elements inside it: the impeller, the turbine, and the stator. The impeller pumps fluid through the turbine with the stator directing oil so it hits the back of the impeller blades. This action also gives the torque converter that multiplication ability.

How A Turboglide Works

The Turboglide is different and, if you think a regular automatic is witchcraft, you’re not ready for this. The Turboglide has three individual drive turbines with each connected to a different ratio inside of the gearbox. Transmission fluid goes from the impeller pump to the first turbine blade, striking it and engaging the “first gear” ratio.

That first turbine then acts as a stator and causes the fluid to strike the blades of the second turbine and “second gear” ratio. Finally, the second turbine acts as the final stator and the fluid strikes the blades of the third turbine and it goes into “direct drive” ratio.

This is directly connected to the output shaft of the transmission. Once the low turbine matches the pump speed, it freewheels on a one-way sprag clutch while the second turbine begins to match the speed of the impeller pump. Eventually, it does and that’s how fluid will pass through it and fully drive the direct drive.

…if you think a regular automatic is witchcraft, you’re not ready for this.

It also still has a stator which can switch between two positions and that’s controlled by the driver through the accelerator pedal. It works like a transmission kick-down in a conventional transmission to engage a “passing gear” or drop down to the next lowest gear to increase power going to the rear wheels.

The most interesting part about this, the engine stayed nearly at the same RPM through operation, changing only to accelerate. At normal operation, the Turboglide operated the engine between 3500 and 4000-RPM in roughly a 400-RPM window.

If you’re thinking this sounds like the operation of the modern Continuously Variable Transmission (CVT), you’re not far off but the Turboglide was fully hydraulic and could be geared to multiply engine torque at any speed whereas CVTs are nearly all mechanical.

The other advantage was the use of the Grade Retarder range, which allowed the engine to “engine brake.” You could use the engine to slow you down just like you would in a manual. That’s why a Turboglide selector goes P-R-N-D-Gr.

The End of the Tri-Five Era, but Not the Bel Air

After 1957, Chevrolet did away with the One-Fifty and Two-Ten models and began the longer, lower, and the heavier era of car design. These cars were replaced by the Delray (One-Fifty) and Biscayne (Two-Ten). 1958 not only marked the beginning of the Chevrolet Big Block engine with the 348-cubic-inch V8 but also making the Bel Air into the “halo car” for Chevrolet with the Impala.

This meant that the Impala Bel Air was only available in a hardtop coupe and convertible for its first year. While it had similar design cues from other models, the Impala had a different roofline, a vent above its rear window, unique side trim, and triple tail lights housed in broader alcoves.

The last of the Bel Airs would be manufactured in 1975 for 1976, but a brand-new trim would be born and create an even more exciting, performance orientated trim line. The 1961 to 1969 Impala Super Sport, the SS.

Hot Rod Wagon:  Classically Modified 1955 Chevy Nomad

It’s a dream of many hot rod enthusiasts: to have a wicked looking Nomad Wagon. It is the staple of rare but “cool” to modify vehicles and Brian Hill of Hill’s Rod and Custom used his expertise to create this beautiful utility rodder out of his own 1955 model.

If there was one show and actor that helped cement the Nomad for modern hot rodders it was Tim Allen and his show, Home Improvement. That car is even listed as the 19th of the top 50 TV cars by Rod Authority back in 2016. It was owned by Allen and the 1956 Nomad was tied to the main character, Tim Taylor, but canonically the car was the daily driver of his on-screen wife, Jill.

However, it would be the episode titled “Don’t Tell Momma” that would cause every Nomad and Bel Air enthusiasts’ hearts to collectively sink when the car was “crushed” on accident. Fortunately, the stunt car was a four-door Bel Air with a wagon roof added, rear doors welded and smoothed enough for the shot, and crushed on-screen while the real 1956 Nomad wasn’t harmed.

…it’s not a proper looking Nomad if the top isn’t its signature pristine white…

He even pulled the car on set to show it was still around to the live audience for that show’s taping. It would eventually be sold for Ebay’s “Auction for America” on October 4^th, 2001 to benefit victims of the September 11^th attacks just a few weeks earlier.

Fortunately for Hill’s Rod and Custom in Pleasant Hill, CA, this 1955 model wasn’t crushed or destroyed but was still put through a full, frame-off restoration before it was modified. Brian Hill pulled every piece and part off to strip, bang, straighten and finally repaint his in the Lamborghini Orange Pearl. However, it’s not a proper looking Nomad if the top isn’t its signature pristine white for that classic two-tone look.

