As a result of watching a lot of old movies as a kid I learned to love trad pop music … the crooners, the songstress', the vocal groups. My ears did not discriminate against them in favour of the more popular rock and pop of my youth.
It’s all music.
It is, then, natural to gravitate to the best of any style. What is “best” may be a difficult question to define but for whatever reasons there seems to be a “best’ or at least a “better” in every genre.
And, that is all good and well.
But, my brain likes those fringe areas where things usually aren’t at their best or where consumers (music listeners) believe good things don’t exist.
And this album fits into that.
It was something from a bygone era, an obsolete style that was trying to remain relevant.
And, that is fascinating.
Some 1950s era rockers were finding it hard to keep up with the new sounds emerging in the mid to late-60s but put out some amazing (good and bad, usually poorly selling, quite obscure though still amazing) recordings. Pat Boone, Gene Vincent, The Everly Brothers, Chuck Berry all dabbled in late 60s sounds.
Trad pop acts had the same problem but, perhaps, had it easier. Their market was always people “of another era” that didn’t care for the new sounds, but that market was shrinking.
The decision to cover new rock and pop material in their familiar style, or, record old Tin Pan Alley material in a (more) contemporary style, was a way of satisfying their existing fans and perhaps adding on some new ones.
Frank Sinatra, Dean Martin, Sammy Davis Jr, Tony Bennett, Andy Williams, Al Martino, Perry Como all tackled contemporary material with varying degrees of success.
And, the Four Freshmen do that here …
… some twenty years after they started in music.
“The Four Freshmen is an American male vocal band quartet that blends open-harmonic jazz arrangements with the big band vocal group sounds of The Modernaires (Glenn Miller), The Pied Pipers (Tommy Dorsey), and The Mel-Tones (Mel Torme), (Artie Shaw), founded in the barbershop tradition. The Four Freshmen is considered a vocal band because the singers accompany themselves on guitar, horns, bass, and drums, among other instrumental configurations”. https://en.wikipedia.org/wiki/The_Four_Freshmen
“The group's roots go back to the end of the 1940s and a barbershop quartet-influenced outfit called Hal's Harmonizers, organized at the Arthur Jordan Conservatory of Butler University in Indiana by two brothers, Ross and Don Barbour. Their repertoire centered on standards such as "Moonglow" and "The Christmas Song," and they began to show an unusually free, improvisational approach to their harmony singing. A couple of membership changes brought Bob Flanigan, a cousin, into the fold alongside Hal Kratzsch, and suddenly the Four Freshmen were assembled in all but name, and that fell into place a little later” https://www.allmusic.com/artist/the-four-freshmen-mn0000071336/biograph
Although often regarded as a pop group, the Four Freshmen were basically a jazz quartet.
“Flanigan in particular was a good jazz trombonist, his style rooted in those of Kai Winding and Milt Bernhart of the Stan Kenton band. And the singers admired the Kenton band's precision and drew elements of his band's arrangements into their own repertoire. "We all think in instrumental terms," said Flanigan. "I think of singing lead as I would play it on trombone sitting in the Kenton trombone section. When we started we were all Kenton fans and everybody who's been in the group since then has been a Kenton fan." … In 1950 Kenton heard one of the Freshmen's concerts in Dayton, Ohio and was so impressed that he enthusiastically recommended the four to his record company, Capitol. Their first big hit came in 1952 with "It's a Blue World", followed by "Day By Day" and "Graduation Day"; they also sold a substantial number of albums”.
The group subsequently toured with Kenton.
Kenton was an innovative bandleader and composer as were the Freshmen who sang in “open” harmony with an unusually free, improvisational approach to their harmony singing. I’m no vocal expert but “open harmony” is, what “close harmony” isn’t …
“Close harmony is an arrangement of the notes of chords within a narrow range, usually notes that are no more than an octave apart. It is different from open harmony or voicing in that it uses each part on the closest harmonizing note (such as C4–E4–G4), while the open voicing uses a broader pitch array (like C3–G3–E4) expanding the harmonic range past the octave”. https://en.wikipedia.org/wiki/Close_and_open_harmony
They recorded around 36 albums, and released double that in singles, in a 25 year, or so, period.
