The Expressions (pseud. of The Imaginations), "On The Corner" c/w "To Cry," Parkway P-892 (rel. 11/1963)
1961 saw a wave of renewed interest in the vocal group sound--borne, in part, by the success of The Marcels' "Blue Moon," itself almost a parody of the doo-wop style. Marginalized old-school fans uttered a chorus of "Finally!" as demand for first-generation vocal group records grew. Record labels re-issued singles that were collector favorites and gave flop records a second chance.
This revival cemented the status of second-generation vocal groups. Many were European or Caucasian. The best tended to be Italian-American teens who lived in the metro New York area. They were exposed to the same atmosphere and music as their Black musical inspirations, and like the white college students who studied 1920s folk and blues singers, these youths absorbed the dynamics, drama and playfulness of 1950s vocal groups.
Anglo-Saxon youth who explored the same course tended to sound, well...white. Their intentions were good but something was lost in translation. The best of the New York groups' records remain exciting, passionate and sometimes-bizarre.
The Imaginations' story is typical of this genre: five teens from Bellmore, Long Island shared a love of doo-wop. They practiced, a cappella, in tiled shower rooms, where the natural reverb made them sound like they were on a recording. Among the quintet was future pop star Bobby Bloom, whose "Montego Bay" was a Top 10 hit in 1970. He co-wrote "Mony, Mony," a smash for Tommy James and The Shondells, and "Heavy Makes You Happy" for The Staple Singers, among other successes.
The group's three singles under their first name (one was heard here back in March) are excellent; their material and performances get better with each release. They achieved local star status but didn't get a national break--even with their second single, which was issued three times on as many labels over several months in 1961 and '62.
For their swan song, the group changed their name to The Expressions and adopted a harder-edged sound, reminiscent of current records by The Drifters. They signed with Philadelphia label Parkway Records and were given material by the talented John Linde and Peter Antell, who were staff songwriters and producers for the record company. The results might have made the national pop charts, but the single had the misfortune to debut on the week President John F. Kennedy was assassinated while on a tour of Texas. Plunged into a period of deep grief, the American public had no room for pop music. Not until the February 1964 arrival of The Beatles did this shared mourning dissapate. The world of music was tossed asunder and the sounds of the 1950s were scorned (aside from the numerous cover versions of '50s material by The Beatles and other British groups).
No one knew this when The Expressions recorded these two promising sides. "On the Corner" opens with city sound effects; the group launches into a tense, dramatic song that celebrates "a little piece of real estate/where all my friends congregate." It's home to romance, conflict and community. Songwriters Linde and Antell had made an obvious study of recent Drifters singles and cooked up this Philly version of their sound and subject matter.
The group couldn't be tighter or more expressive; they sing as though everything is on the line for their success. This do-or-die feeling makes "On the Corner" one of the most exciting pop songs of 1963. No one heard it when new; it was later recognized as a peak moment for white r&b-inspired vocal groups of the era.
This revival cemented the status of second-generation vocal groups. Many were European or Caucasian. The best tended to be Italian-American teens who lived in the metro New York area. They were exposed to the same atmosphere and music as their Black musical inspirations, and like the white college students who studied 1920s folk and blues singers, these youths absorbed the dynamics, drama and playfulness of 1950s vocal groups.
Anglo-Saxon youth who explored the same course tended to sound, well...white. Their intentions were good but something was lost in translation. The best of the New York groups' records remain exciting, passionate and sometimes-bizarre.
The Imaginations' story is typical of this genre: five teens from Bellmore, Long Island shared a love of doo-wop. They practiced, a cappella, in tiled shower rooms, where the natural reverb made them sound like they were on a recording. Among the quintet was future pop star Bobby Bloom, whose "Montego Bay" was a Top 10 hit in 1970. He co-wrote "Mony, Mony," a smash for Tommy James and The Shondells, and "Heavy Makes You Happy" for The Staple Singers, among other successes.
The group's three singles under their first name (one was heard here back in March) are excellent; their material and performances get better with each release. They achieved local star status but didn't get a national break--even with their second single, which was issued three times on as many labels over several months in 1961 and '62.
For their swan song, the group changed their name to The Expressions and adopted a harder-edged sound, reminiscent of current records by The Drifters. They signed with Philadelphia label Parkway Records and were given material by the talented John Linde and Peter Antell, who were staff songwriters and producers for the record company. The results might have made the national pop charts, but the single had the misfortune to debut on the week President John F. Kennedy was assassinated while on a tour of Texas. Plunged into a period of deep grief, the American public had no room for pop music. Not until the February 1964 arrival of The Beatles did this shared mourning dissapate. The world of music was tossed asunder and the sounds of the 1950s were scorned (aside from the numerous cover versions of '50s material by The Beatles and other British groups).
No one knew this when The Expressions recorded these two promising sides. "On the Corner" opens with city sound effects; the group launches into a tense, dramatic song that celebrates "a little piece of real estate/where all my friends congregate." It's home to romance, conflict and community. Songwriters Linde and Antell had made an obvious study of recent Drifters singles and cooked up this Philly version of their sound and subject matter.
The group couldn't be tighter or more expressive; they sing as though everything is on the line for their success. This do-or-die feeling makes "On the Corner" one of the most exciting pop songs of 1963. No one heard it when new; it was later recognized as a peak moment for white r&b-inspired vocal groups of the era.
The single was Cash Box's top "Best Bet" for November 23, 1963.
"To Cry" has a similar rhythm and blues feeling on a more typical white doo-wop song and arrangement. Again, the group sings with utmost skill and passion. Linde and Antell's production is spot-on; they spotlight the group's power and dynamics and there's nothing added to the menu--just five solid voices that sing with conviction.
The non-event of this single spelled the end of the group. Bobby Bloom, as noted, went onto pop fame. Fans of the group had a surprise in 1976, with the release of a pair of unissued tracks from the early 1960s on a single which is, now, the group's most sought-after record.
Tomorrow: East Coast teen rock with Tony and Norman, who deliver a powerful pair of songs on their lone platter, issued on the Poplar label in 1962. Don't miss it!
Definitely hear the Drifters'-adjacent vibe— "On The Corner" sounds like a start-and-stop history of the Drifter's sound. Liked "To Cry" better—good mix of music and vocals, reminiscent of the Diamonds' here.
ReplyDeleteVery well sung and played tracks...tight performances all around and very rich sound on the recordings. The first track is so unique. The lead vocals stray a little too far into Johnny Maestro territory for my blood but maybe the singer was a fan. And love the Hairspray-esque photo you posted...WOW--that's a classic.
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