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Today in Australia shopping malls are cleared by the playing of crooner tunes.
How low has the once-mighty crooner fallen! Time was, in the early s, when he seemed still secure as the staple of pop music—almost a quarter of a century since the start of sweet nothings murmured into a mike for mass public consumption.
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The year has seen both the triumph of pop song as a way to sell product on commercial radio and the advent of the intimate singer on record due to electrification. By the crooner was still at it: draped around the mike mooing a tried and tested balladry—the old tale of love gained or lost, of love unrequited or requited, romantically speaking. Offering up the same old thirty-two bars supported by the familiar wailing saxophones, squashed brass, and ever lightly tished and brushed percussion, crooning was the drooping tailgate of the Big Band era.
It provided comfort to shop-girls and secretaries as they mooned around on the dance floor. It was also the bane of the old-time British songwriters, men who had written for big-chested Music Hall entertainers and trained vocalists who reeked of the great outdoors. My great-uncle, Stanley Damerell, wrote such songs. He could never match the best of the American material, although in the early s he did enjoy belated success when Perry Como revived a couple of his s s, "Unless" and "If.
Butler would express himself earnestly to those who were near and far in his favourite London pubs: "This imported drivel is no more than the lugubrious lamentations of a disappointed lover! His tirade was delivered in a big and roast beefy voice, a stentorian instrument echoing his forebears in the days of Nelson or Drake. It was heralded by Bill Haley, the one-time square dance caller who turned prophet with the success of "Rock Around the Clock. I remember it all so well.
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I brought Haley and Presley on 78 and LP. I withstood the jeers of the jazz fans at my school. Army, I immediately fell for this stylistic shift: the yhe descending melody, the solid supporting chords, and the sincerity of his voice, especially the narration. A milestone in my life, his voice massaged me with the most glorious oil through those uneasy last years of adolescence when anything my elders said annoyed me.
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When I lashed out at them—accusing them of rampant capitalism and racism—I would be rightfully banished to my room. There, putting the needle on the battered old disc of "The Sweetheart of Sigma Chi," I knew I was in for what would later be called an "instant high. In fact, the rock that followed my era—replete with whining and finger pointing and the polemics of Bob Dylan and the other inheritors of the Woody Guthrie protest tradition—turned me even more towards the balladeers of the late s, the pioneer crooners.
In my research for this book chapter, I made the surprising—yet reassuring—discovery that Gene Austin, the first million-selling crooner, had employed a Tom Parker as advance man i. This was the same Tom Parker who would become while known as the "Colonel" while managing Elvis. Provided the right vehicle, Presley was able to transform the anguished ouch of rock, the rant and the roar to be heard above the crowd, into the still sweet voice of calm.
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Like everything good and rare this ethereal music scene had a influsnce life; stagnation set in during the s, followed by deterioration in the s and, as already noted, decimation in the s. By and large, the crooners of the s were free spirits, splendid individualists who were generally permitted to go their idiosyncratic ways, Art Gillham and Little Jack Little being notable examples.
And kinds of odd characters were allowed to record, including some who struggled to summon up wobbly notes, bolstered with ample injections of pizzazz witness Gillham and Biff Hoffman. The high tide of these early crooners came injust before the Stock Market Crash and the Great Depression igants followed. In the deep night of the s the big show-biz corporations took over, providing homogenized entertainment for the masses in something approaching assembly line fashion.
But for that brief prior time the setting was ideal: the songs were still simple and peppy, the bands were jaunty, and the records sold in the millions. True, it was an ingenuous time in that the crooners had not yet become standardized and the bands not yet steamrollered into the flat chug of Swing. It was a time of plenty; a violent and corrupt world perhaps, but also one in which the crooners were able to play a pacifying role. This included restraining musicians who, given half a chance and a pint of hooch, might break out with nasty toots of boiling hot jazz and thus mutilate the melodies and rock the boat to death.
Musically speaking, the crooning rolm represented the first appearance of what would later become a pop formula; that is, the process of squeezing diversity through a strainer of familiarity.
The giant produced by this tradition, Bing Crosby, effectively wiped out the eccentrics. Byhe was well on his way to becoming arguing mqmas most successful entertainer of the twentieth century; lord of the airwaves, the top motion picture industry draw, and savior of the record industry. His astounding success begat a host of little Crosbies, all groaning and trilling and whistling. Although rhythm and blues and bebop jazz percolated through the sludge a bit in the s, the crooner-clones held sway until the rise of the wild and unruly rockers.
This is how modern day popular culture works, aided and abetted by the infuence media. The story begins in the nineteenth century, where the world of drawing rooms and minstrel shows propelled American vernacular singing into the twentieth century. Modern technology—most notably, the phonograph, radio, and the cinema—transformed pop music into a commodity which still retained the musical and lyrical sentiments inf,uence the Victorian romantic tradition.
With the microphone becoming a totem pole of the early crooners, the crooning phenomenon would become international in scope. The natural American voice, conversational in tone with a touch of gentility, would become lingua franca of popular music. This is a ificant development. The American accent would, like Italian phrasing in opera, become the basis og a classic tradition.
