revisionist doo-wop

Message Bookmarked
Bookmark Removed
Not all messages are displayed: show all messages (107 of them)
There's a guy at Wesleyan University named Matt Bauder who, at least part of the time, plays and records doo-wop songs - faithfully, but with the addition of more textures and playful details than a traditional band would generally have gone for.

I've only seem him once, in Ann Arbor, and I don't know what sort of recordings he has. But I swear by the awesomeness of that one show.

ben tausig, Thursday, 1 July 2004 16:06 (9 years ago) Permalink

(In case no-one realized, that was a picture of Solomon Linda I posted way up there.)

nabisco (nabisco), Thursday, 1 July 2004 16:32 (9 years ago) Permalink

doh

mig (mig), Thursday, 1 July 2004 19:00 (9 years ago) Permalink

nitsuh, I'm relieved at least you have resisted the random picture posting virus to which so many of us have succumb at one time or another.

Rockist Scientist, Thursday, 1 July 2004 19:06 (9 years ago) Permalink

(Sorry about the name there, I was on automatic.)

Rockist Scientist, Thursday, 1 July 2004 19:07 (9 years ago) Permalink

To back up to another aspect of this thread: at the same time as the late sixties-early seventies revisionist doo-wop trend that amateur!st notes (Zappa/Ruben & the Jets/Persuasions, Pete Wingfield, 10cc, Elton, Sha Na Na, many-many others), the art form was very much alive in the traditions of Phillie and Chicago vocal soul groups. Old doo-wop groups like the Dells and the Tymes were still having hits, not to mention the Chi-Lites, O'Jays & such ruling the charts. Any vocal group worth its salt at the time had a doo-woppin' bass singer in the background.

P-Funk, as an outgrowth of the Parliaments, was and remains very doo-wop based.

Favorite nouveau doo-wopper of mine to search for: The Tymes' "You Little Trustmaker." The "doobie-doobie" bass part used to knock me out as a kid. Nowdays when I listen to it I imagine I can hear the exact moment when doo-wop vocal soul morphed into disco.

briania (briania), Thursday, 1 July 2004 19:25 (9 years ago) Permalink

5 years pass...

who is/was "mig" -- his/her posts here are wonderful.

amateurist, Sunday, 9 August 2009 10:11 (4 years ago) Permalink

also where can i find these matt bauder doo wop tunes?

amateurist, Sunday, 9 August 2009 10:14 (4 years ago) Permalink

there were a lot of bands in the new york punk and postpunk orbit that were fascinated by all things 50s and early 60s that pulled what to me are an astonishing number of doo-woppy moves but to them may have simply been basic tools of rock and roll, if a bit kitsch

am thinking of Bomp! Records, the Aural Exciters, people like that

Tracer Hand, Sunday, 9 August 2009 10:58 (4 years ago) Permalink

Interesting thread. I might be wrong, but I've always assumed that the early '60s doo-wop revival (concurrent btw with the 1962 "oldies weekend" depicted in American Graffiti) was mainly a Belmonts-spurred white Italian thing, what with Vito and the Salutations and all. Am I wrong about that?

Also, a couple records people haven't mentioned here are the Belmonts' great 1972 comeback-w/o-Dion album Cigars Acapella Candy (which Greil Marcus put in his top 10 of the decade) and the 1982 compilation Everything Old...Is New Again on the (I assume only briefly extant) doo-wop revival label Ambient Sound, on which four or five new or revived or never-disbanded doo-wop groups each did an original song and covered a song by a current performer like Jackson Browne or REO Speedwagon ("In Your Letter," as much as doo-wop homage as the Billy Joel one mentioned above) or Joey Ramone ("Doreen Is Never Boring," which I'm pretty sure he wrote for the occasion.) Some or all of the groups each put out their own full albums on the label as well. The comp (which I used to own and wish I still did) and one or two of the single-group LPs made a couple critics' top ten lists that year, then were never much spoken of again, as far as I can tell.

Nostalgic doo-wop references show up through a lot of '70s and '80s pop and country music too. Here's something I wrote on the Rolling Country thread earlier this year, about the Every Which Way But Loose soundtrack, from 1978:

There's another "instrumental" that actually consists of doo-wop voices, not unlike the doo-wop homage toward the end of the Move's rocking nine-minute "Feel Too Good" off their fun 1971 Looking On LP. Makes me think somebody should do an EMP project on ironic/nostalgic doo-wop homages on '70s non-doo-wop records someday. (Though not me.)