“The Four Freshmen had several moderate hits during the years 1953-56, including "It Happened Once Before," "Mood Indigo," "Day by Day" and "Graduation Day." The group entered the LP era in the late '50s with several album hits, including their instrument series (Four Freshmen and 5 Trombones, 4 Freshmen and 5 Trumpets, etc.). Though Don Barbour left in 1960, the group kept on going with replacements, with Bob Flanagan becoming the only original member still left after Ross Barbour's departure in 1977. In one form or another, the Four Freshmen continued to tour into the 1990s”. John Bush in
They were extremely influential, immediately on other trad pop “four” bands who were usually straighter musically: the Four Lads, the Four Aces, the Four Preps but also The Harptones, The Hi-Los, The Hilltoppers, Les Double Six of Paris, and later the Lettermen and the Manhattan Transfer. They also had an influence on rock and pop bands like The Mamas and the Papas, Spanky and our Gang, the Four Seasons, and, most famously, on Brian Wilson of the Beach Boys, who would, as a kid, go and see their shows (he later sung their praises, both literally and figuratively).
With the Beach Boys, you can hear Chuck Berry’s guitar in their rhythm, you can hear Elvis’ voice in the timbre of their vocals, but the vocal construction and arrangements are something they have taken from the Four Freshmen and trad pop not from rock. Elvis’ vocals and vocal backing (The Jordanaires, The Sweet Inspirations, J.D. Sumner and the Stamps) was from a different place altogether, from white and black southern gospel, not from Tin Pan Alley.
The Four Freshmen formed the bridge between '40s ensembles like The Mel-Tones and harmony-based rock & roll bands such as the Beach Boys.
It was on albums, though, “that the quartet also showed itself to be a very smart outfit, not just in musical terms but logistically as well. Rather than simply doing any 12 songs that might have been working well in its stage act, the group made these releases into conceptual works, either musically (built around the sounds achieved by combinations of the group's sound and specific accompaniments, such as Four Freshmen and 5 Trombones, Four Freshmen and Five Guitars, etc.) or as thematic arrays of songs (such as Voices in Love and Voices in Latin)”. http://www.singers.com/group/Four-Freshmen/
For a while (up till the mid-60s) The Four Freshmen (and other mid-level trad pop acts) managed to stay competitive with rock acts but the rapid changes in music overtook them (as it did even newer acts from half a decade previous) meaning they weren’t on the cutting edge of music, commercially or artistically, and ended up in the (much maligned) easy listening section of the record store.
But the music was still being made and there was a market.
Only in the 50s, 60s, and 70s, could you get away with this music, albeit, with marginal sales.
Outside the novelty song the hostile mainstream musical environment of today doesn’t allow for musical shadings from the past, retro or old sounds.
But in the 60s the market was treated as one big market and you could have trad pop, sitting next to rock and country on the same compilation.
The music may make you chuckle, or may annoy you, when you when the act attempts a wrongheaded cover of one of your favourite songs. Perhaps though, instead of thinking, “this is awful”, you may put yourself in the shoes of four middle aged doing a Beatles, Box Tops or Sly and the Family Stone song …
Was it for love of the song, or for money, or for a bit of both?
It doesn’t matter.
If music is entertainment, as I would say it is, and a large percentage of it must be then there is room for this.
Not every song has to be a bic lighter in the air or something that “moves” you or “changes your life”.
Some things can just entertain, ease the mind or make you tap your toe.
There has to be room for entertainment.
And, a trad pop, easy listening or exotic cover of a rock tune is always going to be more interesting than just another straight rock cover, isn’t it?
It is to me.
Here the Four Freshmen have updated their harmonies to keep pace with a generation of rock and pop acts. They tackle contemporary hits with energy and a professionalism sometimes missing from their ragged rock friends. The songs are not looked down on and the vocal arrangements are sharp.
They sound like the Beach Boys singing easy listening jazz.
