Clyde McPhatter The Ballads Of Clyde McPhatter (CD)
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Clyde McPhatter: The Ballads Of Clyde McPhatter (CD)
- Nous ne pouvons pas réécrire l'histoire de la musique, mais nous aimerions mettre en lumière un grand artiste, influent et sous-estimé : Clyde McPhatter.
- Quiconque s'intéresse ? l'histoire de la musique pop américaine connaîtra les Drifters et les Dominoes - deux formations, caractérisées et célèbres pour la voix fantastique du chanteur principal : Clyde McPhatter.
- Avec la sortie simultanée de deux CD documentaires de Bear Family, nous rendons hommage ? la grande réussite d'un artiste crossover important, qui a influencé de manière significative des genres tels que le gospel, le doo-wop, le rhythm & blues et la pop.
- Notre 'Clyde McPhatter Rocks' (Bear Family BCD17614) présente les numéros de Clyde au rythme endiablé ; voici maintenant la compilation de ses ballades les plus émouvantes sur CD, portées par l'une des plus belles voix noires de son époque !
- Des notes de pochette détaillées par l'expert de Chicago Bill Dahl, un livret richement illustré et une qualité de son 1a.
Lorsque Clyde McPhatter est mort en 1972, appauvri, accro ? l'alcool et en proie ? la dépression, le monde a jeté un regard rétrospectif sur les 22 années de carrière d'enregistrement d'un musicien exceptionnel qui est mort ? seulement 39 ans. À l'âge de cinq ans, il chantait déj? dans la chorale de gospel de son père, un prédicateur baptiste de Caroline du Nord. La famille s'est finalement installée ? New York, où Clyde a formé une formation de gospel, les Mount Lebanon Singers, ? la fin des années 1940. En tant que chanteur, il a remporté le trophée convoité d’un ‘Nuit des amateurs’ au légendaire Apollo Theatre de Harlem en 1950 et a accepté l'offre de devenir le chanteur ténor principal de Billie Ward & The Dominoes, l'un des groupes vocaux R&B les plus populaires du pays.
McPhatter nous a laissé un magnifique héritage de ballades mélancoliques. Ce chanteur unique a vraiment mérité plus de reconnaissance de son vivant ! Pour compléter cette compilation de ses meilleures ballades, nous vous recommandons 'Clyde McPhatter Rocks' (BCD17614), qui contient les remarquables chansons uptempo de Clyde McPhatter.
Video von Clyde McPhatter - The Ballads Of Clyde McPhatter (CD)
Propriétés de l'article:Clyde McPhatter: The Ballads Of Clyde McPhatter (CD)
Interpret: Clyde McPhatter
Titre de l'album: The Ballads Of Clyde McPhatter (CD)
Genre Rock'n'Roll
Label Bear Family Records
- Preiscode AR
- Edition 2 Deluxe Edition
Artikelart CD
- Année de publication 2021
EAN: 5397102176159
- Poids en kg: 0.115
| McPhatter, Clyde - The Ballads Of Clyde McPhatter (CD) CD 1 | ||||
|---|---|---|---|---|
| 01 | Treasure Of Love | Clyde McPhatter | ||
| 02 | Fever | Clyde McPhatter | ||
| 03 | Warm Your Heart | Clyde McPhatter & The Drifters | ||
| 04 | The Bells | Clyde McPhatter | ||
| 05 | The Glory Of Love | Clyde McPhatter | ||
| 06 | The Clock | Clyde McPhatter | ||
| 07 | The Best Man Cried | Clyde McPhatter | ||
| 08 | Honest I Do | Clyde McPhatter | ||
| 09 | I'm Not Worthy Of You | Clyde McPhatter | ||
| 10 | Everyone's Laughing | Clyde McPhatter | ||
| 11 | Maybe | Clyde McPhatter | ||
| 12 | Just To Hold My Hand | Clyde McPhatter | ||
| 13 | The Bells Of St. Mary's | Clyde McPhatter & The Drifters | ||
| 14 | Raining In My Heart | Clyde McPhatter | ||
| 15 | Seven Days | Clyde McPhatter | ||
| 16 | Rock And Cry | Clyde McPhatter | ||
| 17 | I Never Knew | Clyde McPhatter | ||
| 18 | When The Right Time Comes Along | Clyde McPhatter | ||
| 19 | I Gotta Have You | Clyde McPhatter & Ruth Brown | ||
| 20 | Without Love (There Is Nothing) | Clyde McPhatter | ||
