Read an Excerpt
Music's Golden Frontier
A Retrospective on the ingathering of popular music in the late 20th century.
By Smitty Herron
AuthorHouse
Copyright © 2010 Smitty Herron
All right reserved.
ISBN: 978-1-4520-4945-8
Chapter One
At My Front Door
Because there is no beginning, there is no end to the music (or the boogie ... so says Ronald Bell of Kool & The Gang). And it's the truth. I mean, like, who, or what was the first creature to appear on the planet.? Was it Adam? Or maybe a dinosaur? Whatever it was, the first sound that it made was no doubt the beginning of music. Anyway, we'll save that particular history lesson for another time.
Of course, every musical era, or trend, had to come from something before. That being said, I feel that the popular American music created between 1945 and 1979 will go down as the greatest ever. As many of you music lovers know, the categorizing, or "pigeonholing" of certain music styles and artists is both necessary, and also pointless. Anyway, in this book we'll be dealing with some Jazz, Blues, Country, Latin, Folk, Rock, Pop ... but the primary focus will be on R&B / Soul. And specifically the things that led up to and completed what I (and Dick Clark, by the way) consider to be the best decade of music ever ... the'70s , specifically 1969 thru 1979 (yeah, yeah ... I know that's actually 11 years, but this is my book and I'm stickin' to my story). I admit I'm kinda biased, but I'm definitely not the only one. Yes, lord. Us baby boomers have witnessed and been involved in some of the greatest creations ever.
My earliest memories are of when I was the age of about 18 months (late 1955). My parents, my sister and I were living in an apartment at 3800 Hayes Street, N.E. - The Mayfair Apartments in Washington, D.C.. There was a radio in the hall that my sister always seemed to have tuned to 1390 WEAM (I can still hear the jingle playing). The first song I ever remember hearing, it sounded like the vocalists were singing "A crazy little robin comes hop-hop-hoppin' along". Years later I found that the lyric was actually "Crazy little mama comes knock-knock-knockin". That recording was entitled At My Front Door by The El Dorados. A classic, vintage rock & roll song, but kind of chauvinistic by today's politically-correct standards. So If I am a chauvinist pig, it's all my sister's fault. And my cousin Shannon's too. She was always hangin' out with her.
You know, it seems that all major American music crazes follow the time line of the turning of the decade- but the musical trend doesn't receive it's title or "stamp of approval" until about 4.79 years later. Almost like it takes that much time for it to be fully accepted into the mainstream.
Good examples of this are vintage rock & roll (1954) and the disco "era" (1974). As early as 1950, performers like The Swallows, The Orioles, Big Mama Thornton were pushing this new rock & roll sound. But it was Chuck Berry's Maybelline in 1954, and Gee by The Crows, soon followed by Bill Haley's Rock Around The Clock that secured the beginning of the "vintage" rock & roll era.
As far as the 70s "disco sound" is concerned, we can pinpoint the summer of 1971 and Isaac Hayes' Theme From Shaft as a somewhat slight beginning (mainly because of the heavy use of the "high-hat" cymbals), but more specifically, the O' Jays Backstabbers album ('72) as the forerunners. These are probably the first two recordings, at least on a national level, to feature that "tshhh.....tshhhh .....tshhhhh" sound coming from that high-hat cymbal, which later became a major component of "disco-style" music. It's all in the highhat, baby. And there was another major contributor from the west coast during this period - Barry White. However, the tri-state area (Philly, Jersey, New York City) was the core of this new sound & attitude. And it wasn't until 1974 that the actual disco sound and lifestyle exploded. I refer to this as the "disco era" and not just simply "disco". When people think of the 1970s, they may immediately think of only one particular style of music. That's understandable, because it was the primary sound being played at the time. But you've got to realize - there were so many other styles then, of music and other artists that had a renaissance at that point in time. And all of it, from bluegrass ......to hard rock .....to soul, were all a part of each other, simply because it all occurred during the same time period. Like Willie Nelson's Red Headed Stranger album, and folks like Bruce Springsteen, Steely Dan, Doobie Brothers, Atlanta Rhythm Section, Dolly Parton. This country was once again ready for something to ease the problems of the day. And popular music again became the hero of the times. So many performers getting their boost during this period, whose music was played in discoteches, however, they could not be considered "disco groups". A perfect example of this is the Eagles. Their first hit, Witchy Woman, was released in 1972. And they pretty much stayed on top until their initial break up in late 1979. The years '72 through '79 are just about an exact timeline of the "disco" era. No coincidence there. And some other major artists that had a "renaissance" during this period were - The Rolling Stones, Neil Sedaka, Donald Byrd. Once again, what goes around, comes around. Some of the 1960s performers that had a direct rebirth into the actual "disco style" of music were Lou Rawls, Bee Gees, O' Jays, Four Seasons.... to name a few. All I'm trying to say is that the 70s, specifically 1974 thru 1979, might be the last great music "rush" of our lifetime. Superb music of all genres comin' at us in rapid-fire fashion. Even classical music got in on the act (Nadia's Theme from the 1976 Olympics). Ooooohh. Watch out - don't let me get started, now.
