TV Radio Mirror (Jul - Dec 1962)

ON THE RECORD 18 HOW TO RATE A RECORDING • From time to time, in my record reviews, I'll use the word "reading." This pertains to the lyric exclusively. The question of what is a good or bad "reading" is sometimes very difficult to judge. The criterion is generally: "How well is the story told?" But, strangely, it's not all that easy to judge. The tune, itself, if very well-known, can be deceptive; your brain already has the lyric laid out for you in front of each new phrase. Generally the artist, if a strong stylist (as opposed to a straight "singerof-songs"), takes these familiar surroundings as a green light to indulge himself or herself in musical stylizing. This is as it should be. But, unfortunately, here is where ambiguity steps in. The standard, like litmus paper, changes its color. Now it's "Well, I know the tune" — but what comes across more pointedly, now? Is the stylization so freely sprung that we begin to hear words of no primary value exploited at the expense of the vital parts of the lyrical message? Are the rhymes being obscured? Or, are we aware that the new colorings, no matter how stylistic, are instilling words with a new and perhaps fresher and deeper meaning? These are some of the questions to ask. Good "reading," incidentally, has never been the property of any one distinct branch of popular music. Sinatra, among the crooners, has repeatedly come up with marvelous readings. "Tennessee" Ernie Ford, in the country area, also reads exceedingly well. Nat "King" Cole, though strongly on the quiet side, is always considerate of the story he's telling. Ray Charles, in spite of his singular and personal style, rarely misses the mark. This list, I'm sure, comes as no great revelation to anyone! But, I've left off a multitude of story-telling talent. The highly stylized Dinah Washington and Sarah Vaughan always find ways, you'll notice, to make the story live. On the other hand, Vic Damone works closely with the melody but picks the words to shade, and always uses his dynamic range (from whispers to fullthroated tones) to advantage. There are, of course, singers who read well, but have a limited range of dynamics. Subsequently, they are pleasant but hardly exciting. But, here we move into the area of taste. And that, decidedly, is everyone's own business. _ TOPS IN SINGLES 1) Don't Turn Around/Hush Now Sally, Journeymen (Capitol) — Both sides exceedingly strong! (See Special). Good group with long-lived potential. Great songs with the lean on "Don't Turn Around." You won't turn the dial much to hear this one. 2) Lovers Who Wander /Born To Cry, Dion (Laurie) — Two sure bets for the hit charts from the driving voice of Dion. Awful good follow-up to "The Wanderer." The tunes also were written by Dion. Very strong. 3) I Guess I'll Never Stop Lovin' You/Sneaky Alligator, La Rells (Liberty) — Here's one of the popular singing groups making a powerful bid for honors. "Never Stop Lovin' " is the side. Lead voice-and-group type arrangement. Watch this one. (Flip side is no winner.) 4) Hassie/The Flame's Gone Out, Ronnie Isle and the Yo-Yo's (Okeh) — A very strange tune but possessing that quality. Strong on the rhythm side. Ronnie does a first-rate job of shouting! Rare, but strong! 5) Wind-up Toy/ Caravan Of Lonely Men, Tony Richards (Carlton) — A strong coupling of good tunes and strong deliveries. "Wind-up Toy" could be a sleeper. Good arrangement on "Caravan." 6) Walk On The Wild Side, Part I and II, Jimmie Smith and the Big Band (Verve) — A jazz artist bucks the. single market and in fine fashion. Definitely, Part II is the one to grab juke-box and air play. Very strong! The wild organ of Smith with a shoutin' band plus a great movie theme. Look out! 7) Chapel Of Tears/Funny, Gene McDaniels (Liberty)— That "Tower of Strength" and "Chip, Chip" boy is at it again. "Chapel" is the side. Ray Charles-ish kind of ballad. Could get under the wire. Fine performances on both sides. 8) Tell Me What He Said/I Apologize, Helen Shapiro (Capitol)— This record should be up high on the list. It's a great record. Good tunes and arrangements. Fine job of performing by this deep-throated, J. P. Morganstyled thrush. Watch this sleeper! 9) Mine All Mine/Look No More, Little Eddie (Liberty)— "Mine All Mine" definitely the stronger. Eddie gets a rendition favorably to the market. It's a bit underweight, but who knows! 10) Love Theme From Lolita/Look No Further, Leroy Holmes (MGM) — An enchanting theme from the Hollywood studios. Sure to be a good runner. "Lolita" theme, the heavier. Flip-side pleasant but not for the charts. SPECIAL REVIEW SINGLES Don't Turn Around/Hush Now Sally, The Journeymen — (Capitol) — Here's a group that's like most of the newer folk-style groups in make-up, with one notable exception: they sing beautifully together, with a fantastic sense of pitch and clarity. They also have the magic ingredients: The right tune, "Don't Turn Around," which will hit the younger set as well as the oldsters, and an interpretation musical as well as commercial. The quality of the tune is in-between a folk-ballad and a regular pop song. The arrangement is "right as rain." The added plus is the lead voice, who sings well enough to sing on his own! If it ain't a hit, I'll eat the record! It's a big hit for The Journeymen, three young fellows who have turned out the best single disc we've heard in months.