It's great that vocal harmonies seem to be making a big comeback, with people like Laura Mvula whose single 'Green Garden' is from the album 'Sing to the Moon' out in March 2013. Flash mobs are breaking out all over the place and choirs are sprouting up all over the country.
Doo-wop, or barbershop harmony with beat, is making a 'guest appearance' on Beyonce's new album; Aaron Neville's solo album, 'My True Story', celebrates doo-wop and the music of The Drifters and the Flamingos. Meanwhile in Britain the Overtones (a 5-part harmony group from England, Ireland and Australia) and the Magnets are enjoying success. The Swingle Singers were started in Paris by Ward Swingle in the 60s, moved to London in the 70s and continue to rejuvenate year in year out.
Doo-wop developed in African American communities in the 40s, and was widely popular by the 50s; it had a high tenor lead and a talking bass, simple rhythm and lyrics, with nonsensical syllables. Acapella groups on street corners imitated instruments with onomatopeia ; brass was mimicked with doo wop wop. Early exponents were Bill Kenny and the Inkspots (My Prayer) closely followed by the Mills Brothers (You Always Hurt the One You Love).
In the late 40s and early 50s were the 'bird groups', The Penguins, The Swallows, The Ravens, The Crows, The Larks, The Orioles, who developed the doo-wop sound. In the 50s doo-wop groups helped usher in the rock and roll era, when 'Gee' by the Crows and 'Sh-Boom' by the Chords, two big rhythm and blues numbers by vocal harmony groups, crossed over into the pop music charts. In 1955 'The Great Pretender' by the Platters reached number one.
Mark Crawshaw from the Overtones reckons doo-wop and acapella are going to be around for some time - let's hope so!
No comments:
Post a Comment