Various - Street Corner Symphonies Vol.01, 1939-1949 The Complete Story Of Doo Wop
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Various - Street Corner Symphonies: Vol.01, 1939-1949 The Complete Story Of Doo Wop
Street Corner Symphonies
The Complete Story of Doo Wop
Volume 1 - 1939-1949
The roots of the 1950s rhythm and blues vocal group explosion were buried deep in a previous generation of African-American harmonizers that paved the way for what's now termed doo-wop. The Ink Spots, Mills Brothers, and Golden Gate Quartet were three of the most influential pre-war black groups, their network radio broadcasts embraced by countless listeners nationwide; their pop-slanted recordings sold very well too. By the mid-1940s, they had plenty of competition on both coasts and across the U.S. This vocal group movement was overwhelmingly urban in scope; quartets in the hinterlands tended to stick to gospel pursuits.
Many groups of the pre-war generation started out singing spirituals, eventually crossing over to the secular side to broaden their commercial potential and gain more radio and record exposure. A few—The Southern Sons/Melody Masters, The Trumpeteers/Four Rockets--recorded both sacred and secular material under different names, apparently recognizing no conflict between the two worlds. The Golden Gate Quartet's pioneering efforts embraced both genres at the same time without any name changes at all (they were prime motivators in the rhythmically syncopated 'jubilee' style of gospel singing).
With few exceptions, pop song publishers didn't save their best new material for black groups, meaning the groups either had to reinvent older repertoire, or write their own songs. The Cats and The Fiddle, The Big Three Trio, and The Four Aces were self-contained units, playing their own instruments behind carefully honed vocal harmonies. If a group only sang, an accompanying pianist or guitarist was a must.
The post-war emergence of The Ravens and The Orioles signaled the next step in the idiom's development. Their revolutionary platters were aimed at a younger generation; Orioles lead tenor Sonny Til was the genre's first matinee idol, appealing to teenaged African-American girls in a way that The Ink Spots' Bill Kenny and various Mills siblings never did. Though hipper whites were no doubt aware of them, The Ravens and Orioles made limited concessions to the pop world; they weren't radio stars and relied on record sales to fuel their popularity. Their mammoth impact inspired hundreds of promising young groups to gather under the nearest corner street lamp and harmonize on their latest hit songs.
This collection provides a primer on the most important groups and recordings of the 1940s. Without these pioneers, it's hard to imagine The Dominoes and Clovers shaking up the R&B scene so forcefully at the dawn of the 1950s. The die had already been cast.
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Article properties: Various - Street Corner Symphonies: Vol.01, 1939-1949 The Complete Story Of Doo Wop
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Interpret: Various - Street Corner Symphonies
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Album titlle: Vol.01, 1939-1949 The Complete Story Of Doo Wop
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Genre R&B, Soul
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Label Bear Family Records
- Preiscode AR
- Edition 2 Deluxe Edition
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Artikelart CD
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EAN: 4000127172792
- weight in Kg 0.2
| Various - Street Corner Symphonies - Vol.01, 1939-1949 The Complete Story Of Doo Wop CD 1 | ||||
|---|---|---|---|---|
| 01 | If I Didn't Care | Ink Spots | ||
| 02 | I Miss You So | Cats And The Fiddle | ||
| 03 | Till Then | Mills Brothers | ||
| 04 | I Learned A Lesson I'll Never Forget | 5 Red Caps | ||
| 05 | Sentimental Reasons | Watson, Deek And His Brown Dot | ||
| 06 | Play Jackpot | Brooks, Dusty and His Four Ton | ||
| 07 | Atom And Evil | Golden Gate Quartet | ||
| 08 | Just A-Sittin' And A-Rockin' | Delta Rhythm Boys | ||
| 09 | I Know | Jubalaires with Andy Kirk and | ||
| 10 | I Sold My Heart To The Junk Man | Basin Street Boys with Eddie B | ||
| 11 | I Cover The Water-Front | Cats 'n' Jammer Three, Vocal b | ||
| 12 | My Baby | Melody Masters | ||
| 13 | 'I Wonder, I Wonder, I Wonder | Part 2, Four Aces" | ||
| 14 | P.S. I Love You | Four Vagabonds | ||
| 15 | Ol' Man River | Ravens | ||
| 16 | Don't You Think I Oughta Know | Johnson, Bill and His Musical | ||
| 17 | I'm All Dressed Up With A Broken Heart | Five Bars | ||
| 18 | Solitude | Scamps | ||
| 19 | After Awhile | Big Three Trio | ||
| 20 | It's Too Soon To Know | Orioles | ||
| 21 | Recess In Heaven | Deep River Boys | ||
| 22 | Loch Lomond | Four Rockets | ||
| 23 | Go Long | Dixieaires | ||
| 24 | It Takes A Long Tall Brown Skinned Gal | Four Blues | ||
| 25 | You're Heartless | Four Tunes | ||
| 26 | A Kiss And A Rose | Charioteers | ||
| 27 | Wrapped Up In A Dream | Four Knights | ||
| 28 | River Stay Away From My Door | Syncopators | ||
| 29 | If It's So Baby | Robins | ||
| 30 | I've Been A Fool | Shadows | ||
Street Corner Symphonies
- Doo-Wop gilt als einer der Grundsteine des Rock 'n' Roll.