| 21 | What Am I Living For | Clyde McPhatter | ||
| 22 | You'll Be There | Clyde McPhatter | ||
| 23 | I Told Myself A Lie | Clyde McPhatter | ||
| 24 | C.C. Rider | Clyde McPhatter | ||
| 25 | When You're Sincere | Clyde McPhatter | ||
| 26 | Love Has Joined Us Together | Clyde McPhatter & Ruth Brown | ||
| 27 | (I'm Afraid) The Masquerade Is Over | Clyde McPhatter | ||
| 28 | Blues Stay Away From Me | Clyde McPhatter | ||
| 29 | I Make Believe | Clyde McPhatter | ||
Clyde McPhatter
The Dominoes
No lead tenor was as monumentally influential to the future of R&B vocal groups as The Dominoes' Clyde McPhatter. He was the first to incorporate an overt gospel influence into his impassioned leads, influencing everyone from Smokey Robinson to Aaron Neville to most of Clyde's successors with The Drifters. If it had been up to Billy Ward, the Dominoes' iron-fisted founder, Clyde would have reined in his sanctified tendencies and sounded like The Ink Spots' Bill Kenny. Thank goodness Clyde didn't listen to his boss. Ward was born September 19, 1921 in Savannah, Georgia but mostly grew up in Philadelphia. A gifted piano composer at age 14, he went on to study music at the prestigious Juilliard School. After an Army stint, Ward was working in New York as a vocal coach when he met talent agent Rose Marks. The two would co-manage The Dominoes until her 1955 death.
The group started out as The Ques in 1950, Ward bringing together McPhatter (born November 15, 1931 in Durham, North Carolina), tenor Charlie White, baritone Joe Lamont, and bass Bill Brown. Clyde sang in the choir at his mother's church, and after his family moved to New York in 1945, he harmonized with The Mount Lebanon Singers (White was also a member). But McPhatter harbored secular ambitions. He competed in the Apollo Theatre's weekly amateur contest, singing Lonnie Johnson's Tomorrow Night. Ward's authoritarian approach whipped the group into shape in a hurry. They won the Apollo amateur show, emerged victorious on the radio program 'Arthur Godfrey's Talent Scouts' by crooning Goodnight Irene, and got signed to King Records' brand-new Federal subsidiary (Ralph Bass was persuaded to leave Savoy and head Federal by King boss Syd Nathan). That's when The Ques name bit the dust. The Dominoes made their first session for Bass in New York on November 14, 1950.
Their debut single, issued shortly before year's end, was also Federal's inaugural offering. It paired the upbeat Chicken Blues, fronted by bass singer Brown, with a Clyde-led Do Something For Me that was the first volley in a soulful revolution, even if pianist/arranger Ward didn't care to encourage it. The deliberate tempo of Do Something For Me, credited to Ward and Marks, allowed Clyde to work sanctified magic with its pleading lyrics. The rest of the group, all ex-gospel singers, pitched in sympathetically abetted by shimmering guitar. The shattering ballad blasted up to #6 R&B over a ten-week span that commenced in February of '51.
Clyde McPhatter
The Drifters
Great as they were, Clyde McPhatter's Drifters weren't the first black vocal group to use the name. There were several that came before. Recording for songwriter Otis Rene's Excelsior label in Los Angeles, these Drifters beat Clyde to the punch by a couple of years. While their sound looked backward to the 1940s rather than forward the way McPhatter's visionary outfit would, their Honey Chile was a lighthearted charmer, the polished group riding a backdrop built around bouncy piano and winding electric guitar. The other side, the Rene-penned Mobile, was bluesier and more lowdown, though hardly back in the alley. By 1953, there could be no doubt who owned the name. But these Drifters ably kept it warm until McPhatter and his crew broke out like gangbusters.
