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The Drifters The Drifter's Golden Hits (LP)

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(Atlantic) 12 tracks - Rare and hard-to-find New Zealand pressing from 1968 The Drifters' Golden... more

The Drifters: The Drifter's Golden Hits (LP)

(Atlantic) 12 tracks - Rare and hard-to-find New Zealand pressing from 1968

The Drifters' Golden Hits! The musical history of The Drifters from 1959 to 1969. This however, is only part of the story, but what a part! Four million sellers, twelve international hits, all by one of the world's most popular groups, The Drifters. The Drifters' story actually began with their first Atlantic record Money Honey in 1953. From then on, The Drifters were to net musical trends for the nation and the world to follow. This album begins with the "new" sound The Drifters presented in 1959 with their million seller, There Goes My Baby, featuring the voice of Ben E. King. It was followed by the two sided smash, Dance With Me and True Love, True Love. January 1960 saw The Drifters hit the charts with the fantastic sound of This Magic Moment. In the summer of the same year, everyone was humming and singing the song that was to become The Drifters' second million seller, Save The Last Dance For Me.

Toward the end of 1960, an important change took place in the group. Ben E. King decided to leave The Drifters to further his career as a solo artist. Everyone wondered who would take over as the lead voice of the group. That question was answered in November 1960 when Atlantic Records presented Rudy Lewis as lead singer on the next Drifters' single I Count The Tears. It became a smash hit. Rudy was also featured on Some Kind Of Wonderful, Up On The Roof, which was The Drifters' third million seller, and the exciting follow-up, On Broadway. After Rudy Lewis' untimely death in 1963 Johnny Moore took over as lead singer and the hits continued with the group's fourth million seller Under The Board-walk, and I've Got Sand In My Shoes, and Saturday Night At The Movies.

These are The Drifters' golden hits, all chosen by actual sales. These hits are not just U.S. best-sellers. They have been on the charts in countries throughout the world. They have sold so well that The Drifters are now one of the most popular groups in England. In fact their English fan club rivals the American. The Drifters are one of the most sought after groups on college campuses throughout the country and they receive standing ovations on their frequent one nighter concert tours. As you read this, your favorite Disc Jockey is probably playing the newest Drifters' release. Here they are, everyone's favorite group, The Drifters, singing the hits that have made them famous throughout the world. CHARLIE BROWN Music Director at WKI X Raleigh, North Carolina (Atlantic) 12 tracks - Rare and hard-to-find New Zealand pressing from 1968

Article properties: The Drifters: The Drifter's Golden Hits (LP)

  • Interpret: The Drifters

  • Album titlle: The Drifter's Golden Hits (LP)

  • Label ATLANTIC

  • Genre R&B, Soul

  • Year of publication 1968
  • Geschwindigkeit 33 U/min
  • Vinyl record size LP (12 Inch)
  • Mint (M)
  • Sleeve Grading Mint (M)
  • Artikelart LP

  • EAN: 2500005600178

  • weight in Kg 0.3
Drifters, The - The Drifter's Golden Hits (LP) LP 1
01 There Goes My Baby The Drifters
02 (If You Cry) True Love, True Love The Drifters
03 Dance With Me The Drifters
04 This Magic Moment The Drifters
05 Save The Last Dance For Me The Drifters
06 I Count The Tears The Drifters
07 Some Kind Of Wonderful The Drifters
08 Up On The Roof The Drifters
09 On Broadway The Drifters
10 Under The Boardwalk The Drifters
11 I've Got Sand In My Shoes The Drifters
12 Saturday Night At The Movies The Drifters
The Drifters On the surface, the name of The Drifters sounds more like a country combo... more
"The Drifters"

The Drifters

On the surface, the name of The Drifters sounds more like a country combo wearing Stetson hats, twangy guitars, and lonesome expressions on their faces than the most important R&B vocal group of two different and very distinct eras. During the period leading directly into rock and roll's mainstream rise, The Drifters were a sensational hitmaking vehicle for the spectacular lead vocals of Clyde McPhatter, one of the seminal figures in rhythm and blues history due to his extensive use of gospel-rooted melisma in his high-flying leads.

"The marvel of Clyde was you never could tell whether those high notes were in natural voice or falsetto. I believe they were all natural," said his late Atlantic Records co-producer, Jerry Wexler. "It was incredible."

After Clyde went solo, the group utilized a series of replacement leads possessing their own considerable vocal strengths, scoring more hits on a lesser level. Then The Drifters were reborn with all new members, riding a daring violin-and-percussion-enriched sound eventually christened uptown soul to the same stratospheric chart heights McPhatter had previously taken them to.