As mentioned earlier, the actual "disco style" of music, had its roots planted long before '74, but the official disco "era" , and "lifestyle" began in late January of 1974, and we'll get into more of that later.
Seems like it always takes some kind of negative / depressing event to bring about the best creativity in people. For the 1960s, it was the Vietnam war, riots, assassinations and protests. For the disco era, it was Watergate. You know, I bet they first used the term "disco" the day Nixon left office. Hmmmm...... but we'll get to more of that a little further on. 'Cause right now - all I really wanna know is........
Chapter Two
Betty Boop & Hoola Hoops
Who in the world started this mess. It's all the blues no matter what they say. But they tell me that the first time "rhythm & blues" was actually used as a description of a musical style was around 1945 (....wow..... the first baby boomer year.....).... and they were describing the music of Louis Jordan, and Lionel Hampton. Of course, Ella, Frank and Louis were continuing to reign supreme on the jazz / swing side of things. But I know that the folks who lived through that era felt something dynamic taking shape. Yes, the changes were coming. Even though the vintage rock & roll sound was being created in the mid to late 40s, the term rock & roll wasn't even uttered until about 1954-55 (well, at least nationally). And there were so many unheralded artists that paid some hard-core dues that never got enough credit, like The Orioles, The Swallows, Ink Spots, Bobby Helms, The Duprees, The Videos, Johnny Otis, The Penguins. What was old shall become new again. Can't talk about the early days of vintage rock & roll without mentioning the songwriters Jerry Leiber & Mike Stoller. Of all the great r&b songwriters of that time, they no doubt stand head and shoulders above the rest. They were also the best recruiters of the most exciting talent of the day. They wrote hits for Clyde McPhatter, The Drifters, Coasters, Clovers, and Elvis - to name a few.
And speaking of the Coasters / Robins, that really strikes a chord (no pun intended) for people like myself who grew up in the 1950s. That group just about set the standard for comical r&b harmony. It seemed to fit right in with the Betty Boop cartoons, Cap'n Tug, & Rin-Tin-Tin. And also those Wilkins Coffee commercials that featured the puppets "Wilkins & Wunkins" (that's where Jim Henson got his start.....long before he created The Muppets). Those things , along with The Coasters, were so, so hilarious. Especially for young kids . It was later in life, listening with an experienced ear, that I realized how tight those Coasters vocals were. Once you got past all the clowning around that was on the surface, those are some of the tightest vocal harmonies ever performed. And remember, this is only one of the acts that Leiber-Stoller wrote for. Truly amazing.
The human being is still the most amazing machine that will ever be created. How can so much creativity pounce upon us all at one time? It's almost as bad as listenin' to my sister go off when she talks about the renaissance of the Medieval / Middle Ages....how a literary work would sweep Europe so fast, like a storm- everybody so into it. I'm just soooo thankful that I got to live and witness the greatest music of all time (in my biased opinion). Elvis may be the king, but Chuck Berry is definitely the father. They weren't even using the term "rock and roll" when Chuck began writing and pumping out all those early hits. But you know, gotta give Elvis his due too. He knew that the blues came here from the shores of west Africa, then through southern black Baptist churches, by way of the Mississippi delta. He realized he had to cross those tracks near Beale Street in Memphis to get the real deal. He knew in his heart the roots of all the music he was cashing in on. Too bad it couldn't be front page news in the 1950s. But that's alright. The people who know their blues, who know their music, they know the difference between what's real, and what they have to temporarily tolerate. I swear, it seems like everything that happened before 1960 is ancient history, everything that happened after 1969 is the modern era.
Great god almighty. Forgive me Ma..... but that's exactly how I feel right now....and I'm definitely not using his name in vain. But just get a glimpse of this. In the mid-50s, not only were we getting hammered by the likes of .... Bobby Day, The Platters, The Flamingos, Moonglows, Five Satins, Shirelles, Dinah Washington, Big Joe Turner, Coasters, Peggy Lee, Drifters, Little Richard, Elvis, Chuck Berry, La Verne Baker......but, also, ......we were getting absolutely slammed by the first super group in American music history. For 18 months, Feb. '56 through the summer of '57, The Teenagers, featuring Frankie Lymon, were the undisputed kings of this "new music". They took us on a ride that will never be equaled...... And on some distant radio.... you might hear James Brown's first release of "Please, Please, Please"......
or maybe..........The Dells, Bobby Rydell, Santo & Johnny, Carl Perkins, Jerry Lee Lewis, Bobby Darin, Johnny Mathis, Del Shannon, Danny & The Juniors, Shep & The Limelights.
