Shirley & Lee, "The Flirt" c/w "Rockin' with The Clock," Aladdin 45-3390 (rel. 7/1957)
Though they lack the vocal finesse of label-mates Gene & Eunice, the many singles of Shirley & Lee generate a good-time feeling and are sung with brio by the New Orleans-based duo. They made 21 singles for Aladdin Records from 1952 to '59, when the label collapsed. "Let the Good Times Roll" was their first pop hit, in 1956, and is the song they'll be remembered for, but it's the tip of the iceberg in their catalog.
Shirley Goodman, who would herald the start of the disco era with her 1976 hit "Shame, Shame, Shame," sang in a big, unschooled voice that often wanders far afield of whatever key her song is in. On one side the Warwick Records LP pictured above, issued in 1962, Shirley is progressive, from track to track, in her atonal approach. By the sixth song, she appears to be a disciple of John Cage rather than an r&b enthusiast.
Leonard Lee possessed a hearty, gruff tenor and had a good ear; he anchors their performances and allows Shirley her musical/tonal flights of fancy. The rock-solid backing of New Orleans' finest sidemen assures high quality on any S&L release. They belabored the success of "Good Times" with soundalikes, but had a knack for finding variations on familiar themes.
Shirley Goodman, who would herald the start of the disco era with her 1976 hit "Shame, Shame, Shame," sang in a big, unschooled voice that often wanders far afield of whatever key her song is in. On one side the Warwick Records LP pictured above, issued in 1962, Shirley is progressive, from track to track, in her atonal approach. By the sixth song, she appears to be a disciple of John Cage rather than an r&b enthusiast.
Leonard Lee possessed a hearty, gruff tenor and had a good ear; he anchors their performances and allows Shirley her musical/tonal flights of fancy. The rock-solid backing of New Orleans' finest sidemen assures high quality on any S&L release. They belabored the success of "Good Times" with soundalikes, but had a knack for finding variations on familiar themes.
We knock on their door late in the Aladdin game; in 1957, the label was still stable, but cracks showed in its foundation. Soon they'd switch to the crummiest styrene for their releases, with labels that look wrinkled, fragile and ancient. This summer release is on high-quality, sturdy vinyl and delivers a big, rich sound on a pair of characteristic sides.
"The Flirt" begins as a pick-up on a city street. Once mutual interest is established, Shirley begins a questionnaire: she detects a potential spouse. They go from meet-cute to let's-meet-your-folks in a couple of verses. If only real-life courtship were so efficient! The emotional stuff can come later. Let's find the preacher man!
A Dave Bartholomew production, this has the same solid band that accompanies all his other acts, from Fats Domino on down, with tenor sax man Herbert Hardesty on a solid solo that furthers the louche charm of this side.
"The Flirt" begins as a pick-up on a city street. Once mutual interest is established, Shirley begins a questionnaire: she detects a potential spouse. They go from meet-cute to let's-meet-your-folks in a couple of verses. If only real-life courtship were so efficient! The emotional stuff can come later. Let's find the preacher man!
A Dave Bartholomew production, this has the same solid band that accompanies all his other acts, from Fats Domino on down, with tenor sax man Herbert Hardesty on a solid solo that furthers the louche charm of this side.
The song inspired a priceless review by our friends at Cash Box, seen below:
Where was the double-entendre editor?
"Rockin' with the Clock" features the two vocalists singing in unison--an open invitation to Shirley going off-note. Leonard Lee takes the first verse solo; he has a great voice and is an under-rated performer.
Shirley's solo second verse shows her benefits and shortcomings. Whatever note she landed on, she sang with confidence and personality. On this fast-paced side--exciting jump wax for the vitamin filled teener, as Cash Box notes--we hear all the elements that made these performers popular for well over a decade.
Shirley's solo second verse shows her benefits and shortcomings. Whatever note she landed on, she sang with confidence and personality. On this fast-paced side--exciting jump wax for the vitamin filled teener, as Cash Box notes--we hear all the elements that made these performers popular for well over a decade.
Their recording career ended in 1963, when they had moved to Imperial Records; they reunited seven years later for a remake of "Let the Good Times Roll" and that was it, record-wise.
Tomorrow: crazed vocal group The Sapphires (not the 1960s hitmakers) on their lone record for RCA-Victor. Imagine a crazed bunch of church ladies out on a bender. Major-league "what in the---?!?" from 1958,
Well, I'm no 'vitamin filled teener' but I enjoyed these two decks. Do you know if Shirley might have been a petite woman or just affected that Betty Boopish voice for singing?
ReplyDeleteLee seems to outsize her in all photographs I've seen; I think that nasal style was her natural voice, since she always sings that way on the 50 or so records I've heard by this duo.
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