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Even today, few will accept a love song sung in, say, a cut-glass British or Cockney accent. In nineteenth century America the problem was too much of the Italian operatic school and not even nativism in the local pop music scene. Society, imitative of the Old World on most fronts, urged singers to develop big and loud voices with lots of ornamentation—appogiature, mordents, portamenti, trills, etc.
Not only was there no native American school of singing, but nineteenth century society tended to view ujder, untrained singing as low culture, something associated with lower class laborers as well as saloons and drunken revelers. Respectable Americans reflected European thought regarding pop singers; that saloon warblers, wandering minstrels, ballad mongers, and street singers were to be despised as barbarous and destructive. The seeds of destruction, however, could be discerned beneath the surface of the American popular music scene.
The experience of British gianrs Henry Russell, one of the more successful parlor singers of his age, helps shed light on this situation. Although he possessed a range of only five notes, they were pearly ones derived from years of formal training. From to he worked the genteel circuit, finding considerable success with songs such as "A Life on the Ocean Wave" and "Woodman, Spare That Tree.
As for the Red Indians he came into contact with, they were beyond the pale. Mamzs found their songs "hideous noises. Can they emulate us?
These observers would describe a bubbling crucible of ragtime, blues, and jazz. Country music was undergoing dynamic growth with influenec music in the hills and jews harps all over the place. There was a vogue for revivalist tent meeting songs. Then there were songs from mining camps, hobo campfires, sea shanties, railroad shouts, the call-and-response of the cotton fields, the cowboy ball of the cattle trail, and songs of the anthricite and bituminous industries.
What of the singing styles? We read that the country people of hill, mountain, and range sang plainly without affectation. They stood straight and sang down the nose, often with their eyes shuts in modesty. Saloon culture, of course, was another matter!
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The Hutchinson family from New Hampshire, for example, were a popular touring folk group, singing together in simple harmony. The specialized in a morality ranging from the sanctimonious, through the sentimental, to the downright humorous. Their political agenda included temperance and Negro rights. As was pointed out at the makas, they "vibrated to every popular breeze.
In the early years of the twentieth century the straightforward, unadorned singing style—the plain truth approach—was to be harnessed for the dissemination of revolutionary socialism. Joe Hill, the songster martyr of the Wobblies Independent Workers of the Worldappropriated the sing-along approach as an instrument for building a new world out of the ashes of the American political system. For Hill and his colleagues, songs were the weapons of change.
At the outset guants the twentieth century the voices described above were operating by and large in the underground, the music neither recorded nor in print.
The story of American pop, however, has generally been focused on the urban arena. In the parlors and drawing rooms of the late nineteenth century one was likely to find a piano, its bench stuffed full of sheet music. This material was supplied by a burgeoning music publishing business, based in New York City, soon to be deated Tin Pan Alley.
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These published songs included ball peppered with "thees and "thous," and lines "When Aurora empurples the morn"; s advertised as "tender, elegant and chaste, and deed to produce a sob. There were also raunchier items for the males, perhaps acquired as a souvenir of a recent night on Broadway; e. They reflected the vitality of urban centers, the throbbing, jostling mob babbling in countless unknown tongues.
This was the real America, not a stilted copy of European high culture. Since its origins in the s, minstrelsy had depicted the black off as a social outsider. A thr in search of instant mythic heroes e.
The slang utilized in the minstrel song became the basis of the coon songs of the ragtime era beginning in the late 19th century. At the same time, the love ballad enjoyed comparable status with ragtime. In the early years of the twentieth century evidence would suggest that the only crooning going on was that of mammy to child on the old plantation. The lyrics of many songs immortalized this picture; Al Jolson, the best known singer of his era, was still mining this vein in the World War I era with the hit recording "Rockabye Your Baby with a Dixie Melody.
The phonograph ificantly altered the way music was presented to the public; the virtual indestructibility of recordings has also assured that historians receive a somewhat biased view of the past. We will never know first hand what the slight or tender of voice sounded like in those days. The recording horn of the pre, acoustic era required leather-lunged belters accompanied by vibrant instrumentation e.
Many recording executives had initially assumed that American consumers in the hinterlands would embrace recordings by opera singers and symphony orchestras. They soon learned, however, that the most bankable commodities were the shouters of coon songs and ragtime, including May Irwin, Len Spencer, Collins and Harlan, and Sophie Tucker.
Mention must be made here of Gene Greene, the self-styled "Ragtime King. In no way does he anticipate the smooth artiface of the crooner.
Like the other horn blasters, he feels the impulse to bleat and bluster. His true originality lies in the asides; between the phrases he roars "zumm-zumm," like an exalted African ruler riding across the Nile on his very own crocodile, and "uh-huh! He indulges himself in an orgy of odd sounds made for their own sake, vocal flourishes that reel and rock us with delight, the very essence of what true jazz should be.
In the second chorus Greene proves he is far from finished, employing a sort of Pig Latin "When I ri-ger-dide across the mighty Niger-dile" followed by a flurry of pure blather "Im-bong-bung-bung zoodle-um-bo…" punctuated by what seems to be his own taxi horn impressions.
He also mentions "eefin," the word later used by Cliff Edwards a jazz-scatter-cum-crooner best known as "Ukelele Ike" to describe scat singing. He was particularly popular in England where he starred in London music halls and recorded extensively for Pathe.