- BEAR FAMILY wird das Standardwerk über die Geschichte des Doo-Wop von 1936 bis 1963 veröffentlichen!
- Die ersten fünf Ausgaben mit Aufnahmen der Jahre 1939 bis 1953 sind jetzt lieferbar!
- Jeder einzelne Doo-Wop-Hit!
- Jeder einzelne zunächst ignorierte Klassiker!
- Jede einzelne bahnbrechende Aufnahme!
- Ausführliche Anmerkungen zu jedem Titel und fantastische Fotos aus dem Goldenen Zeitalter!
Street Corner Symphonies
Der Doo-Wop-Sound war, wie später der Rap, eine besondere künstlerische Ausdrucksform in den amerikanischen Großstädten. Man hörte ihn an Straßenecken, in den Treppenhäusern der Mietskasernen und auf den Toiletten der High Schools... und in den Aufnahmestudios wurde er für die Nachwelt erhalten. Die meisten Doo-Wop-Künstler waren Afro-Amerikaner, und die meisten Songs klangen romantisch oder melancholisch und standen in scharfem Kontrast zur düsteren Realität des Alltags der Afro-Ame- rikaner in den Städten. Doo-Wop hat seinen Ursprung in den schwarzen Pop Vokal- und Gospelgruppen aus der Zeit vor dem Zweiten Weltkrieg, entwickelte sich in den Nachkriegsjahren zu voller Blüte und leistete einen wesentlichen Beitrag zur Evolu- tion des Rock 'n' Roll. Tatsächlich zählen einige der bedeutendsten Kulturhistoriker Aufnahmen wie Sixty Minute Man und Gee zu den ersten Rock 'n' Roll-Platten überhaupt. Diese beiden Klassiker des Genres und vieles mehr findet sich auf BEAR FAMILYs 'Street Corner Symphonies', der definitiven Geschichte des Doo-Wop. Und wie immer können Sie BEAR FAMILY vertrauen, denn wir wissen, was wir tun. 
Die Retrospektive beginnt mit dem Jahr 1939 und Doo-Wop-Vorläufern wie dem Golden Gate Quartet, den Ink Spots und den Mills Brothers. 'Street Corner Symphonies' erzählt die Story bis zum Ende der Doo-Wop-ära 1963. Die ersten fünf CDs enthalten Aufnahmen aus den Jahren 1939 bis 1953, der goldenen ära des Doo-Wop. Es gab einfach zu viele Hits in diesen Jahren, um sie alle aufzuzählen. Es lohnt sich, mehr als einen Blick auf die Titelliste zu riskieren! Unnötig zu erwähnen, daß diese Platten den Soundtrack zur Rock 'n' Roll-Revolution lieferten... und daß sie nicht nur die amerikanische Popmusik, sondern die Unterhal- tungsmusik weltweit für immer entscheidend verändert haben.
Diese Serie wurde von Bill Dahl aus Chicago, einem der führenden Wissenschaftler für die Geschichte des Rhythm & Blues, zu- sammengestellt und kommentiert. Jeder einzelne Song ist detailliert beschrieben und illustriert. Es gab bereits etliche Doo-Wop- Zusammenstellungen, darunter sogar einige Boxen. Aber BEAR FAMILY hat das letzte Wort in diesem Genre, denn diese Serie ist endgültig! Jeder Hit, jeder Underground-Klassiker, jeder Song, der den äther in den Anfangstagen des Rock 'n' Roll hell erklin- gen ließ. Jedes 'shoop', jedes 'doop', jedes 'doo-doo-wah'!
Pressestimmen
Times 13.06.2012 These are extraordinarily fine records, and this series is top-rate archeology.
Now Dig This 7/12 Bear Family, the best reissue label in the world, has followed up its year-by-year survey of R & B, "Blowing The Fuse", with a similar annual overview of vocal harmony groups, called "Street Corner Symphonies". Congratulations, Bear Family!
Jazzthetik 7-8/12 Die Aufmachung der CDs ist, wie von Bear Family nicht anders zu erwarten, natürlich vorzüglich! Die Silberlinge sind randvoll, und die Liner Notes von Bill Dahl sind von nicht zu übertreffender Akkuratesse und Detailfülle.
Good Times 4/12 Gewohnt akribisch, umfassend und hochklassig widmet sich diese Bear Family Reihe de Geschichte des Doo Wop.
Rolling Stone 8/12 Gründlich recherchiertes 15-CD-Set über die Anfänge des Genres . Vier Sterne.
Uncut 8/12 Terry Staunton With a minimum of 30 tracks per disc there's a wealth of obscurities to investigate that are worth singing about.
Blues & Rhythm 9/12 This really is an amazing series that will well serve both the longtime aficionado of this amazing music, or those who have long regarded the wealth of music known as Doo-Wop with sometrepidation.
These are extraordinarily fine records, and this series is top-rate archeology.
Times 13.06.2012
Wie frisch die Originale noch klingen, belegt eine brilliante 10teilige Anthologie mit restaurierten Klassikern und Geheimtipps.
KulturSPIEGEL 11/12 Christoph Dallach
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