Years later there's also Grizzly Bear, who some fans seem to claim are "doo-wop influenced," though (hater that I am) I don't hear that at all myself.

xhuxk, Sunday, 9 August 2009 14:04 (4 years ago) Permalink

i have some of those ambient sound LPs, e.g. two by the jive five. there was a CD-era comp too, a reissue of the best stuff, but i imagine this too is OOP. these LPs get very warm reviews in one of the dave marsh-edited volumes of the rolling stones record guide. this inspired me to buy them. they are just OK, the highlight being the jive five's excellent and surprising version of steely dan's "hey nineteen."

but these albums are contrary to the spirit of "revisionist doo wop" as i tried to define it upthread. they are extremely sincere, straightforward, sensitive "updatings" of the classic sound. there is nothing distanced, impish, ironic, faintly over the top about them.

i don't know if i ever stated this pithily upthread, but what interests me most are the doo wop pastiches by '60s rock acts who are identified with the counterculture -- since as soon as these start cropping up, i think a line is drawn, across which there is no going back and forth. maybe this is obvious? it seems one interesting barometer of some larger changes, i guess.

i can hear the grizzly bear thing, but frankly it seems more just a beach boys-esque interest in vocal harmony. doo wop has a very limited and identifiable set of chord structures that they don't seem very interested in.

amateurist, Sunday, 9 August 2009 15:45 (4 years ago) Permalink

here's a great 1982 article by robert palmer about the ambient sound phenomenon:

http://www.nytimes.com/1982/05/23/arts/doing-all-right-by-doing-doo-wop.html

amateurist, Sunday, 9 August 2009 15:47 (4 years ago) Permalink

and here's the ambient sound CD, for about $5: http://www.amazon.com/YOURE-YOUNG-TWICE-Ambient-Doo-Wop/dp/B000NYXE4M

amateurist, Sunday, 9 August 2009 16:04 (4 years ago) Permalink

anyone else remember this nickelodeon spots with the voice of the jive five's eugene pitt?: http://vimeo.com/2703001

amateurist, Sunday, 9 August 2009 16:15 (4 years ago) Permalink

Ben Tausig posted on ILX??

jaymc, Sunday, 9 August 2009 16:32 (4 years ago) Permalink

ben tausig wrote a really awful and uninformed hatchet piece about alan lomax when the latter died. frankly tausig seems like a pretentious poseur.

what i want to know is who is mig?

amateurist, Sunday, 9 August 2009 16:45 (4 years ago) Permalink

A Russian pilot?

Didn't the Ramones write a song for one of those Ambient records, "Doreen Is Very Boring" or something like that?

Horace Silver Machine (James Redd and the Blecchs), Sunday, 9 August 2009 16:57 (4 years ago) Permalink

yes

amateurist, Sunday, 9 August 2009 17:03 (4 years ago) Permalink

ben tausig wrote a really awful and uninformed hatchet piece about alan lomax when the latter died. frankly tausig seems like a pretentious poseur.

Haha, okay. I've never read any of his music writing, but he's one of the main reasons I got into crossword construction, so.

jaymc, Sunday, 9 August 2009 17:18 (4 years ago) Permalink

Ah, "Doreen Is Never Boring."

There was also a thread about Songs That Use The Doo Wop Progression" but I can't find it.

Horace Silver Machine (James Redd and the Blecchs), Sunday, 9 August 2009 17:20 (4 years ago) Permalink

Sorry, that thread is gone, must have been sandbox or 17 days stuff.

Don't know who mig is. Maybe Michael (I?) McGonigal?

Horace Silver Machine (James Redd and the Blecchs), Sunday, 9 August 2009 17:28 (4 years ago) Permalink

On that thread I posted about the Love song "7 And 7 Is," which ends with a (nuclear) explosion and than a few seconds of ironic doo wop chords. As if in the post-apocalyptic wasteland, they would go back to basics and listen to doo wop.

Didn't Sha Na Na play at Woodstock? Before they become a joke. How does that figure into this?

Horace Silver Machine (James Redd and the Blecchs), Sunday, 9 August 2009 17:34 (4 years ago) Permalink

All I can find out about mig is that his real name is Mitch G., he's American, and he was born in 1973.

jaymc, Sunday, 9 August 2009 17:38 (4 years ago) Permalink

how did you find that out?

amateurist, Sunday, 9 August 2009 17:43 (4 years ago) Permalink

name's mitch g.

still looking for a good handle after being smacked by mitchlastname and i thought skinny jet name would be horrorshow.

