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ARE YOU PERSUADED?
by
Rip Rense
SAN FRANCISCO CHRONICLE
COLUMNIST JON
CARROLL
covered the recording of "Might As Well: The
Persuasions Sing Grateful Dead,"
in four memorable
columns:
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/06/13/DD40355.DTL
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/06/14/DD40146.DTL
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/06/15/DD57064.DTL
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/06/22/DD6440.DTL
Thirty-Eight Years and No Band---
But the Persuasions Never Needed One
By JOHN ROGERS
Associated Press
The key to the
Persuasions' sound, if not their success, is
summed up succinctly by lead singer Jerry Lawson.
"Thirty-eight years and we still ain't got no
band, man!" he says,his good humor shining through on a
coast-to-coast phone call. "That's the story right
there."
In those 38 years, the New York City group has
become revered as "The Kings of a Cappella" by a small
but devoted fan base. The Persuasions have recorded doo
wop, blues, gospel and pop songs, all with no sound
other than their own voices blended in glorious harmony.
Now, they are ready to release their 21st album,
"Frankly A Cappella, The Persuasions Sing Zappa."
It's the vocal sextet's take on 16 of avant-garde
rocker Frank Zappa's works, everything from "Lumpy
Gravy" to "My Guitar Wants to Kill Your Mama" to a
couple of tracks too scatological to name here.
"We had to really go over all the songs closely,"
Lawson says, to find ones that would fit the
Persuasions' voices and at the same time not prove too
surprising to the group's audience.
"But afterward," he adds delightedly, "I played
this for my mother and my mother loved it."
She wasn't the only one.
"I think it's stunning," says Zappa's widow,
Gail.
Would her husband, who died of cancer in 1993,
have approved?
"I think he would have thought it was adorable of
them," she says, laughing.
"I can't believe they wanted to remember Frank in
this way."
It was Zappa, the brilliant instrumentalist, who
signed the struggling vocal harmony group to his
independent label Straight in 1969 and brought out their
first album, "A Cappella," the next year.
It was followed by 19 more releases, while the
Persuasions attracted fans around the world through
constant touring. They performed with everyone from Liza
Minnelli to Country Joe McDonald, Joni Mitchell to the
Seattle Symphony Orchestra.
Music executives never knew how to market a
black a cappella group that could perform a Paul Simon
song as well as one by the Moonglows. Commercial
radio, unable to decide which format they fit,
virtually ignored the Persuasions.
"To do this 38 years without having a band and
never having a hit record, something is guiding us,"
says Jimmy Hayes, the singer whose bass voice anchors
the Persuasions' sound.
"Nobody is put on this Earth just to occupy space
and breathe air," he continues. "I think our purpose
on this Earth is just to do what we're doing."
That's to sing.
Just a handful of guys blending their voices on
any song that catches their fancy. That's all the
Persuasions have ever done, through good times and bad.
When they first began getting together at the end
of the day in Brooklyn back in 1962, Hayes recalls, they
didn't even have a name.
"It was just five guys who used to stand on the
corner or go down to the subway station every night and
just do this," he says. "This lady heard us one time and
told us, 'You guys sound pretty good. What's the name of
the group?' We said, 'We ain't got no name. We're just
five guys singing on the street.'"
Then, Lawson remembers, "Jimmy Hayes came to us
and said, 'I got a name for us, and I got it from the
Bible.' He said Christ tried to persuade his disciples
to follow him, and what better name for us than the
Persuasions, when we're trying to get people to listen
to this music without a band."
"Actually it was Persuaders," Hayes says,
chuckling. "But it was the '60s and all the groups had
names ending in IONS _ Temptations, Swee Inspirations.
... So we became the Persuasions."
The next step was to persuade someone to hire
them.
"Oh it was rough, man, it was really rough,"
recalls Lawson. "It was rock 'n' roll and all the
club owners, they wanted the boom and the bang."
Finally, they sang outside one New York club well
enough that people stopped going inside. Suddenly, they
had a job there.
The original five---Lawson, Hayes, Joe Russell,
Jayotis Washington and Toubo Rhoad---stayed together
until Rhode's death in 1988. The survivors wouldn't
replace him for eight years, until B.J. Jones of the
Drifters joined them. Last year they added Raymond
Sanders, who had been with the Paragons.
Despite their difficulty breaking through to a
mainstream audience, the Persuasions kept their fans. It
was one fan named David Dashev, a music writer, who
pitched a tape of them to Zappa in 1969.
Thirty years later, another fan, Rip Rense, came
forward to promote "On the Good Ship Lollipop," a
children's album released last year, and the Zappa
project to Music For Little People and its companion
label, Earthbeat Records.
"They've never gotten their due," says Rense, a
Los Angeles-based writer. "They're the greatest, most
enduring American a cappella group. In another country
like Japan they'd be declared a living treasure."
The band members, in their 50s now, say they
aren't ready for legend status. They just want to keep
working.
"We're like wine," says Hayes. "You know what I
mean? We get better with age."
On a Spine-Tingling
Scale of 1 to 10, The Persuasions Rule With a Consistent
12.
By Robert Adels
Cashbox
McCabe's, Santa
Monica,CA---More than anyone else, The Persuasions
personify the essential difference between a tired
oldies act and a timeless a cappella attraction.
"And we still ain't got no band!" lead singer Jerry
Lawson boasted to the worshipping, sold-out crowd.
These all-vocal,
instrument-free heroes paved the way for today's
platinum a cappella acts Take 6 and Bobby
McFerrin, as well as for the retro-hip-hop styles of
Boyz II Men and Color Me Badd. Launching
their own '60s career after rock's second "doo-wop" boom
faded, The Persuasions pursued a soulful dream that has
artisically defied musical time and tide through four
decades.
At McCabe's, the quartet
saluted Frank Zappa (who gave these street-smart
voices their first label deal on his early Straight
Records), with their slant on his "The Meek Shall
Inherit Nothing." But they did so only after
counterbalancing Frank's atheism with a reverent version
of Curtis Mayfield's "Amen" (straight from their
command performance at the Tel Aviv Hilton.)
While The Persuasions have
yet to enjoy a hit single, gold album or major label
mega-support, they enjoy their music more than all the
groups they've survived put together. And it shows.
Jerry Lawson, Jimmy Hayes,
Jayotis Washington,
and Joseph Russell sing a cappella like
they invented it. But The Persuasions fully realize this
venerable singing style goes back beyond their 30 career
years, all the way to Gregorian chants and barbershop
quartets. They capture the music's black history by
delivering Sam Cooke's "Chain Gang" with the
intensity of a Civil War-era field holler. They can also
send-up that history with a Vegas-style version of "Swanee
River."
The doo-wop '50s is their
most obvious reference point and here The Persuasions
create a jukebox for its soul, sampling bits of nine
songs from "Sunday Kind of Love," to "The Great
Pretender" into one rapid-fire medley.
The death of longtime
baritone member Herbert "Toubo" Rhoad in 1988 may
have reduced this quintet to a quartet, but they still
enlarge every song they sing, no matter how slight (The
Tymes' "So Much in Love") or vast (Elvis' "Return
To Sender") the impact of its originator. Their own
vocal mix has enough rough edges to re-confirm the
sidewalk roots of each and every tune.
