Cameo Parkway was the one major record label of the
rock & roll era to not see its material released on CD. The reason behind this is unclear.
Alan Klein, best known as the manager of
the Beatles and
the Rolling Stones in the late '60s, has owned the label since 1968, turning it into
ABKCO the following year. All throughout the big CD reissue boom of the late '80s and early '90s,
Cameo Parkway sat in the vaults while other reissues flooded the marketplace. This meant that big, big hits by
Chubby Checker,
Bobby Rydell,
the Orlons,
Dee Dee Sharp, and
the Dovells all remained unreleased, along with early recordings from
Patti LaBelle and a bunch of Michigan
garage rock, including
Bob Seger's first singles and anything by
the Rationals and the original recordings of
? & the Mysterians, including their classic
"96 Tears." Years passed and
Cameo Parkway stayed far away from CD, although collectors clamored for these sides, never forgetting that the label had never made it to digital disc. Just when it seemed like
Cameo Parkway would never make it to CD,
ABKCO suddenly and surprisingly released the four-disc, 115-song box set
Cameo Parkway 1957-1967 in May of 2005. This was a full 15 years after the peak of CD reissues and a full 40 to 45 years since the label's heyday -- a long, long wait to have this music reach CD. While there's an unquestionable sense of relief to finally have a
Cameo Parkway set -- better late than never and all --
ABKCO's box does seem as if it's arriving too late, as if it would have been better off if it were released during the days that
Specialty,
Atlantic,
Vee-Jay,
Phil Spector, and
the Brill Building all received comprehensive box sets in the late '80s and early '90s. Those labels and movements were captured in lavishly packaged sets -- either record-sized 12x12 boxes or book-sized sets, both with CDs housed in separate jewel boxes and large books, filled with photos, discographical details, and extensive liner notes. As appropriate for a box set released in the waning days of the CD era,
Cameo Parkway feels like a downsized set: four discs in cardboard sleeves crammed into a small CD-sized box. The cramped 43-page booklet has a good label history from
Jeff Tamarkin as well as pretty good notes concerning the release and chart details for each single, but there's a lack of photos and the musician credits are all presented in alphabetical order over the course of two pages, with no indication of who played on what. Since
ABKCO has done good work before, particularly on their
Spector box, it's possible that the market constraints of 2005 have led to this underwhelming packaging -- after all, big box sets just aren't made that often anymore, leaving lavish box sets as the province of specialty online outlets like
Hip-O Select.
So, looking at
Cameo Parkway, it's hard not to wish that it was released in 1990, when it would have gotten better packaging, and listening to the set provokes a similar desire: this is music that should have been reissued years ago. If it had been released during the boom years of CD reissues, it would not have arrived with the same set of expectations as it does in 2005. Because of the long delay, a sense of anticipation arrives with the set. There's an assumption that in addition to the big hits and classics that have never have seen release on CD,
Cameo Parkway will deliver a cornucopia of lost treasures, revealing the label as having a legacy as vast, influential, and formidable as
Specialty,
Atlantic, and
Vee-Jay. One listen to this four-disc set proves that not to be the case.
Cameo Parkway was, first and foremost, a label of its time. It could even be said that it defined its time, namely the years after
Elvis joined the Army and the years before the
British Invasion. This was the time that
rock & roll turned toward
pop music and dance crazes, and
Cameo Parkway provided the soundtrack, both out of design and good fortune.
The Philadelphia-based label shared a hometown with
Dick Clark's
American Bandstand, and when the television show went national, the label always had acts ready to appear on a weekly basis. Soon,
Cameo Parkway had two giant stars in
Chubby Checker and
Bobby Rydell.
Chubby, of course, rode
"The Twist" to number one not once but twice, helping to establish the label as a success. For a few years,
Checker and
Rydell had many hits, as did
pop-soul singer
Dee Dee Sharp and the
vocal groups
the Orlons and
the Dovells. In addition to these hitmakers, the label churned out anything they thought would hit the charts -- singles that sounded like other current trends (particularly
Motown), songs by Hollywood stars (most notably
Clint Eastwood's
"Rowdy"), wannabe dance crazes, instrumentals, answer songs, and
novelty records by the dozen. This fueled the label during their heyday, but they were knocked off track by the
British Invasion. They tried to recover by doing the only thing they knew how: throwing everything at the wall and seeing what stuck. This included licensing
the Kinks and releasing banished
Beatle Pete Best's
"Boys" (where he aped
Ringo Starr's vocals), trying to compete with
Motown on the
pop-soul angle, and, of course, more
novelty records, such as a
Bobby Kennedy sound-alike reciting
"Wild Thing." As the '60s passed the halfway mark,
Cameo Parkway founder
Bernie Lowe left, and the label carried on for a few years, recording such local
soul groups as
the Five Stairsteps and
the Delfonics and picking up a bunch of
garage rock out of Michigan, before folding at the end of the decade.
Cameo Parkway traces this entire history quite effectively, which might make it interesting as both nostalgia and a historical document, but that doesn't necessarily mean that it's filled with great music. Surely, there is a bunch of great music here -- of the earliest sides,
the Dovells (
"Bristol Stomp," "You Can't Sit Down"),
the Orlons (
"Don't Hang Up," "South Street"), and
Dee Dee Sharp (
"Mashed Potato Time") hold up very well and the last disc, which is basically divided between early
Philly soul and rampaging
Detroit rock, is by and large excellent (so good, it does raise the question of why
the Rationals were given only one song and why
Seger's terrific
"Persecution Smith" and
"Lookin' Back" were left behind in favor of the
Last Heard novelty "Sock It to Me Santa") -- but they're surrounded by singles that capture their time without transcending it. Some of this stuff is quite fun, but early into the first disc, the teenybopper
pop, cash-in instrumentals, and parade of
novelties starts to wear thin -- and that's even before
Chubby Checker comes along with his seemingly endless string of
"Twist" knockoffs, none of which have improved with age.
Checker's twists were hits, as were
Bobby Rydell's teenbeat tunes, but unlike the hit singles that came out on
Sun,
Atlantic, and
Motown in the late '50s and early '60s, they are not timeless music. That's unfortunately true of most of the music on
Cameo Parkway: it's music that is first and foremost music of its time. There are exceptions to the rule -- some of the
novelties are still fun, there are some good forgotten gems like
the Rays' jiving
doo wop tune
"Daddy Cool," and the Michigan
rock is fantastic, as are cuts by
the Delfonics,
the Five Stairsteps, and the aforementioned
Dovells and
Orlons sides -- but for the most part, this set is of interest to listeners who either grew up with the music or to the most serious
pop music archivist. For many listeners who waited patiently for these songs to come out on CD, it very well may be enough just to have this set out and on the market, but there will likely be just as many listeners who, given the long wait, expected something more musically substantial than what
Cameo Parkway ultimately had to offer. ~ Stephen Thomas Erlewine
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