All the glass was then replaced with new reproduction versions with modern weather-stripping for a noise-free ride. This was done to make sure the Vintage Air heating and air-conditioning system didn’t leak the cool interior air to the Bay Area’s hot atmosphere.

…a 1955 Nomad that’s worthy of television stardom.

That’s even as this Nomad makes its own atmosphere when it arrives. The interior is a fully-custom leather that carefully compliments that Lambo orange and chrome touches throughout. New, but classic gauges complete the classic looks of the Tri-Five dashboard.

Those new gauges are designed to work with the TurnKey Engine Supply LS1 crate engine, a 5.7-liter displacement that makes 410-horsepower and 420-torque to the crank with its 10.25:1 compression. Inside, the rotating assembly is lead by a set of Mahle forged pistons and squeeze fuel and air into cathedral port GM heads.

It’s designed to be installed and ran as it included everything, even the throttle pedal for the LS1 electronic throttle body but its ECM is calibrated with a TurnKey tune so it doesn’t need a GM PATS key. The only change was the addition of “Nomad” script emblems on the engine covers and painting the intake to match the Lambo orange of the body. Its power is then sent to a GM 6L80E six-speed automatic transmission.

We certainly wouldn’t mind being caught in it.

To control sway and pitch as Brian drives his Nomad, a modern set of coilovers were installed up front but the rear retains its leaf spring design. It’s not a race car and you’ll be able to haul more utilitarian loads thanks to the leafs if you desire or need it.

It’s fitted with a set of 17-inch American Racing VN508 Super Nova 5 in a mirror chrome finish and wrapped in Milestar MS932 Sport tires in 205/50R17 front and 225/60R17 rear.

Brian Hill and Hill’s Rod and Custom have certainly designed a 1955 Nomad that’s worthy of television stardom. Thankfully, it doesn’t come with the usual headaches fame brings but instead gives its driver the comforts of modern cars with the looks of a great classic Tri-Five. We certainly wouldn’t mind being caught in it.

Wanderlust: The 1956 Chevy Nomad

Finding A New Home For A 1956 Chevy Nomad

If you’ve ever had the pleasure of driving a Tri-Five (55-57) Chevy, you know how great the view is from behind the wheel. The wide curved glass windshield and the high seating position make the outside world into a panorama, like a widescreen TV that you can drive right through. A Bel Air or 250 is almost the world’s best road trip car. Almost? Enter the Chevy Nomad.  It’s got all the style and chrome of the famous Bel Air, but that station wagon rear makes you want to throw a surfboard on the roof, a friend or five in the back, and spend an entire summer, or maybe a lifetime just traveling the country watching the world over that chrome jet on the hood.

The Nomad name has been on a variety of Chevrolet models over the years, from its inception as a Corvette-based concept in 1954 to full-size Impala wagons, midsize Chevelles, and even on vans before returning to concept car status in 2004. The most famous carriers of the Nomad name though are definitely the Tri-Fives. Say “Nomad” to any car fan and they’ll instantly picture that groundbreaking—nearly hatchback—back end with its era-defining fins and vertical chrome stripes mated to long forward-slanted front fenders and of course, that broad, curving windshield.

Eric Samuels’ High-Line Motorsports two-tone 1956 Nomad is a perfect example of what makes these cars so appealing. First there’s the peachy-gold spear cutting through the midnight-black paint, all surrounded by the sun-catching brightwork that made the high-end, two-door Nomad such a stand-out from base model four-door wagons in the ‘50s. Inside is a tailor’s shop of tweed, covering the rear bench and front bucket seats. It’s the kind of interior that instantly makes you picture yourself, window down, arm on the door frame, heading out for an adventure.

The best part though is the underpinnings beneath all that sheetmetal and trim. Rather than the stock 265ci V8, Eric’s Nomad boasts a GM crate 350 small block backed by a 700R4 automatic transmission. Like any good hot rod, it sends the power back to a Ford 9-inch rear which redirects it to spin a set of aggressively designed billet wheels wrapped in Milestar StreetSteel rubber. “I’ve driven this car to a couple of shows and swap meets,” says Eric. “It drives like a new car because of the late model running gear but with the original look.”

Eric doesn’t plan to keep the Nomad. High-Line is a classic car dealership in Brea, California and if he fell in love with every car that came through his family business over the past 40 years he’d have a bit of a problem finding storage (and paying his bills), but he’s been especially fond of the Nomad and doesn’t think it will be hard to find it a loving home. “Tri-five Chevys are very popular,” he tells us. “People like everything from the Bel Air to the pickups, but especially the Nomad.”