― mig, Thursday, May 1, 2003 4:00 PM (6 years ago) Bookmark Suggest Ban Permalink

xmas eve eve, '96, 23 yrs old, that year i had been finally getting into the fall, they seemed more and more to be the rome towards which all my musical roads were heading [classic postpunk, 90s lofi and noise & shoegaze, 80s brit synth, 60s garage rock, and krautrock were my interests]. i lived in iowa and had a hard time finding their stuff, especially the good things - back then everything 77-79 was oop. anyway i met up with my family in sacramento for the holidays and spent a very long day on bus pilgrimage visiting record shops in sf. i ended up buying about $120 worth of fall cds, including perverted by language - and i played this first, cos it had the best title, cover art, and date [1983 being the link, supposedly, between their really gonzo stuff none of which i'd heard yet, and the more accessible late 80s stuff].

it was about 8 pm, i was supine up in a loft type area in my uncle's giant cedar cabin-mansion surrounded by govt. land, looking out the windows on 3 sides and ceiling to an endless maw of firs and the stars like bite marks. the first song [eat y'self fitter] was like an andy kaufman joke, alternately funny then not then funny again because it keeps going. its minimalist structure seemed like a narrow chute which i fell down into the harrowing see-the-bruise-colors-whirl-inside-your-retina crash of the next song, the neighborhood of infinity, which became, and still is i think, my favorite song of all time.

i don't really know why that song does it for me, but it just seems to be the most menacing, cryptic, razor-vined inca object at the heart of a borges story left in a jungle, too heavy to lift maybe, or explicative of the future death of someone i have never heard of. i had that feeling then, and still get it, of little chills; we all get this on songs we like a lot, and i get it stronger and more pleasurably with this than with anything else. i also get a sort of rush of dream-associations, like when you remember a face you saw in a dream you had the night before, and that makes connections for you.

― mig (mig), Thursday, July 22, 2004 6:00 PM (5 years ago) Bookmark Suggest Ban Permalink

jaymc, Sunday, 9 August 2009 19:01 (4 years ago) Permalink

Too bad he didn't choose an anagram of his name as his screen handle.

Horace Silver Machine (James Redd and the Blecchs), Sunday, 9 August 2009 20:17 (4 years ago) Permalink

I just started listening to Dawn of Doo Wop. Fantastic stuff. My favourite song is probably I Sold My Heart To The Junkman.

Nathalie (stevienixed), Sunday, 9 August 2009 20:32 (4 years ago) Permalink

Speaking of revisionism, isn't there a story about that, that The Bluebelles released a version that was actually recorded by somebody else?

Horace Silver Machine (James Redd and the Blecchs), Sunday, 9 August 2009 23:09 (4 years ago) Permalink

I am sooooo confused as to why jaymc reposted all that. Nice read, though.

Kevin John Bozelka, Sunday, 9 August 2009 23:20 (4 years ago) Permalink

If you have to ask...

Horace Silver Machine (James Redd and the Blecchs), Monday, 10 August 2009 15:34 (4 years ago) Permalink

Sha Na Na's woodstock performance is some crazy bullshit.

dat conehead beldar (Whiney G. Weingarten), Thursday, 13 August 2009 02:28 (4 years ago) Permalink

counterrevolutionary rocksteady

BIG HOOS's wacky crack variety hour (BIG HOOS aka the steendriver), Thursday, 13 August 2009 04:03 (4 years ago) Permalink

2 years pass...

we've discussed it, and it's less "revisionist" than "earnest homage," but let's face it this song is beautiful:

flesh, the devil, and a wolf (wolf) (amateurist), Monday, 7 May 2012 19:36 (1 year ago) Permalink

though are those really backup singers on the record or is that billy joel multitracked to infinity?

flesh, the devil, and a wolf (wolf) (amateurist), Monday, 7 May 2012 19:37 (1 year ago) Permalink

now that distance between that video and the present day is greater (!) than the distance between the video and the music it is paying homage to, the video and song has revealed itself to be just as authentically moving and beautifully crafted as many of the doo-wop records to which it was no doubt compared unfavorably in 1984.

flesh, the devil, and a wolf (wolf) (amateurist), Monday, 7 May 2012 19:38 (1 year ago) Permalink

also sudden unexpected nostalgia for those 80s music videos that actually had nice-looking, well-choreographed tracking shots and an editing rhythm that actually lets you see stuff, etc. see also

flesh, the devil, and a wolf (wolf) (amateurist), Monday, 7 May 2012 19:41 (1 year ago) Permalink

also christie (sp?) brinkley is stunning.

flesh, the devil, and a wolf (wolf) (amateurist), Monday, 7 May 2012 19:44 (1 year ago) Permalink

i dunno why but for some reason i'm expecting joe piscopo in jerry lewis getup to pop out at any moment in these videos.

