Various - Street Corner Symphonies Vol.09, 1957 The Complete Story Of Doo Wop

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Various - Street Corner Symphonies: Vol.09, 1957 The Complete Story Of Doo Wop
Street Corner Symphonies
The Complete Story Of Doo Wop
Volume 9 - 1957
Rock and roll had conquered the vocal group field by 1957, so much that "old-timers" like The Clovers, Drifters, and Midnighters - indeed, most groups sporting even a hint of a bluesy influence in their harmonic blend - were experiencing a decided downturn in sales figures despite cranking out quality platters. One welcome exception: The '5' Royales, who made a comeback after three years off the charts by updating their sound with Lowman Pauling's brash lead guitar.
The demographics for freshly minted groups were skewing younger than ever. What the great majority of them were singing was classic street corner harmony, an indigenous style that would eventually become known as doo-wop. New York-based newcomers such as The Paragons, Jesters, Cellos, Charts, Shells, Velours, and Rob-Roys were reshaping the sound in compelling ways of their own. Gender barriers were falling like never before. Two of 1957's biggest discoveries, The Chantels and Bobbettes, were New York schoolgirls who scored major hits at the very beginning of their respective careers, boding well for the slow but steady rise of female aggregations.
The proto-doo-wop sound could be viewed as a form of urban folk music, created without the aid of any musical instruments. Teenagers in Harlem, Philly, and Chicago gathered under the illumination of a streetlamp or in the cool, echo-laden confines of a subway station to sing the songs of their more experienced idols (and maybe one or two of their own creations), hoping a wandering talent scout would overhear their efforts and offer them a recording contract. Time and again, that's exactly what happened, though precious few groups got rich off their budding talents, even with records on the shelf. White groups were starting to fully assimilate the doo-wop sound instead of making bland covers for pop airplay. Case in point: The Mello-Kings' debut single Tonite, Tonite stood with the year's best vocal group releases.
The humorous creations of writer/producers Jerry Leiber and Mike Stoller, as expertly delivered by their handpicked quartet, The Coasters, were at last finding the mammoth audience they merited. And while The Silhouettes weren't as youthful as some of the fresh new faces cited above, the Philadelphia quartet's Get A Job was in all likelihood the year's most important vocal group smash.
Video von Various - Street Corner Symphonies - Vol.09, 1957 The Complete Story Of Doo Wop
Article properties:Various - Street Corner Symphonies: Vol.09, 1957 The Complete Story Of Doo Wop
Interpret: Various - Street Corner Symphonies
Album titlle: Vol.09, 1957 The Complete Story Of Doo Wop
Genre R&B, Soul
Label Bear Family Records
- Preiscode AR
- Edition 2 Deluxe Edition
Artikelart CD
EAN: 4000127172877
- weight in Kg 0.2
| Various - Street Corner Symphonies - Vol.09, 1957 The Complete Story Of Doo Wop CD 1 | ||||
|---|---|---|---|---|
| 01 | Get A Job | Silhouettes, The | ||
| 02 | Maybe | Chantels, The | ||
| 03 | Little Darlin' | Gladiolas, The | ||
| 04 | To The Aisle | Five Satins, The | ||
| 05 | Searchin' | Coasters, The | ||
| 06 | Florence | Paragons, The | ||
| 07 | Dedicated To The One I Love | '5' Royales, The | ||
| 08 | Book Of Love | Monotones, The | ||
| 09 | Lonely Nights | Lee Andrews & the Hearts | ||
| 10 | Mr. Lee | Bobbettes, The with Reggie Obr | ||
| 11 | Been So Long | Pastels, The | ||
| 12 | Whispering Bells | Dell-Vikings, The featuring Kr | ||
| 13 | Baby Oh Baby | Shells, The | ||
| 14 | Everyone's Laughing | Spaniels, The with Al Smith's | ||
| 15 | Silhouettes | Rays, The | ||
| 16 | Tell Me Why | Norman Fox & The Rob Roys | ||
| 17 | Why Do You Have To Go | Dells, The | ||
| 18 | Lover Boy | Cleftones, The | ||
| 19 | Deserie | Charts, The | ||
| 20 | My Girlfriend | Cadillacs, The | ||
| 21 | Could This Be Magic | Dubs, The | ||
| 22 | Walking Along | Solitaires, The | ||
| 23 | Little Bitty Pretty One | Bobby Day and Satellites, The | ||
| 24 | Tonite, Tonite | Mello-Kings, The | ||
| 25 | Peanuts | Little Joe & The Thrillers | ||
| 26 | Don't Say Goodnight | Valentines, The | ||
| 27 | Rang Tang Ding Dong (I Am The Japanese Sandma | Cellos, The | ||
| 28 | Happy, Happy Birthday Baby | Tune Weavers | ||
| 29 | Dance With Me | El Torros, The | ||
| 30 | Can I Come Over Tonight | Velours, The and Sammy Lowe Or | ||
| 31 | Buzz-Buzz-Buzz | Hollywood Flames, The | ||
| 32 | So Strange | Jesters, The with David Clowne | ||
| 33 | Congratulations | Turbans, The | ||
| 34 | Four O'Clock In The Morning | Stanley Mitchell and The Torna | ||
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'!
Nach der Lektüre der Liner Notes darf man sich schon als Fachmann in Sachen DooWop fühlen.
Stereo 1/2013 Franz Schöler

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