Sunday, 27 September 2015
Prompted by Colin Escott's book on Clyde McPhatter (above), I have now listened to a representative sample of McPhatter's work with the Dominoes and the Drifters plus his solo work on Atlantic, so here are a few more thoughts.
First, no real surprises about the solo sides: my vague recollection of the arrangements being rather poppy and old hat was confirmed. But the less cluttered they are the better, as with A Lover's Question or Deep Sea Ball - or the classic Without Love, which reeks of gospel: you are hearing a sermon being preached. True, it ain't just a piano backing but the arrangement is restrained and supports the vocal, never overwhelming it.
Nevertheless, the solo work on Atlantic isn't a case of a performer being forced to betray his deepest instincts: Jerry Wexler says that "Clyde wanted to be Perry Como" and the material was slanted to the pop market, though he maintains Atlantic didn't go in for "vomitacious" productions - in fact the only regret he expresses is about their decision to use a white backing group. Ahmet Ertegun, however, talks about the "leaden feet" of the arrangements, likening the resultant recordings to a chrome-heavy 1940s car which has dated less well than a sleeker earlier model.
Wednesday, 23 September 2015
"A few thoughts" is right in this instance, as this is by way of a note about a forthcoming post which is likely to be sketchy. Influential as he was, there is no mammoth biography of McPhatter to draw on, and he isn't someone to whom I've been listening for years. But I recently bought a slim volume by Colin Escott billed as "a biographical essay" about the singer, and it occured to me that I really ought to write something about him, given that he features in the story of Ben E King, is lauded by Bill Millar in his book on the Drifters, and is a prominent figure in Street Corner Soul, the excellent BBC Radio 2 documentary series about the rise and fall of doo wop.
Saturday, 19 September 2015
The image above is only a screengrab, so don't bother clicking, but this is to alert readers in the UK that the documentary Love Me Do: The Beatles '62 has just been repeated on BBC 4 and as a result will be available on BBC iplayer until October 18th. (As far as I'm aware American readers are only able to access radio programmes on the iplayer.) Click here for my review of the original broadcast plus a link to iplayer.
It's not only about the Beatles - they don't crop up in the first half hour - but another documentary, Produced by George Martin, was repeated yesterday on BBC 4 and is likewise available for a month on iplayer. Click here for my review and links to iplayer and two other posts about Martin-produced comic songwriters Myles Rudge and Ted Dicks (or "Dead Ticks", as Martin called him)
Tuesday, 15 September 2015
If you haven't visited the blog dedicated to Freddie Davies's autobiography Funny Bones, which I cowrote, here is a review of the book from Professor Viv Gardner, one of the judges of the 2014 Theatre Book Prize:
This is one of those stories that just have to be told. It is unique – there has never been quite such a long and varied a career as Freddie Davies’s - but it is also the story of popular entertainment over the past 70 plus years: the hey day and decline of variety, clubs, cabarets and cruise entertainment, the rise of television comedy and subsequent changes in fashion, and the shifting relationship between popular and ‘high brow’ performance. Freddie Davies has played every type of theatre in the country, from working men’s clubs and Butlins to the Royal Shakespeare Company, television and film, though his earliest memories are of the halls and variety theatres of the forties where his grandparents worked. His autobiography is replete with names and places, many long since forgotten, details of acts – his own and others’ – and whole bills. It is also a ‘back-stage’ story. Davies has worked not just as a performer, but also as a producer, so the autobiography charts not just his own stage career but also the challenges of working with and supporting other artists – the ups and downs, the nuts and bolts of the entertainment business. A researcher’s dream. It is a fascinating and important story, not just a personal but also a social and performance history.
Professor Emerita, University of Manchester
Judge, Society for Theatre Research 2014-15