Clyde McPhatter The Ballads Of Clyde McPhatter (CD)
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Clyde McPhatter: The Ballads Of Clyde McPhatter (CD)
- Wir können Musikgeschichte nicht umschreiben, doch wir möchten einen großartigen, einflussreichen und unterschätzten Künstler ins Licht der Öffentlichkeit stellen: Clyde McPhatter.
- Wer sich für die Geschichte US-amerikanischer Popmusik interessiert, wird die Drifters und die Dominoes kennen – zwei Formationen, geprägt und berühmt für die fantastische Stimme des Leadsängers: Clyde McPhatter.
- Mit zwei simultan erscheinenden CD-Dokumentationen würdigt Bear Family die großartige Lebensleistung eines bedeutenden Crossover-Künstlers, der maßgeblich Genres wie Gospel, Doo-Wop, Rhythm & Blues und Pop mitgeprägt hat.
- Auf ‚Clyde McPhatter Rocks‘ (Bear Family BCD17614) finden sich seine mitreißenden Up-Tempo-Nummern; hier nun die Zusammenstellung seiner bewegendsten Balladen auf CD, getragen von einer der schönsten schwarzen Stimmen ihrer Zeit!
- Umfangreiche Linernotes des Chicagoer Experten Bill Dahl, ausführliches illustriertes und bebildertes Booklet und 1a Soundqualität.
Als Clyde McPhatter 1972 verarmt und von Alkohol abhängig und von Depression geplagt starb, blickte die Nachwelt auf eine 22-jährige Schallplattenkarriere eines mit nur 39 Jahren verstorbenen Ausnahmemusikers zurück. Bereits mit fünf Jahren sang er im Gospel-Chor seines Vaters, einem Baptisten-Prediger in North Carolina. Die Familie zog schließlich nach New York City, wo Clyde gegen Ende der Vierzigerjahre eine Gospel-Formation, die Mount Lebanon Singers, gründete. Als Sänger gewann er 1950 die begehrte Trophäe einer ‚Amateur Night‘ im legendären Apollo Theatre in Harlem und nahm das Angebot an, mit seiner Tenorstimme Leadsänger bei Billie Ward & The Dominoes zu werden, einer der populärsten R&B-Gesangsgruppen im ganzen Land.
1953 trennte sich McPhatter von Ward, wurde von Atlantic-Chef Ahmed Ertegun aufgespürt und unter Vertrag genommen. Bedingung: die Gründung einer eigenen Vocal Group. Das Ergebnis: The Drifters. Doch er verließ auch diese Formation nach nur wenigen Jahren und konzentrierte sich auf eine Solokarriere. Er verbuchte die ersten großen Erfolge, trennte sich von Atlantic Records, wechselte zu M-G-M und später Mercury. Doch weitere große Erfolge und vor allem Anerkennung blieben aus. Frustriert zog er 1968 für zwei Jahre nach England, versuchte nach seiner Rückkehr ein erfolgloses Comeback und starb am 13. Juni 1972 an multiplem Organversagen.
Video von Clyde McPhatter - The Ballads Of Clyde McPhatter (CD)
Artikeleigenschaften von Clyde McPhatter: The Ballads Of Clyde McPhatter (CD)
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Interpret: Clyde McPhatter
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Albumtitel: The Ballads Of Clyde McPhatter (CD)
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Genre Rock'n'Roll
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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: 5397102176159
- Gewicht in 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
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