They make The Five
Satins' ultimate doo-wop anthem, "In The Still Of
The Night" their own by giving it back to the crowd,
inviting anonymous audience members on stage for their
own group singalong encore spotlight. (Spotted in the
large impromptu chorus at McCabe's was Michelle
Shocked.)
The Persuasions'
father-figure role in Spike Lee's PBS-TV special
and soundtrack album, Spike & Co. Do It A Cappella
has led to overdue re-issues from Elektra, Capitol,
Rounder, and other former labels. We hope to hear a new
album from them shortly.
This is no oldies group. On
a Spine-Tingling Scale of 1 to 10, The Persuasions rule
with a contemporary, consistent 12.
The
Persuasions sing a cappella Zappa
by Julio Martinez (Daily Variety)
HOLLYWOOD (Variety) - Frank
Zappa's wacky, surrealistic lyrics actually take on a
new level of meaning and hilarity coming from the mouths
of this tradition-bound, tuxedo-clad a capella sextet.
The Persuasions, led by
Jerry Lawson, do not possess the smooth, velvet-voiced
harmonic inventiveness of such contemporary a cappella
groups as Take 6, Boyz II Men or Rockapella, but they do
infuse every number with an energetic commitment that is
infectious.
Back in 1969, master of
rock 'n' roll absurdism Zappa signed an unknown a
cappella R&B-gospel quintet from Brooklyn to his record
label, launching the recording career of the
Persuasions. As a tribute to their mustachioed mentor
(who died of cancer in 1993), the ensemble has just
released a CD of his music titled ``Frankly a
Cappella.''
Beginning with a zesty,
scat rendition of Zappa's quirky instrumental ``Lumpy
Gravy'' (featuring a recurring riff on the word
``duodenum''), the ensemble winds its way through a
representative sampling of Zappa fare culled from
Mothers of Invention recordings from 1963 to 1969.
Lawson handled the solos
through most of the one-hour concert, including the
philosophical ``Any Way the Wind Blows,'' the
hard-driving, politically incorrect ``Hotplate Heaven at
the Green Motel'' and the deceptively tender, doo-wop
inspired ``Love of My Life.''
The Zappa highlight of the
evening has to be the decidedly irreverent ``The Meek
Shall Inherit Nothing,'' led with revival meeting fervor
by a choir-robed Lawson. It is amazingly affective to
hear this quintet of church-trained vocalists warn the
audience that the prophets of old are ``a waste of time
and it's your ass that's on the line.''
To give evidence of their
own vocal roots, the Persuasions added several R&B hits,
including ''Sincerely,'' ``Good Night Sweetheart,''
``Speedo'' and a unique, rumba-soul rendition of the
Latin classic ''Besame Mucho.''
Presented inhouse. Band:
Jerry Lawson, Jimmy Hayes, Joe Russell, B.J. Jones,
Jayotis Washington, Raymond Sanders.
IT HAPPENED AT JOE'S STAR LOUNGE. . .
by FLOYD KUCHARSKI of
Kingsford, Michigan.
My rusty old Dodge van swayed from
side to side at sixty miles an
hour along westbound Jeffrey’s Freeway. Cold sharp winds
slapped at her sides, threatening to either shove us
into a guardrail or send us skidding out of control
across the wide slick patches of ice which lay on the
road.
Dense clouds of thick frosty snowflakes swirled down
from the sky and filled the horizon, dropping visibility
to near zero.
The date was January 24, 1985, and although it was
a perilous night to be out for a drive I had no thought
of turning back home to Detroit. I was heading for a
college town and someplace called Joe’s Star Lounge,
where the Persuasions were scheduled to perform before a
live audience.
I knew it would be a remarkable concert; I didn’t
know, though, that the Persuasions would introduce me to
"the Family of Man" and include me in a Norman Rockwell
painting.
This would be my first live concert, but I had
been collecting Persuasion music since discovering
them in the late l970’s. My love for pure a cappella is
something I was born with – a gift from our Creator, if
you will – and my admiration for the Persuasions came
straight from the soul.
I loved their rich soaring harmonies. I thrilled to
Jimmy Hayes’ incredible, relentless bass. Most of all I
admired their signature tune, "Still Ain’t Got No Band,"
which I first heard on their 1984 "No Frills" album.
"We’ve been making music all these years, and we
still ain’t got no band!" the lyrics proclaimed. I
instinctively understood this. "That’s because they
don’t need to hide behind loud drums or fancy
synthesizers or anything like that," I would tell my
friends.
"They can stand on their own!"
Back in ’85 I couldn’t possibly have foreseen how
much my life would change over future years. Mom
would die. Dad would die. Me eldest son would die. I
would go through a divorce, finally put a cork in the
jug, and three years later retire from my career, and
then move completely away from the big city.
And I didn’t foresee that the Persuasions would also
overcome disappointment and heartache, then carry their
torch into the new millennium singing about life and
spirituality with even more vim and harmony than before,
not to mention the added wisdom and maturity their life
experiences would give them.
That night in ’85 all I could think of was "it sure
is cold tonight … and windy … keep your eyes on the road
… don’t miss your turn …"
Although word of the Persuasions' appearance had
been passed along mostly by word of mouth, Joe’s
Star Lounge was absolutely packed that evening! Before
the show I sat drinking beer and watching a small
doorman with a long blond pony tail turn away one
prospective customer after another.
"Why can’t they come in?" I asked him.
"Ya can’t come in without a ticket," he replied.
"Look around. The place is already full and more people
keep coming. Where we gonna put them all?"
Then I went back to my table with another beer, wiped
frost off a window so I could look outside, and
discovered that the people who had been turned away were
still outside, standing in little groups. An icy wind
ripped at their coats. It blew swirls of frigid snow
around their ankles and under jacket collars, but there
they stood, shivering in the street.
"What are they waiting for?" I wondered.
Inside the lounge, the group had performed
standards such as "Ain’t That Good News," along with
newer material, and lead singer Jerry Lawson had
entertained us between sets with friendly patter and
funny stories. And then I discovered what we
had all been waiting for.
Right around 10:30 I glanced down at my watch and
thought to myself, "It’s getting late. Show’s almost
over!" Then on impulse I turned back toward the window
to again wipe frost off the glass and peer into the
night, and I realized that those little knots of people
were still standing outside, shivering in the bitter
cold air, still waiting.
And at that moment I witnessed a little miracle.
Lounge management somehow began piping the music
outside, where the "street people" could hear it. As the
Persuasions sang, their sweet harmonies radiated
outdoors and into the roadway, whereupon the little
knots of people began moving in slow unison off the
street and toward the lounge.
I had the distinct impression that they were
moving out of the bitter cold, toward the comforting
warmth of the Persuasions' peace and harmony, much as
rural families might gather around a farmhouse fireplace
to warm their bones and escape deep winter’s chill.
"We’re all came here tonight for the same reason," I
realized. "We are all part of the Family of Man, and we
came here tonight to let the Persuasions warm our
spirits. We’re all gathered before a glowing cosmic
hearth, warming our souls with the hottest a cappella
this side of Heaven."
I would later learn the term a cappella means "in the
chapel, a reference to the pure vocal music of the
Middle Ages," which may account for the deeply spiritual
character of my experience that night. Maybe that’s also
why I felt as though I was sitting inside of a living
breathing Norman Rockwell painting, straight off the
cover of an old Saturday Evening Post, sharing
hearth and kinship with other Family members.
I drove home that night and couldn’t sleep. Something
in my life had begun to change.