Have mercy.
And hey ... let's give a strong welcome to Alaska ............ and Hawaii (with those hula-hoops).
Sometimes I wonder..... how many three-minute songs can a person listen to in a lifetime.
Chapter Three
Transition..... 3 minute magic
Maybe that was a major part of the magic. Most of those pre-1970 songs (the singles) had those commercial time restraints on them. Had to definitely keep them under three minutes. Even the songs that were only half-good left you wanting more. Never wanted it to end. Almost as much fun as sitting on that kiddie-platform-box thing as you rode with your mom on that streetcar. I remember being fascinated, full of anticipation when I knew the conductor was about to get out and stick that long pole into the ground so that the streetcar would switch tracks properly. Wow. Talk about another time and place ... could even feel that situation changing as the 1960s approached. Riding those streetcars in the hot summer. No air conditioning. All the windows down. ...and hearing songs with strong Latin influences blaring from some alley across the way. Could have been Cuban jazz. Might have been Ritchie Valens. Whoever it was, it was good, and thank god those Cuban and Latin rhythms were getting injected into mainstream America.
When you think about the big picture, including music, politics, and everything in between, the 1960s have to be one of the most awesome decades in America's history. Are you sure it was only ten years? Seems more like15 or 20 stuffed into ten. Even as young as we were in 1959, we could feel something incredible was on the horizon. Turned out to be a combination of many things were just lyin' in wait to bust loose big-time. Always remember that the 1950s were the foundation for the great decade that was to follow.
And that everything comes back to a song.
How could anyone predict the level of all the changes that were to take place. And do you think Berry Gordy could foresee all that was going to happen after he took out that $500 loan? No way. At least not to the level it rose to. Sure, he probably prayed for it, but no one can predict that type of thing. Never before and never again will there be so many acts under one roof as the Motown Record Corp. The only other company that even came close was Atlantic. A classic example of never-say-die, never give up. In those early years of 1957, 58, & 59, Berry Gordy could have easily folded his tent and packed his bags. It might have been the least-known record company during those early years. But it seems like he, and Smokey, had an unstoppable vision of creating a stable of the most top-shelf entertainers, musicians, and writers the world has known.
At the time, I was too young to attend the Motortown Revue shows that took place in the 60s. But I've heard my sister, cousins, and others tell of how all those acts.... The Temptations, Supremes, Smokey, Stevie, Marvin, Four Tops.....etc...... would all come onto that stage at the old Howard Theater and turn the joint right out. And not only that, ..........most of the time they would put on two and three shows the same day (I also heard rumors of occasionally 4 shows..... and I don't doubt it). Mighty, mighty Motown. Truly the sound of young America.
Chapter Four
Not Knowing When To Leave Can Be A Good Thing
As if anybody wanted to hear more of that doo-wop stuff once 1960 rolled around. Time for new things, you know. But there were a handful of groups / writers that hung around a few years more to squeeze the last bit of doo-wop moisture out of that rag. The ones that come to mind immediately are Blue Moon by The Marcels ('62) and Deep Purple by Nino Tempo & April Stevens ('63). However, the main one, in my opinion, might actually go down as one of the greatest doo-wop classics ever. If it was released in the 50s, it would probably be considered the greatest ever vintage rock & roll song . The one-and-only Gene Chandler of Chicago co-wrote his big hit Duke Of Earl in late '61. I have a ton of favorite songs, and this one is without doubt somewhere in my top ten. The song was especially important to thrusting the Chicago r&b music scene to the top, alongside Detroit, and New York. It's ironic that Curtis Mayfield didn't have a lot to do with the creation of Duke Of Earl, since he is the backbone of Chicago r&b.
Songs like The Twist, Duke Of Earl, Please Mr. Postman, Calendar Girl were playing on transistor radios & hi-fis everywhere in the early 60s. But somewhere in the background, in the shadows, Curtis was developing an outstanding group of talented artists, and polishing up some of the most outstanding song writing we've ever heard. I remember my father having an Impressions album (featuring Curtis Mayfield and Jerry Butler) at the house. Usually he would only listen to classic jazz / swing like Ella, Frank, Satchmo. So when he brought something home from teenage performers like The Impressions, I knew it had to be good. Even though I was around six years old at the time, I knew his taste in music was superb. Walking around the apartment at Mayfair with so many important issues on my mind.... like playing with my dog, hoping I could finish my first grade homework quickly so I could play outside for a bit....... I wonder what ma is fixing for dinner tonight.... then.........then........ I just about froze in my tracks ; what ever I did right after that became secondary.
(Continues...)
Excerpted from Music's Golden Frontier by Smitty Herron Copyright © 2010 by Smitty Herron. Excerpted by permission.
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