Manager George Treadwell and New York-based Atlantic kept right on releasing product under the valuable name into the '70s. If anything, the former Crowns, initially led by Ben E. King, became an even bigger commercial commodity than Clyde's original lineup after they were installed as the new Drifters; they stuck around the scene longer despite enduring another endless series of personnel changes. Like Clyde, Ben E. didn't stay for long, his curt dismissal by Drifters management failing to impede the group's fortunes one iota.

It didn't hurt to have some of the industry's top producers and songwriters in The Drifters' corner to help them segue seamlessly into the soul era. The name itself retained its value long after the hits stopped coming; witness the countless phony Drifters aggregations criss-crossing the U.S. to this day, populated by singers young enough to be McPhatter's grandkids. But when Clyde was barely able to legally buy a drink in a Manhattan bar, his Drifters exploded into the most innovative R&B group on the scene, posting seven major hits on Atlantic from late 1953 through early '55, including a pair of chart-toppers. A mere handful of other pioneers - Ray Charles, The "5" Royales – brought as much sanctified passion to their uplifting vocal deliveries as McPhatter did that early in the game.

In those days, The Drifters rocked, as this compilation amply illustrates. In an era when sweetly harmonized love ballads were the preferred repertoire for most black vocal groups, the Drifters weren't afraid to cut loose with unrestrained up-tempo numbers brilliantly showcasing McPhatter's church-imbued lead tenor and the rafter-rattling backup of his fellow Drifters. Atlantic honcho Ahmet Ertegun was a McPhatter fan even before he signed him, having watched him front Billy Ward's Dominoes until the dictatorial Ward fired the young singer during a high-profile New York engagement in the spring of 1953.

"Ahmet loved the Dominoes," said Wexler. "He went to Birdland to see Billy Ward. And Billy Ward used to run his band like James Brown did. There were fines for this and fines for that - fines for unshined shoes, for missing a note, whatever. So after they did their show, Ahmet went backstage and he said to Billy, 'Where's Clyde? I didn't see him this evening.' He said, 'I fired his ass!' So Ahmet went uptown and found him, and that was it."

McPhatter subsequently became a hero to an entire generation of up-and-coming lead tenors. "So many people paid debts to him," said Wexler. "All the high-voiced singers, including Smokey Robinson, Aaron Neville, you name them. None of them fails to hail Clyde as a main influence."

"When I got to be about 11 or 12, I became interested more in what they termed then as the R&B music and the rock and roll kind of sound," says Smokey. "Billy Ward was the leader of a group called the Dominoes, in which Clyde McPhatter sang the lead vocals. The first record I ever heard by them was a record called 'Have Mercy Baby.' I mean, I thought it was a woman singing the song! And I had one of these real high voices when I used to sing.

"Then I went to this theater in Detroit called the Broadway Capitol, and they were playing there. And I saw that it was Clyde McPhatter singing, man, and that really was inspirational to me, because I had a high voice, and the girls were going crazy over him. So Clyde McPhatter was probably like my first male idol as a singer."

Add Nolan Strong of The Diablos, Dee Clark, Marv Johnson, Donnie Elbert, Jimmy 'Handy Man' Jones, and subsequent Drifters front men David Baughan, Johnny Moore, and Bobby Hendricks to the select list of McPhatter disciples. Once an impressionable young tenor absorbed Clyde's intoxicating innovations, it was difficult for him not to be permanently swayed.

"Clyde had the high thing I used to like to do," confirms Neville. Even singers whose styles weren't all that obviously influenced by him are quick to pay tribute. "My main idol was the late Clyde McPhatter," says Gary U.S. Bonds.

Clyde came by his gospel influences organically. Born November 15, 1932 in Durham, North Carolina, McPhatter's father preached at Mount Calvary Baptist Church, and his mother played the organ for services. Clyde started singing in the choir at age five. Before he was 10, he was soloing. The McPhatters (there were seven kids in all) relocated to Harlem during the mid-1940s. Clyde joined a young gospel aggregation, The Mount Lebanon Singers, while in high school. They made a heavenly name for themselves not just in New York, but along the East Coast.

The temptation of secular music proved irresistible for McPhatter. He competed in the Apollo Theatre's weekly amateur contest in 1950, crooning Lonnie Johnson's Tomorrow Night his way and finishing high in the voting. Ward was in the process of assembling a new group with agent Rose Marks that they envisioned challenging The Ravens and Orioles, the two hottest R&B harmony groups around at the time. He offered McPhatter a chance to audition (fellow Mount Lebanon Singer Charlie White came along for the ride and ended up being hired as well). The classically trained Ward got an earful of Clyde's thrilling tenor and was brought on board, the new group initially christened The Ques. An appearance on the 'Arthur Godfrey's Talent Scouts' preceded veteran guitarist Rene Hall sending them in the direction of Syd Nathan's King Records. 

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