I have retold this story ever since, repeatedly,
to any friend who will listen and try to understand.
That night in ’85, I did not foresee that the
Persuasions would continue to perform into l999, still
intact after 36 years on the road, 22 albums, not a hit
record to show for all of it, and especially, the death
of beloved baritone Herbert "Toubo" Rhoad, who had been
described as the group’s "glue."
I wouldn’t have predicted that this year they would
release a pair of vigorous, magnificent albums –
You’re All I want for Christmas, and Good Ship
Lollipop – and that, just as 35 years ago, the only
sound we would hear is the human voice: founding members
Jerry Lawson at lead baritone; Sweet Joe Russell at
tenor and falsetto; Jayotis Washington at tenor; Jimmy
Hayes at bass; and new member B.J. Jones, a former
Drifter.
Performing strictly a cappella through nearly four
decades, these gentlemen "still ain’t got no band!"
And ain’t it grand?
Singing with power and conviction, their outright
refusal to "go commercial" and hide their voices
behind loud noisy instruments gives us hope, because
their success demonstrates that good things can endure
hardship and changing times.
Today their brilliant lyrics and harmonies cheer
hearts and raise spirits across the globe. It is their
music which we hear inside our heads upon arising each
morning, eating breakfast, walking the dog, or communing
with our Higher Power.
Their message to the Family of Man is clear. "Know
who you are. Be what you are. Have faith in yourself.
Walk through life at the Creator’s side, singing your
own song, the one He gave you."
Because A cappella is "the people’s music" and meant
to be shared, I talk about this often with Family
members. "How do you spell ‘a cappella’ and what’s it
mean?" they ask.
I tell them, "You spell it ‘Persuasions.’ "
And it means "honesty, liberty, the freedom to walk
through life without absolutely no crutch of any kind."
Finally, I always add, "Hey, I ain’t got no band
either. I’ve kept the jug corked for eleven years so
far. But can I tell you about a night in back l985 when
I witnessed a little miracle? See, I was driving my old
brown Dodge van down the Jeffreys freeway, and it was
snowing to beat the band, and …"
TOP ARGUMENT FOR A CAPPELLA MUSIC
By Rip
Rense, from the San Jose Mercury News
The Persuasions have been through all
the hell you might expect after 36 years on the
road, 20 albums in their wake, and not a hit record to
show for it. But they wouldn't have it any other way.
"Hey, we knew in the beginning we'd have to persuade
people to listen to five guys with no band," said lead
singer Jerry Lawson. "Christ had to persuade people to
listen to him, and so did The Persuasions. That's why we
took the name. For a long time, we were really the only
guys out there singing a cappella music."
A cappella---meaning unaccompanied (literally
translated "in the chapel," a reference to pure vocal
music in the middle ages)---has not historically been
the stuff of radio airplay, let alone hits. From the 60s
through the 80s, you were lucky to find it on the odd
late night FM R&B show. That changed in the early 90s,
when a branch of rap and hip-hop mutated into multi-part
unaccompanied harmonizing. And now. . .
A cappella is big business. Consider: Boyz II Men,
who had a hit with an a cappella version of "In the
Still of the Night," are a household name. Take 6 won a
Grammy for an entire a cappella album. Loopy, highly
inventive groups like Rockapella, The Bobs and The
Nylons have a healthy recording and touring existence.
The a cappella society, Primarily A Cappella
(headquartered in Santa Rosa, Calif.) has a website
listing hundreds of vocal groups across the nation, many
with their own albums for sale, and hosts an annual A
Cappella Summit concert.
Yet somehow, The Persuasions---the godfathers of the
movement--- guys who were singing a cappella on the
streetcorners of Brooklyn, N.Y., long before Boyz II Men
were even Babiez II Men, have been lost in the bargain.
There are no slick MTV videos and spiffy marketing for
this fiftysomething quintet. As always, they still eke
by on a devoted fan base, and word-of-mouth. They're
probably the longest running best-kept-secret in the
music business. Call it a howling injustice, in
five-part harmony. There are no sour notes from Lawson,
though:
"We carried the torch by ourselves for a long time,"
he said, resting in Los Angeles between gigs. "Now there
are over four or five hundred a cappella groups, and it
makes us feel good. I told Rockapella, when they first
came to one of our shows, there was of room for
everybody! Anything that happens as far as a cappella is
concerned puts a feather in our caps."
They have been nothing if not durable. They stuck
it out after the heady times in the 70s ended, when
they recorded for major labels includ-ing Capitol, MCA,
and Elektra. They stuck it out when Lawson decided to
quit in the early 80s, then came back, and when second
tenor Joe Russell did the same thing. They stuck it out
when they could barely pay the rent on their gig-to-gig
existence, and when radio barely played their music.
Most amazingly, they stuck it out after their beloved
baritone, Toubo Rhoad, died in Sacramento in 1986
following a stroke. The husky-voiced Rhoad was "the
glue," as the group puts it, that held everyone
together---harmonically, and in terms of brotherhood.
His ashes were scattered in the San Francisco Bay, a
place he loved, and The Persuasions toured for a long
time with his empty mike. (Former Drifter B.J. Jones
joined in 1997.)
Most recently, the group endured a protracted
struggle to leave its label, Rounder, after six albums.
The label granted a buy-out release to The Persuasions,
who were unhappy with promotion and distribution of
their product---notably their 1997 Christmas album,
You're All I Want For Christmas, which they say was
not widely distributed on release, despite endorsements
by the L.A. Times and New York Times.
The Persuasions' peers, fortunately for them, have
long recognized the group's virtuosic vocal
abilities. Lawson, whose rough-edged tenor compares with
Brook Benton and Otis Redding, Jimmy Hayes (bass), Joe
Russell (tenor, falsetto), Jayotis Washington (tenor),
and the late Toubo Rhoad (their baritone, who died from
a stroke in 1987) have sung and/or recorded with the
likes of Liza Minelli, Joni Mitchell, Stevie Wonder,
Bette Midler, Lou Reed, Van Morrison, Paul Simon, Gladys
Knight, Country Joe McDonald, Patti La Belle, the
Neville Brothers, B.B. King. The group's 1977 Elektra
album, Chirpin,' was rated one of the top 100 works of
the '70s by Rolling Stone. Tom Waits once said:
"These guys are deep sea divers. I'm just a fisherman in
a boat."
It was Frank Zappa, of all people, who first signed
them to a record contract (Straight, for Warner
Brothers) in 1968---merely upon hearing them sing over
the phone, when a friend called from a New York
nightclub, declaring "Frank, you've got hear this."
"Frank was cool," laughed Lawson. "He brought us out to
Hollywood, where we saw all the holly, and the wood."
In 1970, The Persuasions moved to Capitol, quickly
cut two of their most classic albums, We Came to
Play and Streetcorner Symphony, and ran
smack up against a marketing boondoggle. In the
rock-dominated music and radio industry of the 70s and
80s, no one knew how to sell a cappella. Was it a
novelty? Folk? R & B? Eclectic song choices didn't help
matters; the group recorded everything from Motown to
Kurt Weill, Bob Dylan, Zappa and, in one instance, the
(gulp) Partridge Family. "Yes, we do 'I Woke Up In Love
This Morning,'" said Lawson, a TV fanatic who does most
of the group's arranging. "I heard it on an old
Partridge Family re-run, and I thought, 'that's a
Persuasions song.' There's something about certain songs
that I just call Persuasions songs the first time I hear
them. It's a lot to do with our bass man. If he can do
the licks like they are on the record, then the lead
singer is free to come up with what he wants. And the
other Persuasions become the violins."