This collection of songs is a powerful representation of the legacy of a talent who was largely forgotten in his own lifetime
Anyone who enjoys well-produced, impeccably performed Rhythm and Blues, Doo-Wop and smooth jazz ballads could do much worse than to pick up The Ballads of Clyde McPhatter. This is a very compelling compilation of tracks. McPhatter did indeed deserve his high reputation, and this album does his talent justice.
Wonderful!
Well, these two new CDs are a complete joy. With a combined 63 tracks they represent both the uptempo and ballads that Clyde McPhatter excelled at. Covering his Atlantic, MGM and Mercury periods they serve as a much extended ‘Best of’ with lots of lesser-known numbers of equal quality.
The Atlantic recordings are in a class of their own – from his time with the Drifters and his solo career following his discharge from the US Army in mid ’55. Songs like ‘Money Honey’, ‘Treasure of Love’, ‘A Lover’s Question’ and ‘Whatcha Gonna Do’ are all classics of their time and sound wonderful to this day. My favourites ‘Let The Boogie Woogie Roll’ and ‘Deep Sea Ball’ that came out belatedly in 1960 fairly jump out of the speakers and show the depth of the recordings that Atlantic had in the can. Indeed, the when the Atlantic unissued tracks were released in late ’59 and 60 to compete with the new 45s generated from his move to MGM, they charted much higher.
It’s fair to say that Clyde’s tenure at MGM wasn’t particularly spectacular. Only ‘Twice as Nice’ and a couple of others make the Bear Family cut. Much more successful was his move to Mercury where Clyde got his second musical wind. Twinned with Clyde Otis and then the young producer Jerry Kennedy (prior to his success with both Roger Miller and Jerry Lee Lewis) he hit big with his cover of Thurston Harris’ ‘Little Bitty Pretty One’, Ta Ta’ and Billy Swan’s ‘Lover Please’. Mercury spared no expense and gave Clyde great backing and strong songs.
The booklets that accompany the CDs have liner notes by Bill Dahl and include the usual details that competing companies don’t bother with. There’s also loads of photographs, a few of which are new to these eyes.
Wonderful!
Wonderful!
Well, these two new CDs are a complete joy. With a combined 63 tracks they represent both the uptempo and ballads that Clyde McPhatter excelled at. Covering his Atlantic, MGM and Mercury periods they serve as a much extended ‘Best of’ with lots of lesser-known numbers of equal quality.
The Atlantic recordings are in a class of their own – from his time with the Drifters and his solo career following his discharge from the US Army in mid ’55. Songs like ‘Money Honey’, ‘Treasure of Love’, ‘A Lover’s Question’ and ‘Whatcha Gonna Do’ are all classics of their time and sound wonderful to this day. My favourites ‘Let The Boogie Woogie Roll’ and ‘Deep Sea Ball’ that came out belatedly in 1960 fairly jump out of the speakers and show the depth of the recordings that Atlantic had in the can. Indeed, the when the Atlantic unissued tracks were released in late ’59 and 60 to compete with the new 45s generated from his move to MGM, they charted much higher.
It’s fair to say that Clyde’s tenure at MGM wasn’t particularly spectacular. Only ‘Twice as Nice’ and a couple of others make the Bear Family cut. Much more successful was his move to Mercury where Clyde got his second musical wind. Twinned with Clyde Otis and then the young producer Jerry Kennedy (prior to his success with both Roger Miller and Jerry Lee Lewis) he hit big with his cover of Thurston Harris’ ‘Little Bitty Pretty One’, Ta Ta’ and Billy Swan’s ‘Lover Please’. Mercury spared no expense and gave Clyde great backing and strong songs.
The booklets that accompany the CDs have liner notes by Bill Dahl and include the usual details that competing companies don’t bother with. There’s also loads of photographs, a few of which are new to these eyes.
Wonderful!
Ballads
Tolle Aufnahmen und ein perfektes Gegenstück zu der Rocks-CD
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