Word: vocalized
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Dates: during 2000-2009
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...After four verses of 12-bar blues, the song rollicks into some of Charles? swingin? lounge piano, then returns to the vocal, in a squealing release -"Say, have you heard, baby/ Ray Charles is in town/ Let?s mess around till the midnight hour/ See what he?s puttin? down" -that prefigures no fewer than three Atlantic songs: Charles? own "Let the Good Times Roll" and "Mess Around" and Wilson Pickett?s "In the Midnight Hour." The song ends with generic barks ("Come on! Come on, child!") that are pretty much grunts with consonants. A listener needs no English...
...electric piano that sounded like a guitar with a mitten muffling the strings. It was blues, all right, but (like so much other Atlantic music of the period) with a Latin accent, thanks to great cymbal, conga and stick work by Milt Turner. It featured his urgent vocal, but not until almost 50 seconds into the song. And where was Fathead?s mandatory solo? Withheld; he played the final choruses, behind the Raelets, on part ". The complex simplicity of the number made it seem both roughhouse and pristine...
...Charles" (with arrangements by Ralph Burns and the young Quincy Jones), teamed him with veterans of the Count Basie and Duke Ellington outfits, and he proved he could play with the big boys, winning their respect after initial skepticism. It also showed he could lay his easy, tortured vocal style on such chestnuts as Irving Berlin?s "Alexander?s Ragtime Band" and the Arlen-Mercer "Come Rain or Come Shine." Then he was gone -away from Atlantic, off to ABC Paramount, for the life of an interpretive rather than creative artist. Ray Charles sings country? Well...
...first song, which Darin had written in 12 minutes, begins with water-bubble sounds, cueing its novelty nature; but it had drive and its narrator?s tough-guy befuddlement at finding "a party going on" outside his bathroom. "Queen of the Hop," with Darin?s tentative, occasionally flat vocal submerged beneath a guitar and a sax that both beat a hard rhythm, was choked with references to recent songs ("Peggy Sue," "Good Golly, Miss Molly," "Sugartime," "Short Shorts," "Lollipop," "Sweet Little Sixteen") and dances (the chicken, the stroll), with a commercially canny citation of Dick Clark?s "Bandstand...
...plinking rhythm of "Little Darlin?" (done pizzicato by violins here), the release from "This Little Girl of Mine" and a Don Costa-like mixed chorus, with women singing the heavenly-choir "ooo"s and men answering this siren call with a goofy but musically beguiling "wadda-wadda." Darin?s vocal is much more assured, as if he?d just learned not only how to sing, but why. He wrote a sweet song about pining, and it still sounds fabulous...