It wasn't just marketing people who were befuddled by
five African-American guys harmonizing Dylan. Tower
Records and other major chains took 20 years to stop
filing their records and CDs in "oldies" and "vocals"
and finally give them their own category in "rock and
pop." It's the only appropriate label, devotees will
tell you, because the group. . .rocks. Hayes' basslines
have more in common with Motown's great studio bass
player James Jamerson than gospel. As Lawson says, "We
have a song, 'Still Ain't Got No Band,' but it really
isn't quite true. See, we are the band."
The late 80s were a time of staggering, but in the
90s, things are turning around. The group has
recorded six new albums this decade---including, for
Rounder's Bullseye Blues label, the excellent 1996
Sincerely and two firsts: the forthcoming all-gospel
album, Inspired (Bullseye Blues), and a
children's album, Good Ship Lollipop, due in
May on the Grammy-winning Music For Little People Label.
"We've been going to schools and singing for kids for
thirty years," said Lawson, "and we've always wanted to
do a kids' album. This is the first time anyone other
than The Persuasions have sung with us. We got some
great kid singers joining us, and wouldn't you know? It
might be the best album we've ever done."
There have been a few more high notes of late,
starting with their unusually candid 1996 documentary,
"Spread the Word," which airs occasionally on PBS (but
has yet to be released commercially due to high
licensing fees for the featured songs.) Produced and
directed as a labor of love by writer/ actor and
longtime fan Fred Parnes, the film played festivals
across the country and garnered raves, including this
from Andy Klein of the L.A. Reader: "Feeling
depressed? I can think of no greater remedy than to
watch 'Spread the Word,' a funny, moving, and
invigorating look at. . .one of America's national
treasures.'" Said Parnes: "They should be in the Rock 'n
Roll Hall of Fame, they should be playing the White
House, they should be doing Austin City Limits, Vegas.
It's just amazing to me that they are not more
recognized."
The are, at least, on their home turf. Last
summer, The City of Brooklyn honored the group with
a spot on its own "Walk of Fame" and a "Persuasions
Day." Now there are new goals: a tour of Europe and
Asia, and an album tribute to Zappa.
"We want to say 'thank you' to Frank for signing us,"
said Lawson. "You can't imagine how great Zappa's music
sounds a cappella, especially the early songs. We sing
his tune, 'The Meek Shall Inherit Nothing' in concert,
and people love it."
Still ain't got no band is The Persuasions' longtime
slogan. Still ain't got enough recognition might be more
apt at this stage. But Lawson says the group will still.
. .stick it out.
"With help from our fans, we're going to hang in
there. I told the guys, we are going to go out like the
Mills Brothers. They sang till the end, and one of them
is still singing. Our voices are stronger than ever. And
our hearts, too."
A
CAPPELLA, PERSUASIVELY
by Geoffrey
Himes, from the Washington Post
WHEN LEAD singer Jerry Lawson and the
rest of the Persuasions appeared on "Do It A
Cappella," the PBS special directed by Spike Lee last
year, Lawson saw it as the ultimate vindication of his
whole career. As he looked around the soundstage, Lawson
saw examples of the worldwide resurgence in
unaccompanied singing: South Africa's Ladysmith Black
Mambazo, England's Mint Juleps, New Jersey's Rockapella
and the Grammy-winning Take 6.
"It was such a wonderful feeling for the
Persuasions," Lawson recalls, "because it proved we had
accomplished something; it showed we weren't one of
these groups that just put out a few records and
disappear. When we started out 28 years ago, a cappella
barely existed, but we kept it alive and now a cappella
is happening all over the world. It's like working on a
car for 28 years, and when you're finally finished,
people see it and go, 'Wow!' "
The Persuasions, who perform at the Birchmere
Saturday, shared a dressing room during the TV
special with Take 6, the Alabama a cappella gospel
sextet whose shows now sell out.
"Their success makes me feel wonderful," Lawson
proclaims in the same husky, booming voice he uses on
stage. "There's always room for others. I'm 47 years old
and the guys in Take 6 are kids; they're going to carry
it on. When they told us in the dressing room how they
listened to the Persuasions all through
college or when they praised us on TV on 'Good
Morning America,' it makes me feel like there was a
purpose to the Persuasions. I feel like we've opened the
door for someone else."
The Mint Juleps, an all-female sextet from
England, were especially excited to meet the
Persuasions at last. It seems that the women had never
heard of a cappella singing until a few guys they knew
tried to impress the women with some street-corner
harmonies.
"They asked the boys, 'What's that?'," Lawson
relates. "The guys said they learned it at a workshop
led by the Persuasions in London about 15 years ago, and
that got the Mint Juleps interested in a cappella
singing. Like they say, 'Everything that goes around
comes around.' "
Lawson was particularly impressed with Ladysmith
Black Mambazo, the stars of Paul Simon's "Graceland"
album and tour.
"I had to sit down and really listen hard to
Mambazo," Lawson says, "because that's our roots.
When we started singing a cappella on the street
corners, we had no idea it reached all the way back to
Africa. We were singing it for self-enjoyment, but for
them it's a way of life -- it's their national anthem
and their prayers. They showed us a whole other side of
a cappella."
The "Do It A Cappella" TV special and the subsequent
soundtrack album on Elektra (featuring three Persuasions
tracks) have provided a new lift to the group's career.
The special was broadcast all over the world, and the
Persuasions' agent has been getting calls from the most
unlikely places. The least likely of all was Vietnam. It
seems that a lot of U.S. soldiers had tapes of the
Persuasions' 1972 "Street Corner Symphony" album and
many Vietnamese still listen to it. Lawson hopes that
Vietnam will be included on the group's upcoming Far
East tour.
In conjunction with the TV special soundtrack,
Elektra Records also rereleased the Persuasions' 1977
album, "Chirpin'," which Lawson calls his favorite
second only to "Street Corner Symphony."
"It's been nine years since we've had any album at
all under our own names, but we just started work on
a new one last week," Lawson says. "Ichiban Records
should have it out by the time we come back to D.C. to
play Anton's in May."
When the Persuasions were at Anton's last July, they
asked D.C.'s Finest, an a cappella quintet of three
active-duty D.C. police officers and two retirees, to
open each show. It's been common practice for the
Persuasions to befriend the local a cappella group that
opens the show in nearly every city they play regularly.
Often the friendship extends to dinners in private homes
-- a personal touch that makes touring much more
bearable. Last summer in Washington, Lawson lost a
dental plate, but the officers in D.C.'s Finest wouldn't
rest until they had safely delivered him to a dentist.
It's stories like that provide Lawson with
satisfaction after a long and sometimes difficult
career.
"Oh, there were lean times," he admits, "but we never
had to take day jobs and we never thought about
quitting. There was a time when the family tree of a
cappella singing was only a single stem, and that was
the Persuasions. But look at that tree now: It has lots
of branches and all the flowers are blooming."
|
reviews from the
archives
The
Persuasions sing a cappella Zappa
by Julio Martinez (Daily Variety),Apr.12, 2000
HOLLYWOOD (Variety) - Frank
Zappa's wacky, surrealistic lyrics actually take on a
new level of meaning and hilarity coming from the mouths
of this tradition-bound, tuxedo-clad a capella sextet.
