***When Be-Bop Bopped In The Doo Wop Night- “Street Corner Serenade”- A CD Review
A YouTube film (From American Bandstand) of The Classics performing the old time classic ( I think originally from The Mills Brothers), Till Then.
CD Review
The Rock ‘n’ Roll, Era: Street Corner Serenade, Time-Life Music, 1992
Sure I have plenty to say about early rock ‘n’ roll, now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough, considering its effect on us on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standard’s, but get this you could place it near your ear and have your own private out loud without parental scuffling in the background. Yes, sainted, sanctified techno-guru. No question.
What doo-wop did though down in our old-time working class housing projects neighborhood, and again it was not so much by revelation as by trial and error, is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things when papas were out of work, or were one step away, and there was trouble just keeping the wolves from the door. Sure, some kids, some kids like my home boy elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers was mad to do the doo-wop and make his fame and fortune.
The cover art on this compilation shows a group of young black kids, black guys, who look like they are doing their doo wop on some big city street corner. And that makes sense reflecting the New York City-derived birth of doo-wop and that the majority of doo-wop groups that we heard on the AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope, to be discovered and make more than just a 1950s musical jail-breakout of their lives. Moreover, this cover art also shows, and shows vividly, what a lot of us guys were trying to do-impress girls (and maybe viz-a-versa for girl doo-woppers but they can tell their own stories).
Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you did too (except remember girls just switch around what I just said). Ya, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do things, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. We knew nothing of keys and pauses, of time, notes, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key voice on the low, on the very low.) Whether we did it well or poorly, guess what, as the hot sun day turned into humid night, and the old sun went down just over the hills, first a couple of girls, then a couple more, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. And swoony and moony was just fine. And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the songs in this doo-wop compilation could be heard in that airless night. The stick outs here: Deserie, The Charts; Baby Blue, The Echoes; Till Then, The Classics; Tonight (Could Be The Night), The Velvets.
A YouTube film (From American Bandstand) of The Classics performing the old time classic ( I think originally from The Mills Brothers), Till Then.
CD Review
The Rock ‘n’ Roll, Era: Street Corner Serenade, Time-Life Music, 1992
Sure I have plenty to say about early rock ‘n’ roll, now called the classic rock period in the musicology hall of fame. And within that say I have spent a little time, not enough, considering its effect on us on the doo-wop branch of the genre. Part of the reason, obviously, is that back in those mid-1950s jail-breakout days I did not (and I do not believe that any other eleven and twelve year olds did either), distinguish between let’s say rockabilly-back-beat drive rock, black-based rock centered on a heavy rhythm and blues backdrop, and the almost instrument-less (or maybe a soft piano or guitar backdrop) group harmonics that drove doo-wop. All I knew was that it was not my parents’ music, not close, and that they got nervous, very nervous, anytime it was played out loud in their presence. Fortunately, some sainted, sanctified, techno-guru developed the iPod of that primitive era, the battery-driven transistor radio. No big deal, technology-wise by today’s standard’s, but get this you could place it near your ear and have your own private out loud without parental scuffling in the background. Yes, sainted, sanctified techno-guru. No question.
What doo-wop did though down in our old-time working class housing projects neighborhood, and again it was not so much by revelation as by trial and error, is allow us to be in tune with the music of our generation without having to spend a lot of money on instruments or a studio or any such. Where the hell would we have gotten the dough for such things when papas were out of work, or were one step away, and there was trouble just keeping the wolves from the door. Sure, some kids, some kids like my home boy elementary school boyhood friend Billie, William James Bradley, were crazy to put together cover bands with electric guitars (rented occasionally), and dreams. Or maybe go wild with a school piano a la Jerry Lee Lewis, Little Richard, or Fats Domino but those were maniac aficionados. Even Billie though, when the deal went down, especially after hearing Frankie Lymon and The Teenagers was mad to do the doo-wop and make his fame and fortune.
The cover art on this compilation shows a group of young black kids, black guys, who look like they are doing their doo wop on some big city street corner. And that makes sense reflecting the New York City-derived birth of doo-wop and that the majority of doo-wop groups that we heard on the AM radio were black. But the city, the poor sections of the city, white or black, was not the only place where moneyless guys and gals were harmonizing, hoping, hoping maybe beyond hope, to be discovered and make more than just a 1950s musical jail-breakout of their lives. Moreover, this cover art also shows, and shows vividly, what a lot of us guys were trying to do-impress girls (and maybe viz-a-versa for girl doo-woppers but they can tell their own stories).
Yes, truth to tell, it was about impressing girls that drove many of us, Billie included, christ maybe Billie most of all, to mix and match harmonies. And you know you did too (except remember girls just switch around what I just said). Ya, four or five guys just hanging around the back door of the elementary school on hot summer nights, nothing better to do, no dough to do things, maybe a little feisty because of that, and start up a few tunes. Billie, who actually did have some vocal musical talent, usually sang lead, and the rest of us, well, doo-wopped. We knew nothing of keys and pauses, of time, notes, or reading music we just improvised. (And I kept my changing to teen-ager, slightly off-key voice on the low, on the very low.) Whether we did it well or poorly, guess what, as the hot sun day turned into humid night, and the old sun went down just over the hills, first a couple of girls, then a couple more, and then a whole bevy (nice word, right?) of them came and got kind of swoony and moony. And swoony and moony was just fine. And we all innocent, innocent dream, innocent when we dreamed, make our virginal moves. But, mainly, we doo-wopped in the be-bop mid-1950s night. And a few of the songs in this doo-wop compilation could be heard in that airless night. The stick outs here: Deserie, The Charts; Baby Blue, The Echoes; Till Then, The Classics; Tonight (Could Be The Night), The Velvets.
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