The "Outrageous Five"
Falsettos ©JCMarion
falsetto (fol · set´· o¯ ) -
(n., Music )
1. A male singing voice marked by
artificially produced tones in an upper register beyond the normal
range especially of a tenor. 2. One that sings in this way.
That is how the dictionary describes the
singing style that we have all known and appreciated through the
years. I have been well aware of the beguiling aspects of this type
of vocalizing as well from my affinity for Hawaiian music in which
falsetto singing is an integral part of the culture as practiced by
such artists as Joe Keawe and Bill Aliiloa Lincoln. The first time I
was aware of this style of vocalizing in the R & B field of music
was most likely the early tunes by Pha Terrell and perhaps Donnie
Elbert. Elbert's huge hit of "What Can I Do" was certainly a showcase
for this style.
Many groups have since employed falsetto
stylings in both background vocalizing among the tenors, and more
pronounced, in the lead singer's performances. Some of these have
long been classics such as the Paragons, Jesters, Vanguards,
Diabolos, and even the Five Keys. The few that I have selected to be
included for this article are ones that I feel are in somewhat of a
class by themselves. I call them the Outrageous Five
Falsettos.
The first one was the record that
introduced most early rock & roll fans to this style and it
featured "Fast Eddie" Carson with the Royaltones on Old Town records
with "Crazy Love". I remember the first edition of the Rock &
Roll Book of Lists had a category of the number of times the word
"no" appeared in a song and gave the nod to The Human Beinz mid 60s
schlock as the winner. They evidently never heard this gem by Carson
and the 'Tones. This tune has remained a classic from its opening
"laughing sax" intro to the bass 'doo-wop-a-doo-wop-a-doo' lead-in,
and all in between. From the jump-stop ending on every verse to the
'no-no-no-nos' and the call to reveille sax break, this cut has it
all. An added gift of this record is the realization that the flip
side "I'll Never Let You Go" is basically the same song at a ballad
tempo with a slight lyric change. This was a great two-for-one deal
which I figured was non intentional.
A second release from 1955 that featured an
outrageous falsetto lead was the Apollo side "Stars Are In The
Sky/Hurry Home" by The Sparks of Rhythm. I remember all of my friends
thinking how cool the name of this group was at the time. The lead
singer was Jimmy Jones later to achieve huge successes with "Handy
Man" and "Good Timing" as a solo performer. Both sides of the Sparks
release got great airplay in New York except for Moondog for some
reason. Each tune is a throwback to the style of the late 40s rather
than the mid 50s which makes it even more unique. "Hurry Home" is
done in the style of groups such as the Cabineers, Charioteers, and
Delta Rhythm Boys, which had gone out of favor by 1955. The flip is a
soft uptempo tune with a very different harmony pattern and without
the heavy backbeat so typical of R & B in the early 50s. Despite
that the record succeeded which owes as much to the falsetto vocal
style of Jones than any other factor.
The third of our five standouts is on the
tiny Brooklyn independent label Sampson. It is by the Softones and
called "My Mother's Eyes", the old pop music weeper. I loved the
tune, and my Mother detested it. I remember her saying something on
the order of 'look what they've done to that beautiful song of George
Jessel, or Eddie Cantor, or somebody. I thought the treatment of the
old tune was outstanding-the wavering falsetto lead, the bridge by an
alternate lead in normal tone, and back to the falsetto voice. The
bridge vocal backed by some of the best vibraphone playing this side
of Johnny Otis was memorable (credited to Lawrence "88" Keys-an old
acquaintance of Charlie Parker !). I knew someone at the time who cut
a record for this label (not rock & roll), and was able to get
freebie copies of the Softones tune plus pictures of the group. I was
ecstatic to say the least. If that isn't outrageous enough play the
flip side of "Like A Moth Around A Flame", which cannot be adequately
described except to say it reminds me of a falsetto singer vocalizing
over merry-go-round music !
Next is a group who recorded for one of
Morty Craft's labels (Do-Re-Mi / Melba) called the MelloHarps. The
tune is "Love Is A Vow" and is wicked indeed. The style used mostly
on this side is the echoing effect of the falsetto trailing the lead,
and the strong performance of this style is the reason that this
recording has stood out and become memorable. The kind of vocal
ensemble work on this release is certainly a lost art and will never
be recreated. Be thankful that these works are being preserved
because of the persistent efforts of doo wop fanatics like ourselves.
There will never be a return to this style of music. The only thing
that could possibly mar the performance of this song is the uneven
final note, but by then most listeners are blown away enough to
dismiss this slight imperfection.
Finally there is the "king" of
outrageousness when it comes to falsetto singing on vocal group
recordings - The Ladders. Not much is known of this group who
apparently were based in Harlem rather than the Bronx as I had always
believed. I could swear that I attended a practice session by the
group in a tenement building rec room in the South Bronx (just off
Southern Blvd.) in 1956, but maybe the passage of time has led me to
confuse the Ladders with another group. This group has two mind
blowing ballads on Bobby Robinson labels from the 50s (Holiday
/Vest/Everlast) called "I Want To Know" and "My Love Is Gone". The
first features an interesting pattern - wordless falsetto-led chorus,
normal lead chorus, and falsetto lead chorus. Everything about this
record is strong and up-front. Both leads, the pounding piano chords,
and the background vocals. Soaring above all is the great falsetto
lead of incredible power and strength. A lingering fade out is the
capper on a wonderful performance. The second ballad ("My Love")
lifts most of the main melody line from Tara's Theme from the
soundtrack of Gone With The Wind. The falsetto is the full lead on
this tune and the reach for the highest notes at the ending of the
verse nears glass shattering proportions. The bridge for this song is
lovely and the backup vocals show off the rest of the group to good
advantage. These two songs and a third rather undistinguished up
tempo tune ("Counting The Stars") were preserved on a collection of
Robinson productions on Everlast which remains one of the greatest
original compilation albums ever.
So there they are - five outrageous
falsettos. Only in the annals of R & B vocal group history would
there be such a collection of this sub-category. Only us doowop fans
and fanatics will always be there to carry the flag of this - a most
unique form of American music.
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