The Persuasions, led by
Jerry Lawson, do not possess the smooth, velvet-voiced
harmonic inventiveness of such contemporary a cappella
groups as Take 6, Boyz II Men or Rockapella, but they do
infuse every number with an energetic commitment that is
infectious.
Back in 1969, master of
rock 'n' roll absurdism Zappa signed an unknown a
cappella R&B-gospel quintet from Brooklyn to his record
label, launching the recording career of the
Persuasions. As a tribute to their mustachioed mentor
(who died of cancer in 1993), the ensemble has just
released a CD of his music titled ``Frankly a
Cappella.''
Beginning with a zesty,
scat rendition of Zappa's quirky instrumental ``Lumpy
Gravy'' (featuring a recurring riff on the word
``duodenum''), the ensemble winds its way through a
representative sampling of Zappa fare culled from
Mothers of Invention recordings from 1963 to 1969.
Lawson handled the solos
through most of the one-hour concert, including the
philosophical ``Any Way the Wind Blows,'' the
hard-driving, politically incorrect ``Hotplate Heaven at
the Green Motel'' and the deceptively tender, doo-wop
inspired ``Love of My Life.''
The Zappa highlight of the
evening has to be the decidedly irreverent ``The Meek
Shall Inherit Nothing,'' led with revival meeting fervor
by a choir-robed Lawson. It is amazingly affective to
hear this quintet of church-trained vocalists warn the
audience that the prophets of old are ``a waste of time
and it's your ass that's on the line.''
To give evidence of their
own vocal roots, the Persuasions added several R&B hits,
including ''Sincerely,'' ``Good Night Sweetheart,''
``Speedo'' and a unique, rumba-soul rendition of the
Latin classic ''Besame Mucho.''
Presented inhouse. Band:
Jerry Lawson, Jimmy Hayes, Joe Russell, B.J. Jones,
Jayotis Washington, Raymond Sanders.
Cashbox
On a Spine-Tingling
Scale of 1 to 10, The Persuasions Rule With a Consistent
12.
By Robert Adels
McCabe's, Santa Monica,CA---More than anyone else,
The Persuasions personify the essential difference
between a tired oldies act and a timeless a cappella
attraction. "And we still ain't got no band!" lead
singer Jerry Lawson boasted to the worshipping, sold-out
crowd.
These
all-vocal, instrument-free heroes paved the way for
today's platinum a cappella acts Take 6 and
Bobby McFerrin, as well as for the retro-hip-hop
styles of
Boyz II Men and Color Me Badd. Launching
their own '60s career after rock's second "doo-wop" boom
faded, The Persuasions pursued a soulful dream that has
artisically defied musical time and tide through four
decades.
At
McCabe's, the quartet saluted Frank Zappa (who
gave these street-smart voices their first label deal on
his early Straight Records), with their slant on his
"The Meek Shall Inherit Nothing." But they did so only
after counterbalancing Frank's atheism with a reverent
version of Curtis Mayfield's "Amen" (straight
from their command performance at the Tel Aviv Hilton.)
While The
Persuasions have yet to enjoy a hit single, gold album
or major label mega-support, they enjoy their music more
than all the groups they've survived put together. And
it shows.
Jerry
Lawson, Jimmy Hayes, Jayotis Washington,
and Joseph Russell sing a cappella like
they invented it. But The Persuasions fully realize this
venerable singing style goes back beyond their 30 career
years, all the way to Gregorian chants and barbershop
quartets. They capture the music's black history by
delivering Sam Cooke's "Chain Gang" with the
intensity of a Civil War-era field holler. They can also
send-up that history with a Vegas-style version of "Swanee
River."
The doo-wop
'50s is their most obvious reference point and here The
Persuasions create a jukebox for its soul, sampling bits
of nine songs from "Sunday Kind of Love," to "The Great
Pretender" into one rapid-fire medley.
The death
of longtime baritone member Herbert "Toubo" Rhoad
in 1988 may have reduced this quintet to a quartet, but
they still enlarge every song they sing, no matter how
slight (The Tymes' "So Much in Love") or vast (Elvis'
"Return To Sender") the impact of its originator. Their
own vocal mix has enough rough edges to re-confirm the
sidewalk roots of each and every tune.
They make
The Five Satins' ultimate doo-wop anthem, "In The
Still Of The Night" their own by giving it back to the
crowd, inviting anonymous audience members on stage for
their own group singalong encore spotlight. (Spotted in
the large impromptu chorus at McCabe's was Michelle
Shocked.)
The
Persuasions' father-figure role in Spike Lee's
PBS-TV special and soundtrack album, Spike & Co. Do
It A Cappella
has led to overdue re-issues from Elektra, Capitol,
Rounder, and other former labels. We hope to hear a new
album from them shortly.
This is no
oldies group. On a Spine-Tingling Scale of 1 to 10, The
Persuasions rule with a contemporary, consistent 12.
L.A. Reader:
The Real Feel-Good Film of the Year
By Andy Klein
Feeling depressed? Life got
ya down? Is that your problem, Binky?
If it is, I can think of no
greater remedy than towatch Fred Parnes's
documentary, Spread the Word: The Persuasions Sing A
Cappella---a funny, moving, and invigorating look at
a vocal group that is one of America's national
treasures.
There is a strong chance
you've never heard of these guys. After thirty-some
years and more than a dozen albums, The Persuasions have
never had even a minor hit. (They just barely cracked
the soul charts a coupel of times in the mid-seventies.)
Despite the nineties mini-revival of a cappella
harmony records by groups like Boyz II Men, Shai,
and Color Me Badd. . .despite the fact that most
groups acknowledge their debt to, and respect for, The
Persuasions. . .despite the high regard they command
within the music industry. . .real commercial success
has eluded them.
Part of the problem may be
the group's commitment to a capella. They've
relentlessly refused to record with instruments, not
that you'd necessarily notice. Back in the early 70s,
when their album, We Came To Play was released, I
used to play their version of The Temptations'
"(Loneliness Made Me Realize) It's You That I Need" for
friends. I'd then ask if they noticed anything, well,
odd about the record; so full was the sound that almost
nobody ever picked up on the fact that there was no
orchestra.
Actually, I can think of
one greater remedy for despondency than Spread The
Word: If The Persuasions happen to be playing around
town, go see them instead. No film could possibly
capture the sheer joy and energy of the group live. The
very notion that it could approaches sacrilege, like
trying to photograph the face of God. A shadow image is
the best you can hope for.
That said, Parnes provides
as substantial a shadow as one could hope for. He does a
remarkable job of conveying just what is so special
about these guys, musically and personally. In
particular, he captures the sense of ensemble that
spills over from their singing into their talking. In
conversation, they constantly interrupt eachother
with perfect timing---the kind of timing that can't
be faked, that only comes from years of being close. The
banter is rhythmic, slipping into classic
call-and-response gospel style. It gives you the kind of
sheer pleasure of performance that is usually reserved
for music or movement: It's the conversational
equivalent of Jeff and Beau Bridges's
rapport in The Fabulous Baker Boys or Jackie
Chan, Sammo Hung, and Yuen Biao in a
dozen films, brawling with the precision of brothers.
