Download Four Freshmen mp3

Artist: Four Freshmen: mp3 download    Genre(s):  Vocal     Discography:      Voices and Brass    Year: 1959    Tracks: 12 The Four Freshmen were one of the top vocal groups of the fifties, and formed the bridge between '40s ensembles wish the Mel-Tones and harmony-based rock & roam bands such as the Beach Boys as well as groups like Spanky & Our Gang and the Manhattan Transfer. The group's roots go back to the end of the forties and a barbershop quartet-influenced outfit called Hal's Harmonizers, organized at the Arthur Jordan Conservatory of Butler University in Indiana by deuce brothers, Ross and Don Barbour. Their repertory centered on standards such as "Moonglow" and "The Christmas Song," and they began to show an outstandingly release, improvisational plan of attack to their musical harmony tattle. A match of membership changes brought Bob Flanigan, a cousin, into the furrow alongside Hal Kratzsch, and on the spur of the moment the Four Freshmen were assembled in all exactly constitute, and that fell into place a little later on. The group struggled for a long time, living hand-to-mouth while edifice a repertory and a sound -- many the great unwashed who've heard the group's records or ar conversant with their sound are unaware that they were besides completely self-possessed instrumentally, each member playing more than one instrumental role and allowing the others to permutation off to unlike roles. They came to attention of various malarkey figures of the epoch, including Dizzy Gillespie, Woody Herman, and Stan Kenton, and it was Kenton world Health Organization took matters into his have manpower, bringing the chemical group to the attention of Capitol Records, where the bandleader had a longstanding family relationship. Thus began a long and fruitful family relationship with the label, ab initio under the counsel of adapter Pete Rugolo -- gigs followed on The Steve Allen Show (then 1 of the top-rated amusement showcases on telecasting) and with Ray Anthony's band; they also managed to make an appearance in the MGM moving-picture show Rich, Young and Pretty. Their number one hit single was "It's a Blue World," released in 1952, and they enjoyed farther success with "Humour Indigo" (1954), "Day By Day" (1955), and "Graduation Day" (1956). They released their number one LP, Voices in Modern, in 1955 (and some dozen more than 12" discs o'er the succeeding five years); that record album was as impressive a idle words document as it was a outspoken pop movement, showcasing the group members' playing as well as their singing and screening that these guys had tons of complex musical strings in their bow. It was on these albums that the quartet besides showed itself to be a very voguish outfit, non just now in musical terms but logistically as good. Rather than simply doing any 12 songs that might have been operative well in its stage act, the grouping made these releases into conceptual works, either musically (built around the sounds achieved by combinations of the group's sound and specific accompaniments, such as Quaternary Freshmen and 5 Trombones, Quadruplet Freshmen and Five Guitars, etc.) or as thematic arrays of songs (such as Voices in Love and Voices in Latin). This approach to devising and creating albums (which paralleled the kind of operate that Frank Sinatra was doing at the same time on the same tag) would have an influence on groups like the Beach Boys that was almost as important as their musical harmony sound; it's too an important understanding wherefore, in combination with their virtuosity, their albums experience held up so well crosswise 40 eld. Their sound and range were helped by the fact that their helper, Kenton, was on the same pronounce, which made it possible for them to platter together on occasion. Most of their late-'50s albums were serious peter Sellers -- to the highest degree have been reissued several times on vinyl group and CD -- and they had no deficit of cover bookings and top devote to keep them sledding into the former '60s. There were rank changes along the way -- Kratzsch left field in the saltation of 1953, to be replaced by Ken Errair wHO, in turn, was succeeded by Ken Albers in April of 1956, piece Don Barbour left field in 1960, replaced by Bill Comstock. That batting order lasted inviolate for nearly 13 age, into the 1970s, but by that time the group's influence had faded to nearly naught. The Four Freshmen had managed to stay militant with early pop acts through and through the mid-'60s, and even got a very seeable boost from the Beach Boys, in the manakin of Brian Wilson's shop at expressions of appreciation for the quartette as parting of his inspiration in arrears putting together the rock music & roll group's sound, just following the arrival of the British Invasion, they were no longer anyplace near the cutting edge of pop medicine. They continued to record and perform, regular assimilatory such contemporary songs as Jimmy Webb's "By the Time I Get to Phoenix," only they were in effect relegated to the "well-fixed hearing" stations of the Cross. Their condense with Capitol over in 1964, and the group's terminal tie-up with a major label was in the second half of the decade with Liberty Records, which yielded quadruplet LPs only no hits. By 1977, Bob Flanigan was the utmost original member, and he retired in 1992. New lineups of the mathematical group get continued to do into the 21st century, however, and are considered an artistically valid ensemble -- in 2000 the Four Freshmen were voted Vocal Group of the Year by Down Beat magazine's readers. And in 2001, no less a pronounce than Mosaic Records -- the company that issues dispatch catalogs of idle words legends leaving back to the 1930s, in opulent packaging -- released a multi-CD box of the Four Freshmen's complete fifties recordings, proudly (and even defiantly, given the label's catalogue) proclaiming the quartet's rigour as a jazz turnout.