The Fascinators, "I Wonder Who" c/w "Chapel Bells," Capitol F-4053 (rel. 9/1958); reissued as Capitol 4544 (4/1961)
This is a sad story of record executives fixating on one aspect of a promising group and ruining their chances of success. The Fascinators were a cross-cultural vocal combo who formed in the Bedford-Stuyvesant area of Brooklyn, New York. They consisted of three Italian-Americans, one Polish-American and a Black vocalist.
Theirs is a powerful blend of voices coupled with strong original material; all the ingredients for success were here in this progressive group that demonstrated music brings true harmony in life. Yet Capitol Records' movers and shakers only wanted lead singer Anthony Passalacqua. They saw a solo pop star in his brooding good looks and fine voice; they couldn't care less about The Fascinators as a group.
Capitol issued three singles on them from 1958 to '59. All are prized by collectors, with their final disc, "Oh Rose Marie," a guaranteed three-figure platter in top shape. Capitol continued to pressure Passalacqua: ditch the other guys. Break up the group. He couldn't do it; these five young men had bonded over their love of music and they sounded great together. Tony insisted they were a package deal.
Thus, the label didn't do much to publicize The Fascinators--a guarantee that their releases would be rare and sought-after in the coming years. The group broke up after their three strikes; Tony became a solo act under various stage names; Passalacqua was a mouthful for TV hosts and radio DJs.
In 1961, the success of "Blue Moon" by The Marcels caused a doo-wop revival. Record labels realized that material from a few years prior was now marketable; all hopped on that bandwagon and the pop market overflowed with doo-bop-sh'bops and rama-lama-ding-dongs. Among this tsunami of reissues was The Fascinators' debut single, which we'll hear today. Even this second issue, with a different catalog number in Capitol's 4000 pop series, commands 50-60 bucks in nice shape. Upon a spin of both sides, it's easy to understand their appeal--and disgusting that Capitol's execs so disliked the group as a whole.
"I Wonder Who," recently played on our twice-a-month podcast, couldn't be more appealing. To a simple rhythm section, these five voices demonstrate their chonky togetherness. The record's mix pushes Passalacqua way out in front; the other Fascinators are buried under the guitar and drums and further obscured with studio reverb. The bias was in place from the git-go.
This delightful song is also frustrating: I hate that the other four voices are so pushed into the ether. When they're all heard with clarity, it's evident that their voices blend and they all have great pitch and technique. Short-sightedness has always been a tragic flaw of popular culture, and The Fascinators' few records are evidence of this cruel ploy.
Theirs is a powerful blend of voices coupled with strong original material; all the ingredients for success were here in this progressive group that demonstrated music brings true harmony in life. Yet Capitol Records' movers and shakers only wanted lead singer Anthony Passalacqua. They saw a solo pop star in his brooding good looks and fine voice; they couldn't care less about The Fascinators as a group.
Capitol issued three singles on them from 1958 to '59. All are prized by collectors, with their final disc, "Oh Rose Marie," a guaranteed three-figure platter in top shape. Capitol continued to pressure Passalacqua: ditch the other guys. Break up the group. He couldn't do it; these five young men had bonded over their love of music and they sounded great together. Tony insisted they were a package deal.
Thus, the label didn't do much to publicize The Fascinators--a guarantee that their releases would be rare and sought-after in the coming years. The group broke up after their three strikes; Tony became a solo act under various stage names; Passalacqua was a mouthful for TV hosts and radio DJs.
In 1961, the success of "Blue Moon" by The Marcels caused a doo-wop revival. Record labels realized that material from a few years prior was now marketable; all hopped on that bandwagon and the pop market overflowed with doo-bop-sh'bops and rama-lama-ding-dongs. Among this tsunami of reissues was The Fascinators' debut single, which we'll hear today. Even this second issue, with a different catalog number in Capitol's 4000 pop series, commands 50-60 bucks in nice shape. Upon a spin of both sides, it's easy to understand their appeal--and disgusting that Capitol's execs so disliked the group as a whole.
"I Wonder Who," recently played on our twice-a-month podcast, couldn't be more appealing. To a simple rhythm section, these five voices demonstrate their chonky togetherness. The record's mix pushes Passalacqua way out in front; the other Fascinators are buried under the guitar and drums and further obscured with studio reverb. The bias was in place from the git-go.
This delightful song is also frustrating: I hate that the other four voices are so pushed into the ether. When they're all heard with clarity, it's evident that their voices blend and they all have great pitch and technique. Short-sightedness has always been a tragic flaw of popular culture, and The Fascinators' few records are evidence of this cruel ploy.
Cash Box dug this single both times it was issued; their 1958 review chooses a different top side than the '61 assay; the latter reviewer seems unaware this was a reissue.
"Chapel Bells" has a more sympathetic mix, with Passalacqua's passionate stand balanced by the other voices' backup. Again, the rhythm section ofter overpowers the other four singers; when all five harmonize on the song's coda, you get how good they were, and how shitty it was of the label to work against them. Sheesh!
The Fascinators continue to be favored by fans of the vocal group sound; fat lotta good that did them back in 1959! I hope some members understood their records were beloved, despite all the machinations used against their success.
Tomorrow: pop-r&b star Roy Hamilton goes full popcorn on a 1961 Epic Records platter, which includes a tender ballad the singer co-wrote with cleffer Lincoln Chase.
Tomorrow: pop-r&b star Roy Hamilton goes full popcorn on a 1961 Epic Records platter, which includes a tender ballad the singer co-wrote with cleffer Lincoln Chase.
I wonder if "I Wonder Who" might have been riding on the coat tails of the Monotone's 1958 hit "Book Of Love"? "Chapel Bells" is a lovely emotional doo-wopper—their harmonies at the end are amazing.
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