The Chesters, "Lift Up Your Head" c/w "The Fires Burn No More," Apollo 521 (rel. 2/1958)

 

Before they were Little Anthony and The Imperials, today’s stars went by The Chesters. They made one record for Apollo Records, the legendary independent label that was in decline by 1958, when this single appeared. It would be Apollo’s last successful record; the label reissued it in 1961 as by Little Anthony—a common tactic for a failing imprint to get some much-needed income.

The record is a powerful example of the atmospheric, dramatic side of Black vocal group music. Black vocal group wished to distance themselves from the delightful jive of doo-wop. They felt a group couldn’t be deemed serious if they sang nonsense syllables at lightning pace. Doo-wop’s mainstream revival in 1961, sparked by The Marcels’ ubiquitous “Blue Moon,” and by demand from fans which caused reissues of five-year-old records, this quest for respectability became a genuine struggle only resolved when rhythm and blues became soul music in the mid-1960s.

I like it all and appreciate each style for what it is. With half a century’s remove, the power of these performances is more impressive. These were done live, with no autotune, no studio gadgets beyond reverb units and a mass of passion and focus. These two sides, recorded in late 1957 in New York, features a key session musician—guitarist George Barnes—and zero sweetening.

“Lift Up Your Head” presages the inspirational songs of the early soul period. It’s an instruction for the listener to take pride in themselves, to hold themselves as something special in the world. Such messages were beacons of hope to Black listeners and were encoded enough that white fans might overlook them. Anthony Gourdine’s lead vocal is spirited and fresh; it’s his song and he owns it.

One musical quirk I love: it uses the typical r&b chord progression—the “Blue Moon” chords (in the key of A, A/C# minor/D/E) and makes the third chord D minor. That brief shift in tone gives the song a kick; guitarist Barnes is quick to seize upon that and he accents the D minor each time it occurs. Curtis isn’t heard on this side.

Your typical Cash Box thumbs-up: swinger the kids can hop to.

“The Fires Burn No More” is an intense ballad with some flashes of early soul music. A harpist joins the combo—the stringed instrument, not blues harmonica—alongside a piano. The harp’s spidery arpeggios add atmosphere without schlock, as do Barnes’ tasteful fills and asides. The man was compatible with all styles of music and never played as if under duress.

Anthony gets het up on this side, which presages their forthcoming hit song “Tears on My Pillow” in its melodic structure. His pure, soaring vocal, with no ceiling on his falsetto, is impressive, and the song is well-worded and crafted. This side became the radio hit; it broke in several cities without reaching the national charts. It made some much-needed money for Apollo. The label soldiered on into the mid-1960s and shuttered. 

Most or all of the Apollo master recordings are safe at The University of North Carolina at Chapel Hill. Important jazz, gospel, blues, country and early soul performances are safe and sound for the ages—or, at least, until the acetate master discs decay beyond rescue. (I would assume they’ve all been digitized.)

Tomorrow: a wonderful soul-country fusion from singer Ketty Lester. The A-side is best-known via a cover version by Liverpool band The Searchers. Here’s the 1962 Era Records original, coupled with a fine ballad. From a mint un-played stock copy!