The film includes excerpts
from about twenty-five songs. We hear only a few all the
way through, which is a pity. The selection ranges from
The Temptations to country to Men at Work
to blues to "My Yiddishe Mama" to the Wyatt Earp TV
theme. But, not matter what the material, The
Persuasions inevitably turn it into secularized gospel.
You being to suspect that they could find the emotional,
spiritual roots of anything---"Billy, Don't Be a Hero,"
or "Playgrounds of My Mind" or "Something Stupid."
Spread the Word
really is, to use a debased expression, the feel-good
film of the year. It's nearly impossible to watch it
without (a) wanting to go hear the group live; (b)
wanting to sing along: and (c) wanting to be their
friend.
The Persuasions may be just
four guys and a ghost---they carry with them the spirit
and memory of departed member Toubo Rhoad---but,
all together, they also form a kind of unintentional
suicide-prevention hotline. On stage and on screen, they
generate the kind of pleasure that reminds you why life
is worth living.
REVIEWS OF 'FRANKLY
A CAPPELLA: THE PERSUASIONS SING ZAPPA:"
Billboard (April 1,
2000)
SPOTLIGHT: THE PERSUASIONS, "Frankly A Cappella: The
Persuasions Sing Zappa"
In a work of absurdist inspiration worthy of its
subject, gospel a cappella heroes the Persuasions offer
up a surprisingly soulful collection of…that's right,
Frank Zappa covers. The vocal quintet -- expanded to a
sextet for this outing -- pays homage to Zappa, who
inked them to their first album deal in 1969. The 12
featured songs are a savvy survey of Zappa's legendary
catalog of avant-garde rock and jazz, spanning the years
1963-1989. As a bonus, the album features contributions
from former Zappa collaborators like trombonist Bruce
Fowler on "Cheap Thrills" and guitarist Mike Keneally on
"My Guitar Wants To Kill Your Mama." But the
Persuasions, who previously covered Zappa's "Lucille Has
Messed My Mind Up" on 1994's "Right Around The Corner,"
have no problem translating his complex musical
arrangements with just six-part harmonies. As evidenced
on tracks like "The Meek Shall Inherit Nothing" and
"Lumpy Gravy" (A Zappa instrumental composition),
"Frankly A Cappella" is a novel re-working of a true
original. Great Googly-Moogly, indeed.
The Washington Post
(Mar 26, 2000)
Let's start with an obvious question: How did a
gospel-leaning African American a cappella act from
Brooklyn end up recording a batch of songs by
California's surrealist rock weirdo Frank Zappa? Through
a friend of a friend, as it happens, Zappa auditioned
the band over the phone back in 1969 and liked what he
heard. The following year, the Persuasions--who later
scored some minor R&B hits and steadfastly refused
backing instruments--recorded an album on Zappa's
Straight Records, titled simply "A Cappella."
The Persuasions and their mustachioed mentor met only a
few times, once opening for Zappa's Mothers of Invention
at Virginia Beach in 1971. (The show marked the first
time an African American act played that stretch of
sand, by the way.) Zappa died of cancer in 1993, and now
the Persuasions are paying tribute with cover versions
of some of his best-known songs.
"Frankly A Cappella" turns out to be a pretty inspired
idea. Putting Zappa's odd, wickedly acerbic lyrics in
the mouths of six church-choir gents adds layers of
humor to the music that simply weren't there when sung
by a self-avowed satirist. On "Lumpy Gravy," the
Persuasions must weave "duodenum" into a doo-wop number.
Most subversive, by a mile, is the Persuasions'
rendering of the anti-liturgical "The Meek Shall Inherit
Nothing," which features this incomparable couplet:
"Some take the Bible for what it's worth, when it says
that the meek shall inherit the earth/ But I heard that
some sheik has bought New Jersey last week, and you
suckers ain't getting a thing."
© Copyright 2000 The Washington Post Company
San Francisco
Chronicle's Joel Selvin writes:
As a composer, Frank Zappa never attracted a lot of
interpreters. His own versions were so exacting, he
didn't leave a lot of wiggle room for other people. A
great deal of the essence of Zappa lay in careful
juxtapositions of highly detailed music and pointed
lyrical sentiments. But The Persuasions have struck a
near-perfect balance. The long-standing a cappella group
doesn't really change its trademark style, but rather
brings Zappa into its world---and not just his comical
doo-wop, but even orchestral pieces such as "Lumpy
Gravy." These singers understand both the content and
the spirit of Zappa's songs, which is why this album is
as good as it is. To have these black voices joining
together in gospel harmonies over Zappa racial
commentaries in "Electric Aunt Jemima" or "You Are What
You Is" brings entirely new meaning to the compositions.
And Zappa's slightly bent takes on both romantic and
carnal love---such as 'Harder Than Your Husband'---gets
a much more goofy grin on the faces of The Persuasions.
Zappa's iconoclasm went all the way to the bone and The
Persuasions are savvy enough to keep their own charming
eccentricities intact while tackling Zappa's."
PEOPLE MAGAZINE's
Steve Dougherty writes: (APRIL 17, 2000)
And now for some bizarre bedfellows. On this tribute to
the late avant-garde composer and social satirist Frank
Zappa, leader of the Mothers of Invention and wearer of
surreal facial hair, the Persuasions perform 13 Zappa
titles, among 'Lumpy Gravy,' 'Electric Aunt Jemima,' and
'My Guitar Wants to Kill Your Mama,' from Mothers albums
such as 'Freak Out,' 'Uncle Meat,' and 'Weasels Ripped
My Flesh.' Unusual fare for a group of six middle-aged
gentlemen famous for their earnest a cappella
vocalizing. Yet The Persuasions---who launched their
recording career in 1969, when Zappa signed them to his
Straight label after listening to a tape a friend played
for him over the telephone---deftly manage the complex
arrangements and intricate rhythm structurs that Zappa
wrote to challenge a generation of virtuoso
instrumentalists. And the group does not shy away from
the bitter sarcasm of tunes such as the Mark
Twain-inspired 'The Meek Shall Inherit Nothing.' We're
persuaded.
ORANGE COUNTY
REGISTER's Steve Plesa writes: (April 7, 2000)
This is a record about which, if you were unfamiliar
with the original artist, you would say, if you heard it
at a party, 'What the heck is this?'And if you were
familiar with the original artist and knew the tunes,
you would say, 'WHAT THE HECK IS THIS?' very loudly and
demand to see the CD case to prove your ears weren't
lying. The Persuasions are among the best a cappella
bands ever recorded, and their easy handling of the
often complex and challenging Frank Zappa material here
is refreshing and reverential, unique and highly
amusing. Executive producer Rip Rense, who has written
extensively for many publications about both The
Persuasions and Zappa, has put together one of those
rare combinations where the result is well worth the
risk. Voices! Voices rising and falling, careening
around corners and harmonizing exquisitely, combining
falsetto, tenor and bass in seamless precision, covering
diverse FZ tunes such as the brooding 'Any Way The Wind
Blows' and the sinister 'My Guitar Wants to Kill Your
Mama.' And when this gospel-based group sings 'The Meek
Shall Inherit Nothing,' you conjure a picture of them
singing it along the sidelines as the masses queue up
trying to make it through the Pearly Gates. Zappa the
instrumental composer is also represented here, in the
album-opening 'Lumpy Gravy,' a stunning piece of work
where the voices capture the notes made originally by
instruments, resulting in a rather mad moment of very
professional and well-executed silliness. This is much
like the FZ live version of 'Stairway to Heaven' in
which the horn section took Jimmy Page's guitar solo,
note for note. WHAT THE HECK IS THIS? It's an equal
blend of sincerity and nuttiness you should buy and play
at your next party.