The album is arranged, conducted and produced by American jazz pianist and songwriter Mike Melvoin who was born in 1937 so was more in tune with what was going on, perhaps. The musical arrangements are at a crossroad between trad pop and late 60s funk (the lines notes namecheck Blood Sweat and tears and Chicago (Transit Authority). At times the vocals are rivalled sonically by the instrumentation, but, that perhaps was asign of the electified pop times of the late 60s.
This is big sounding but still easy on the ears.
My secret fantasy, well, one of my secret fantasies, is to have a coffee shop / bar that only plays trad pop and easy listening covers of rock and pop tunes as background.
Now that is chill out music.
Tracks (best in italics)
Side One
- It's Not Unusual – (Gordon Mills-Les Reed) – Tom Jones’ 1964 hit (#10US, #1UK). An insistent funky back beat is more full and lush than in the original (and perhaps better). This is an excellent version.
- Ob-La-Di Ob-La-Da – (John Lennon – Paul McCartney) – The Beatles nonsense song, released as a single all over the place, though not in the US or UK. Marmalade had a #1 with it in the UK. The material suits trad pop though the vocals aren't all that adventurous.
- Faces – (Matthew Moore) – This is a bit more obscure. Matthew Moore is an American singer and songwriter who played in the group “The Moon” from 1967 to 1969, and with whom he recorded two albums. This is off the "Without Earth" album (1968). Not too bad but low key.
- A Man And A Woman – (Francis Lai, Jerry Keller, Pierre Barouh) – From the hit French film of the same title (1966). The theme song became quite popular. Lyrics were added by Barouh, I assume the English translation is by Keller. The right amount of joyous bombast.
- Cry Like A Baby – (Dan Penn, Spooner Oldham) – the Box Tops #2 US hit from 1968. Frantic and perhaps not right in mood.
- Bitter Honey – (Paul Williams, Roger Nichols) – Another obscure one. Sunshine pop, co-written and recorded by Paul Williams for his group "The Holy Mackeral" (1968). There is also a cover from 1969 by The Four Fuller Brothers. Great fun.
Side Two
- Everyday People – (Sylvester Stewart) – a #1 US hit for funk pop Sly and the Family Stone in 1968. Wonderful and a song that captures the essence of the original.
- Memphis – (Chuck Berry) – Chuck Berry released this in 1959 but it charted in the UK (#6) in 1963 at the same time as UK group "Dave Berry and the Cruisers" #19 UK hit. Johnny Rivers’ version of the song was a #2 US hit in 1964 and Elvis recorded it in 1963 (released 1965). Another winner, Staccato-ish vocals with a jazzy organ and funky horns.
- A Time For Love – (Johnny Mandel, Paul Francis Webster) – First recorded by Jackie Ward (1966) the song was written for the movie "An American Dream" (1966) for which the writers received a Best Song Oscar nomination. Although the song never charted, it has been covered by many jazz musicians, including Vic Damone and Tony Bennett (both 1966). Haunting though it would have worked more as a solo song (though there is a partial solo lead here)
- Put A Little Love In Your Heart – (Jackie DeShannon, Jimmy Holiday, Randy Myer) – Jackie deShannon’s #4 US hit from 1969. Very good.
- I Will Wait For You – (Michel Legrand, Norman Gimbel) – this is the English version of "Je ne pourrai jamais vivre sans toi", a song from the French film musical “The Umbrellas of Cherbourg” (1964). The English lyrics of the song were written by Norman Gimbel which was nominated for the Academy Award for Best Song at the 38th Academy Awards in 1966. The song has been covered by many vocalists including Bobby Darin, Trini Lopez, Connie Francis, Frank Sinatra and Johnny Mathis (all 1966), The Walker Brothers, Andy Williams (both 1967), Chris Montez (1968).
- Hey Jude – (John Lennon – Paul McCartney) – the Beatles US, UK (and pretty much worldwide) #1 hit from 1968. Good with insistent big horns and vocals. It's strange how many covers of this song go for the bombastic approach (which the original only hinted at). This has more in common with the Tom Jones (1969) and later Elvis (1972) versions than the Beatles original.
