The New Yorkers, "Miss Fine" c/w "(At Night) Dream a Little Dream," Wall 547 (rel. 4/1961)

 

The Five Satins, led by singer-songwriter Fred Parris, were one of the most polished Black vocal groups of the classic doo-wop era. Their masterpiece, “In the Still of the Night,” recorded in a basement studio in 1955, set a standard for doo-wop balladry that changed the course of Black music.

Parris (seen at left) had a playful side which seldom felt right for The Five Satins. He created various side groups to try out sounds and approaches without worry that the Satins’ “brand,” as they say nowadays, would be troubled.

One of these side projects was The New Yorkers, who released two singles on the obscure Wall imprint in 1961. This group consisted of Parris and Lou Peeples, who composed some of the Satins’ repertoire; their name was inspired by the tiny but influential Times Square Record Shop, a rabbit’s warren tucked into a subway kiosk in the Big Apple. Store owner “Slim” Rose sold Black vocal group records, ran his own label, and was a force behind the revival of doo-wop music in 1961.

Both songs are credited to one Andre Scott. This name appears on some Five Satins songs, sometimes with an accent grave over the e. This was a nom de plume of Parris, who had all bases covered for his musical excursions.

Now onto the record. It’s a hidden delight in the sea of Black vocal group sides of its day. It did well enough with the public; it reached #69 on the national pop charts. That’s a guarantee of a record’s invisibility—too faint a hit for oldies radio or reissues. Perhaps that’s for the best; this record is meant to be chanced upon with delight and surprise. Let’s get to it!

“Miss Fine” has an opening of pure bongo fury. Those first 15 seconds could be extended to an hour. We’re fortunate that this battery of percussion continues as a peppy Latin-flavored bopper builds from the initial ka-boom. Parris and Peeples harmonize well amidst excessive studio reverb. A sax appears from nowhere to canoodle a solo, then vanishes.

A coda of bongo fury (too brief, alas) sends this zesty item into the deep dark blue of the fade-out. Now that’s what I call music!

Cash Box was 69% correct. Get with it!

“(At Night) Dream a Little Dream” is not the 1930s song made popular by Mama Cass in the 1960s, but a derivative lowrider r&b ballad that suggests a medley. Its references to “We Belong Together,” an r&b hit by another duo, Robert and Johnny, might invoke a lawsuit today. In 1961, it was a blip on the litigation radar no one tracked.

The song sounds made up on the spot—always a plus—and the vocal duo suggest more than two voices. Our sax man is more active on this side, which wanders from point to point like a pinball on its deceptive path. No bongo fury on this side, but the spontaneous song form has a charm all its own.

The two made a follow-up single, “A Little Bit,” which is crazy rare and nigh impossible to find. I’d love to hear it, just to see if any of that “Miss Fine” madness is present. Perhaps this record and I will meet up someday. One never knows!

Tomorrow: a famous r&b vocal group in disguise, The Chesters offer two fine items decorated by the guitar of George Barnes and King Curtis’ telltale saxophone. An Apollo Records release from 1958.