CDNow! review:
by Drew Wheeler
In 1969, with rock'n'roll at its psychedelic zenith,
Frank Zappa ignored prevailing trends and signed a
cappella R&B group the Persuasions to his Straight
Records label. The Brooklyn, NY-based Persuasions had
been performing for the better part of that decade, but
it was under Zappa's aegis that they recorded their
debut album, 1970's A Cappella.
Zappa, a lifelong doo-wop connoisseur who co-wrote the
1962 single "Memories of El Monte" for the Penguins,
recognized the Persuasions as the real deal. And even
though Zappa's name conjures up a welter of musical
connotations -- transcendent guitar soloist, "serious"
composer, jazz-rock innovator, scatological songwriter
-- his music was often grounded in the type of close R&B
harmonies that are still the Persuasions' forte. With
Frankly A Cappella, the Persuasions make explicit
Zappa's R&B-vocal connection, and pay tribute to a
Renaissance man with a streetcorner soul.
The Persuasions (Jerry Lawson, Jimmy Hayes, "Sweet Joe"
Russell, Jayotis Washington, Bernard "BJ" Jones, and
Raymond Sanders) could easily have stocked this album
with the most a cappella-friendly songs in Zappa's
voluminous catalog, but they fearlessly delve into some
of his earlier, more comically surrealistic songs.
"Electric Aunt Jemima" gains a poignancy that was buried
under the electronic modifications of its original
version, and "My Guitar Wants To Kill Your Mama" is a
solid, call-and-response groove, with in-the-spirit
guitar breaks from guest FZ alumnus Mike Keneally. The
album's opening track is a wordless vocal remake of an
instrumental theme from the uncategorizable Lumpy Gravy
album, and it does justice to its sweeping, heroic
melody.
The Persuasions deepen the roots of Zappa's more
straightforward R&B songs like "Love Of My Life," now
set to finger-snapping accompaniment and featuring the
guest voice of Zappa veteran Robert Martin. (The song
originally appeared in 1968 on the twisted, not to
mention curiously-timed, '50s tribute Cruising With
Ruben & the Jets.) The heartbreaking descending chords
of "Any Way The Wind Blows" sound like they were written
with the Persuasions in mind, as do the beaming
harmonies of "Tears Began To Fall," which features
Martin, Keneally, and ex-Mothers trombonist Bruce
Fowler.
A churchy feel suffuses "The Meek Shall Inherit Nothing"
(a gospel-like melody that sardonically trains its
sights on religion as well as government), and a funky
throb punctuates the rousing reflection on poverty-line
living, "Hotplate Heaven At The Green Hotel."
Originally arranged as a country song, "Harder Than Your
Husband" benefits from the group's soft vocal timbres,
giving it a gentler cast than its first incarnation. And
"Find Her Finer," a melody that always sounded like a
throwaway, seems to have finally find its true self in
the Persuasions' streamlined, soulful groove.
The album also echoes the absurdist antics that Zappa
could never resist, with well-timed interjections,
impromptu shtick and between-song weirdness. Yet the
Persuasions remain truest to Zappa in the rich sonic
fabric woven by their commanding choral blends. With an
appeal to doo-wop fans and Zappa-heads alike, Frankly A
Cappella makes a Persuasive case indeed.
Alternate Music
Press Review
by Don Zulaica
"The way I see it Jerry, this should be a very dynamite
show." So opens one of the more interesting tribute
albums you're going to hear. For 30 years the
Persuasions have been one of the more celebrated
American a cappella groups. For about the same amount of
time, probably a little longer, Frank Zappa has been
either celebrated or vilified as a composer with...well,
big onions.
But at the heart of this album, beyond Zappa's
irascibility, "Black Pages," PMRC senate hearings, and
voting registration booths, is his unbridled love of
doo-wop. In 1970 he heard a rough tape of the
Persuasions, and promptly put out their first album "A
Cappella" on his own label, Straight. Now it's time for
the favor to be returned, and if the results don't make
you smile, you probably need to see a doctor about
getting something removed.
The vocal dexterity of Zappa's bands was rarely written
about (George Duke, Ray White, Ike Willis, Bobby Martin,
et al), which may make this even more of a pleasant
surprise to the uninitiated. From the pure '50s rock
"Any Way The Way The Wind Blows" and "Love of My Life"
(featuring Martin), to latter material like 1980's "You
Are What You Is," it all translates beautifully to
six-part vocal orchestrations. And before you think they
shy away from the more controversial political or
religious material, they also tackle "Hot Plate Heaven
At The Green Hotel" and the classic "The Meek Shall
Inherit Nothing." A high point among high points is when
the Pers are joined by Frank's last touring
stunt-guitarist, Mike Keneally, for a rousing rendition
of "My Guitar Wants To Kill Your Mama."
For all the symphonies and musician-savants paying
tribute to one of America's most formidable musical
entities, this has got to be bringing a smile to that
goatee-- where ever it might be. Somebody pass the dog
food!
The Las Vegas
Weekly
by Richard Abowitz
It may seem weird on the surface for a vocal group to
offer an album of Frank Zappa covers. After all, Zappa
was a guitar wizard known for his love of high-tech
sounds. But Zappa always saw himself as a composer of
music more than as an writer of rock songs. He was also
obsessed with doo-wop music, and 30 years ago he signed
The Persuasions to a boutique label given to him briefly
by Warner Brothers. Of course, The Persuasions never
found commercial success there or anywhere else. If
remembered at all, the group is still best known for its
versions of Curtis Mayfield songs. But The Persuasions
are sadly under appreciated. The move from "People Get
Ready" to "My Guitar Wants to Kill Your Mama" is one
that few other groups could make. The singing group is
relaxed and at ease with Zappa's frequently tricky
material. The Persuasions fill out the usually
abstracted melody line on "Lumpy Gravy," and are
naturals with the faux gospel of "The Meek Shall Inherit
Nothing." The country parody "Harder than Your Husband"
is presented here in a hilarious soulful interpretation.
"Find Her Finer" is also transformed, going from a
stalker anthem to a bemused complaint. Whatever the
approach, however, throughout Frankly A Cappella, The
Persuasions stay true to Zappa's eclectic and perverted
spirit.
Classical Audio
File
by John Fleming, St. Petersburg Times (May 19, 2000)
Frankly A Cappella: The Persuasions Sing Zappa (Earthbeat)
-- The Persuasions and Frank Zappa? Sure, both are great
American originals, but they don't seem to have much, if
anything, in common. Zappa was a Southern California
rock 'n' roller influenced by avant-garde classical
composers such as Stravinsky and Varese. The
Persuasions, who met on Brooklyn basketball courts in
1962, salvaged the lost art of a cappella singing
decades before Take 6 and Rockappella came on the scene.
But, in fact, there is a longtime connection between the
two. It was Zappa and his wife, Gail, who signed the
Persuasions to their first album deal. The quintet made
its recording debut on Zappa's Straight label in 1970.
Now the group -- expanded to six members -- pays tribute
with an improbable, delightful a cappella treatment of
Zappa's music.
The album gets off to a breathtaking start with
rapid-paced wordless vocalizing on the jazz
instrumental, "Lumpy Gravy". Zappa composed the work,
according to executive producer Rip Rense's liner notes,
with the word "duodenum" in mind, and the Persuasions
even manage to work that into their bravura performance.
