Wednesday, 19 July 2017
The Flamingos' penultimate session for Chance took place on Christmas Eve 1953 and consisted of four sides: Blues in a Letter, September Song, Jump Children (aka Vooit Vooit) and Listen to My Plea.
The first, "a stone solid blues", is primarily a vehicle for Johnny Carter, as the rest of the group don't have much to do beyond the requisite early 50s R&B vocal group moaning; unlike the similar Plan For Love there is no attempt by Sollie McElroy - or, indeed, Carter himself - to embellish the song with falsetto.
Sunday, 16 July 2017
Hurry Home Baby is the only song from the Flamingos' first session yet to be discussed in this series, although Robert Pruter's succinct dismissal has already been quoted:
... an imitation Ravens number that made nobody forget about the Ravens.
Guitarist Lefty Bates can be heard to good effect on You Ain't Ready, another side from the same August 1953 session as Plan For Love. He may not get a solo, but after the whole band have set up the song he can be heard momentarily on his own before Sollie McElroy's vocal, and later his playing under Red Holloway's exuberant saxophone solo gives it even more bounce and interest; small wonder, according to his own testimony, that everyone wanted him on their sessions.
The whole band, in fact, is really firing on all cylinders throughout. I know that, in the UK at least, many doo wop fans have a strong attachment to Jump Children (aka Vooit Vooit), which has been released on many compilations, but for my money the playing here is more fluid, less brash, perhaps aided by the fact that the band is, I think, slightly smaller.
Saturday, 15 July 2017
Plan For Love is an interesting performance in the context of the Flamingos' other work at this time, although it's not hard to see why this bluesy number wasn't a success when released.
Recorded around August 1953 it is, unusually, a Johnny Carter lead. It's also distinctive because two falsettos are heard during much of the song. Sollie McElroy's is the main one, I believe, with Carter joining him as other duties permit. It's an interesting and unusual effect, although the combination of the two voices is less pleasing, to my ears, than Carter's solo decoration on so many other sides.
Friday, 14 July 2017
Tuesday, 11 July 2017
If I Can't Have You was recorded by the Flamingos in 1953 and reworked three years later, during their stint at Chess Records. The arrangements on the two versions provide compelling evidence of that musical sea change mentioned earlier:
Wednesday, 5 July 2017
Saturday, 1 July 2017
Following on from the previous post about the Flamingos' Golden Teardrops, here are two accounts of the process of recording a doo wop group in the 50s.
One comes from Du-Wop, the 1987 memoir by Johnny Keyes of the Magnificents briefly mentioned in that post, the other from an interview given by Red Holloway - who backed the Magnificents as well as the Flamingos - to the UK-based Blues Unlimited magazine in 1975. It is included in a recent collection of interviews published by University of Illinois Press - see details at the end.
Monday, 26 June 2017
Golden Teardrops, the undoubted masterpiece of the Flamingos' Chicago recording years, was recorded during their second session for Chance Records, in August 1953.
That's My Desire, from their January date, was "racking up strong regional sales" but King Kolax and his Orchestra were not chosen to back the group again. Instead, Red Holloway and his band turn in a self-effacing performance with some instruments more felt than heard, and no solos; the saxophone is a distant sympathetic murmur. Lead singer Sollie McElroy would later describe the record as "almost acapella," which may be overstating it, but the band is definitely subordinate.
Wednesday, 17 May 2017
The Kinks classic Waterloo Sunset is fifty years old this year - ample excuse to repost a piece about the song. I don't know what other celebrations may be planned by the Beeb or others, but today it was the first subject of the new series of Radio 4's Soul Music (above). This programme blends personal associations with musical analysis and, as ever, made for a compelling half hour. On first listen, I had the feeling that one story featured perhaps a little too prominently, but on reflection the balance was right - and that particular tale had something important to say about the power of the song.
Sunday, 19 February 2017
Have just finished The Life of Sam, a 2010 stage play by Robert L. Douglas. An easy and enjoyable read, it was written, we're told in the playwright's introduction, "as an effort to address the dearth of modern day media about the life of Sam Cooke and to elevate his name to its rightful place among America's greatest entertainers."
Friday, 27 January 2017
For readers in London, I have just seen a preview performance of Michael McLean's new play Years of Sunlight at Theatre 503 and can recommend it highly. Previews continue until Saturday night and the play starts on Tuesday. You can book at the theatre's website here.
I first became aware of McLean's work with The Ducks, a two-hander which was, for me, a highlight of the 2011 Edinburgh Fringe. That mantra invoked in the previous post, "Complexity not complication", also applies to that piece, which explores the strange relationship which develops between two young men on community service.
Sunday, 22 January 2017
I rarely review films on this blog, but I'd like to say a few words about writer/director Kenneth Lonergan's Manchester By the Sea. I've admired Lonergan's work for a long time, and have had occasion to analyse his stage plays Lobby Hero and This Is Our Youth. He exemplifies the mantra of writing guru Tim Fountain: "complexity, not complication." Which is to say that rather than adding extraneous plot material, the focus in Lonergan's work is on the gradual revealing of character.
Sunday, 1 January 2017
I'm delighted to report that Talking Pictures TV, available on Freeview and elsewhere, will be showing What a Crazy World (1963) on Saturday January 7th at 8.05pm and Sunday January 8th at 8.00pm. Its website is here. And for anyone new to this blog, here's an introduction to the film.