SONNY TIL & THE ORIOLES, "NIGHT AND DAY" C/W "SHIMMY TIME," JUBILEE 5394 (REL. 12/1960)
Sonny
Til and his group The Orioles were true pioneers of rhythm and blues. Before
the style began its classic period in 1951, when The Clovers and The “5”
Royales began to move Black music away from the easy-going style of the 1930s
and ‘40s, The Orioles scored a string of hits with their mild and mellow sides.
They’re most famous for songs like “Too Soon to Know” and “Crying in the Chapel”—fine
records that belong to an earlier era of Black music.
By
1960, Til’s smooth style was at odds with current r&b sounds, but his
status as a pioneer and forefather meant he had clout and a group of older
fans. He realized concessions to his approach were needed, and from time to
time he dabbled in more up-to-date sounds. His forte was balladry, and on the
topside of today’s Jubilee Records platter, with arranger Reggie Obrecht, he
delivers the goods with style and grace.
“Night
and Day” is one of the most haunting songs in Cole Porter’s portfolio. Another
talented, gifted gay man who was a celebrity in his day—a day when his
sexuality wasn’t spoken of (or even known) by his many admirers, Porter crossed
genre boundaries with ease and his songs were heard in movies, cartoons, radio
shows, Broadway plays…everyone knew a couple of his songs and loved them.
This
1930 ballad, with its then-modern approach and chord structure, remains one of
the great songs of the 20th century. The first thing that might
strike you, as this Til rendition begins, is its strong similarity to “Ferry
Cross the Mersey” by Liverpool group Gerry & The Pacemakers. The surging musical
phrase of the strings is a dead ringer for those in that 1965 pop hit.
Liverpudlians were major fans of Black music, and it’s likely lead singer Gerry
Marsden referenced this single, which only had a US release but might have gotten
into his hands via merchant seamen, who often imported American records for
local enjoyment.
Til’s
version is a classic by the standards of Belgium’s popcorn community, who dig
eerie, slow-to-mid-tempo songs from this musical period. Their obvious template
was The Flamingos’ recent hit version of 1934’s “I Only Have Eyes for You.”
This much-imitated 1959 recording inspired a plethora of atmospheric,
otherworldly arrangements that contribute to what I call The David Lynch Factor.
If you hear a song and can imagine its use in one of the late, great director’s
films, it’s got TDLF, as we’ll call it.
This
approach is ideal for Porter’s song, and it’s a surprise this single wasn’t at
least a minor hit. Copies are scarce, though it got a retail pressing which may
have been one small run.
>>> Hear it HERE! <<<
The
Orioles have more to do here, and sound happy of that. Til growls enough that I’d
imagine he worked up a sweat. His poise lends a weird air to a formulaic pop
r&b number. I can imagine Til talking some poor soul off the ledge of a
skyscraper with this calm-yet-impassioned tone of voice.
>>> Hear it HERE! <<<
Some
of Til’s later records are triple-digit wallet-busters, such as his 1963 “Hey!
Little Woman,” which you need to hear! Bonus track!
Tomorrow:
Another of Maxine Brown’s under-rated records for ABC-Paramount. Two fine sides
from 1962.
TDLF - Hee! - MLE
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