Philip Nunez, Monday, 7 May 2012 20:15 (1 year ago) Permalink

it's a reasonable expectation.

flesh, the devil, and a wolf (wolf) (amateurist), Monday, 7 May 2012 20:47 (1 year ago) Permalink

1 year passes...

flesh, the devil, and a wolf (wolf) (amateurist), Tuesday, 11 June 2013 01:21 (10 months ago) Permalink

Jersey Al (Albert R. Broccoli), Tuesday, 11 June 2013 01:42 (10 months ago) Permalink

i guess i'd just rather listen to canned heat? (ian), Tuesday, 11 June 2013 01:52 (10 months ago) Permalink

thanking amateurist for reposting the Nickelodeon doo-wop interstitials... I missed the link upthread and they are great. I'm not sure if, as a kid, I really grokked that they were meant to be an homage to anything, as opposed to just, like, weird wacky music that fit the strange visuals. Maybe I did, though.

Doctor Casino, Tuesday, 11 June 2013 03:04 (10 months ago) Permalink

That Neil Young song is also great, wow.

Doctor Casino, Tuesday, 11 June 2013 03:04 (10 months ago) Permalink

There's a great section of the Ian Svenonius book about the line from street gangs through doo wop groups to rock groups

i don't even have an internet (Hurting 2), Tuesday, 11 June 2013 03:13 (10 months ago) Permalink

whoops

Jersey Al (Albert R. Broccoli), Tuesday, 11 June 2013 03:27 (10 months ago) Permalink

& toop briefly traced the line thru to hip hop

A brother group to The Jesters, and "equally fine" (Warner: 269) were The Paragons—"real hoodlums, real zip-gun, street-warring hoodlums", Paul Winley recalled to David Toop in 1984, "but at the time I was young and crazy myself, so it didn't make any difference". (Toop: 98) The Paragons Meet The Jesters (1959), with its street gang cover and vocal duels inspired by doo-wop's street corner singing battles and live show group competitions, was "one of the first rock and roll compilation LPs" (Warner: 231) ... Relic Records have collected Winley doo-wop on The Best of Winley Records (RELIC 5019) with liner notes by Donn Fileti detailing their lo-fidelity, almost ad hoc independent approach creating a valuable and unique New York sound. Quoting Fileti, David Toop makes the point that these are comments that can equally apply to Winley's hip hop output. (Toop: 99)

Winley Records resurfaced in the 1970s with a series of releases which—like the street corner practices of doo-wop foreshadowing those of hip hop (see Toop: Ch. 2)—would in their different ways presage the advent of commercially recorded hip hop even as that movement blossomed in the Bronx and spread to the streets of Harlem. Winley released a series of speeches by Malcolm X, tied into a tradition of black oratory and to be sampled a decade later by Public Enemy and others.

from the wikipedia page for winley records of "zulu nation throwdow" fame

time considered as a helix of semi-precious owns (zvookster), Tuesday, 11 June 2013 03:27 (10 months ago) Permalink

yeah he mentions the continuation to hip-hop as well. it's probably all based on what guys like toop write - he's not a sociologist or anything

i don't even have an internet (Hurting 2), Tuesday, 11 June 2013 03:28 (10 months ago) Permalink

don't the beatles do this again on "revolution 1"

time considered as a helix of semi-precious owns (zvookster), Tuesday, 11 June 2013 03:30 (10 months ago) Permalink

i guess i'd just rather listen to canned heat? (ian), Tuesday, 11 June 2013 21:11 (10 months ago) Permalink

so was kenny cool enough to come up with this intro? i want the facts.

scott seward, Tuesday, 11 June 2013 21:19 (10 months ago) Permalink

anybody got his home number? he'd probably just take credit for it even if he didn't come up with it. that bastard.

scott seward, Tuesday, 11 June 2013 21:20 (10 months ago) Permalink


You must be logged in to post. Please either login here, or if you are not registered, you may register here.