Song Links
It's Not Unusual – https://en.wikipedia.org/wiki/It%27s_Not_Unusual
Ob-La-Di Ob-La-Da – https://en.wikipedia.org/wiki/Ob-La-Di,_Ob-La-Da
Faces
A Man And A Woman
Cry Like A Baby – https://en.wikipedia.org/wiki/Cry_Like_a_Baby
Bitter Honey
Everyday People – https://en.wikipedia.org/wiki/Everyday_People
Memphis – http://en.wikipedia.org/wiki/Memphis,_Tennessee_(song)
A Time For Love – https://en.wikipedia.org/wiki/I_Will_Wait_for_You
Put A Little Love In Your Heart I Will Wait For You –https://en.wikipedia.org/wiki/Put_a_Little_Love_in_Your_Heart
I Will Wait For You – https://en.wikipedia.org/wiki/I_Will_Wait_for_You
Hey Jude – https://en.wikipedia.org/wiki/Hey_Jude
And …
Undervalued and perfect for parties … I'm keeping it.
Chart Action
Nothing no where.
Sounds
Complete album
Side One
https://www.youtube.com/watch?v=y_37_jJeVXs
Side Two
https://www.youtube.com/watch?v=Rly6lvf71VA
Everyday People
mp3 attached
Others
https://www.youtube.com/watch?v=l4NafK3NFhA
https://www.youtube.com/watch?v=9IXD3coJtzY
Review
Bio
https://en.wikipedia.org/wiki/The_Four_Freshmen
http://www.singers.com/group/Four-Freshmen/
https://www.billboard.com/articles/news/467785/last-original-member-of-four-freshmen-dies
interview with bob Flanigan
https://www.youtube.com/watch?v=JM2OJzeGfFk
Website
https://t-rexsoftware.com/FFS/
https://www.facebook.com/TheFourFreshmen/
Trivia
- Performers, The Four Freshmen – Bill Comstock, Bob Flanigan, Ken Albers, Ross Barbour
- “Vocal music is a type of music performed by one or more singers, either with instrumental accompaniment, or without instrumental accompaniment (a cappella), in which singing provides the main focus of the piece. Music which employs singing but does not feature it prominently is generally considered instrumental music (e.g. the wordless women's choir in the final movement of Holst's The Planets) as is music without singing. Music without any non-vocal instrumental accompaniment is referred to as a cappella … Vocal music typically features sung words called lyrics, although there are notable examples of vocal music that are performed using non-linguistic syllables, sounds, or noises, sometimes as musical onomatopoeia. A short piece of vocal music with lyrics is broadly termed a song … Vocal music is probably the oldest form of music, since it does not require any instrument besides the human voice. All musical cultures have some form of vocal music”. https://en.wikipedia.org/wiki/Vocal_music
- “Barbershop vocal harmony, as codified during the barbershop revival era (1930s–present), is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the melody, the bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or baritone, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created. One characteristic feature of barbershop harmony is the use of what is known as "snakes" and "swipes." This is when a chord is altered by a change in one or more non-melodic voices. Occasional passages may be sung by fewer than four voice parts”. https://en.wikipedia.org/wiki/Barbershop_music
- “It's an astute characterization. It has been repeatedly documented how strong an influence on Brian Wilson The Freshmen's harmonies were. As Wilson put it, "I got so into the Four Freshman…I worked for a year on the Four Freshmen with my high-fi set. I eventually learned every song they did." By the same token, the sound of the Beach Boys, the music of the Golden State at its peak, is something the Baby Boomers grew up on, even if they never really focused on standards, much less jazz. That demographic—the Boomers— is now a prime target for the Freshmen. They can focus on their sound and its traditional close harmonies without being wedded to a particular genre or to an audience that has now largely disappeared. As if to close the circle, Wilson still drops by Freshmen appearances when they are in Southern California. The Freshmen return the favor by adding their cover of "Little Surfer Girl." It's an ingenious way of summarizing a half century of the group's history”. https://www.allaboutjazz.com/the-four-freshmen-tradition-and-innovation-in-a-new-century-the-four-freshmen-by-richard-j-salvucci.php?pg=2