Zappa, who died in 1993, tends to be underestimated
because he is best known for novelty hits like "Don't
Eat the Yellow Snow" and "Valley Girl", but the
Persuasions might change people's minds about him with
their version of "Any Way the Wind Blows", a lyrical
love song, or the gospel shouter "Find Her Finer".
Many of the 16 selections on Frankly A Cappella are
sparkling arrangements in the tradition of the doo-wop
music Zappa loved, but with the twist of weirdness that
only he could dream up. The Persuasions turn to his
classic album of faux '50s greaser rock, Cruisin' with
Ruben & the Jets, for a pair of streetcorner song
symphonies, "Cheap Thrills" and "Love of My Life". They
deliver a gorgeous rendition of "Tears Begin to Fall",
featuring the upper-register acrobatics of guest
vocalist Robert Martin.
The album is not totally a cappella. The lineup on
several songs includes guitarist Mike Keneally and
trombonist Bruce Fowler, both former Zappa bandmembers.
There are also three short interludes and a mystery
track cooked up by the Persuasions in homage to Zappa's
off-kilter humor. Grade: A-
© St. Petersburg Times, published May 19, 2000
The Santa Fe New
Mexican
Terrell's Tune-Up: Pop CD Reviews
by Steve Terrell (May 12, 2000)
Early contender for the most bizarre
tribute album of the year: Frankly A Cappella: The
Persuasions Sing Zappa.
No, that is not some belated April Fools’ joke. I’m
talking about those Persuasions, that fine black a
cappella sextet that for more than 30 years has recorded
sweet and stirring instrument-less soul, gospel and
doo-wop, never ceasing to remind a listener of the power
and glory of the human voice.
And yes, I’m talking about that Zappa. Not Moon Unit,
not Dweezil, but Mother Frank, who sang of mud sharks
and Goblin Girls and penguins in bondage.
So, yes, hearing the Persuasions singing about "Electric
Aunt Jemima" and declaring "My Guitar Wants To Kill Your
Mama" seems strange.
But there’s a connection. Back in 1969 Zappa’s Straight
Records company signed the Persuasions for their first
album. Zappa œ who, remember, was an old doo-wop cat at
heart, having written "Memories of El Monte" for the
Penguins œ had heard a cassette tape of the Persuasions
and loved it.
Lead singer Jerry Lawson and the other Persuasions,
bless their hearts, remained grateful through the years.
Granted the novelty aspect of Frankly A Cappella likely
guarantees few sales. But fortunately the Persuasions
quickly get beyond the silliness and deliver impressive
performances throughout.
Some Zappa songs that easily translate to the
Persuasions’ treatment are "Anyway the Wind Blows",
"Love of My Life", Zappa’s doo-wop send-up Cruising With
Ruben & the Jets and other Ruben-esque Zappa tunes
including "Tears Begin To Fall".
"Cheap Thrills", a Ruben tune, sounds a little out of
place on Frankly A Cappella just because older guys
celebrating "cheap thrills in back of my car" seems a
little odd. But who am I to judge another’s cheap
thrills?
The songs in which the Persuasions really impress,
though, are the ones you’d least expect them to do. The
group gives a near classical edge to the instrumental
"Lumpy Gravy", for example.'
The Persuasions also cover "You Are What You Is", which
makes fun of people who try to transcend their own race
while emulating another.
But Frankly A Cappella’s mightiest moment is "The Meek
Shall Inherit Nothing," a humanist sermon against
religious hypocrisy and materialism, sung in full gospel
fervor:
"Those Jesus freaks, well they’re friendly but, the shit
they believe has got their minds all shut."
Frankly A Cappella serves both Zappa and the Persuasions
well. For Zappa, it shows how his material has depths
many never had suspected.
Perhaps the record will inspire other musicians to take
a stab at reviving other Zappa material from different
angles. And hopefully the record will stir interest in
other Persuasions material, the regular soul and doo-wop
material they do so well.
Amplifier Magazine:
The Persuasions: Frankly A Cappella
by Stewart Mason
It may sound like a bizarre gimmick, having a vocal
group of the classic doo-wop style record an entire
album of Frank Zappa Tunes, but the concept is actually
perfectly logical. Not only was Zappa an enormous fan of
'50s R&B---remember Cruisin' with Ruben and the
Jets---but he released The Persuasions' first album, A
Cappella, on his own Straight Records in 1970.
The execution is the concept's equal. Listening to this
album, it's shocking to realize how thoroughly Zappa's
musical style was rooted in '50s R&B. Of course, Zappa
wrote pastiches of that style, like "Electric Aunt
Jemima," "Any Way the Wind Blows," or "Love of My Life,"
but even songs with little obvious connection to the
genre, such as "You Are What You Is" and the classic,
"My Guitar Wants to Kill Your Mama," sound naturally,
unapologetically right when performed by a vocal sextet.
The opening track, where The Persuasions essay the
opening theme of Zappa's first extended instrumental
composition, 1968's Lumpy Gravy, is a staggering
exercise in vocal acrobatics, effortlessly recreating
with only six voices what had originally been recorded
by a full orchestra. If you're a fan of Zappa, doo wop,
or both, this album will be a delight.
PORCUPINE PRESS
(Michigan)
WHERE YA BEEN SO LONG?
by Floyd Kucharski
"Electric Aunt Jemima! Where ya been so
long, Aunt Jemima Baby!?"
"Frankly A Cappella," the newest musical release by the
legendary Persuasions, is arguably the finest album of
its kind in modern history. A tribute to icon Frank
Zappa, who gave the group its start in 1969, the album
features an unprecedented blend of vocal harmony and
creativity.
The stack of 15 tunes spans the late Zappa’s career from
1963 to 1989 and roams the full artistic spectrum, from
the irreverent "The Meek Shall Inherit Nothing" to the
spiritual "Any Way the Wind Blows"; from the doo-wop
flavored rendering of "Love of My life" to a raucous
interpretation of "Find her Finer"; from a philosophical
treatise on "You Are What You is" to a playful ditty
titled "Harder Than Your Husband."
A mystery track, number 16, adds a hushed spiritual
essence to the album and draws all the pieces together,
for a finale.
The group’s founding members have been together since
l962 and, as always, the only sound we hear is the human
voice. The vocal talent on display is astounding, nearly
intimidating. The harmonies are sweet as ice cold apple
cider on a bright October afternoon. Jimmy Hayes’
amazing, relentless bass carries the melodies start to
finish, while lead singer Jerry Lawson spins tales of
nostalgia, philosophy, and earthy humor.
The Persuasions have toured the world, leaving audiences
in a state of joy and excitement after every live
performance. Despite having released dozens of albums
over the decades, their commercial exposure has been
limited due to their decision to sing purely a cappella
rather than "go commercial" and hide their voices behind
musical instruments.
As the signature tune from their l984 "No Frills" album
proclaims, "We been making music all these years … and
we still ain’t got no band!"
They are the music industry’s best kept secret.
Appearing on "Zappa" are founding members Lawson,
singing lead; Hayes at bass; Sweet Joe Russell at tenor;
Jayotis Washington at baritone and tenor; joining them
this time around are Bernard "BJ" Jones at baritone and
Raymond Sanders at tenor.
The album is available through the Internet at
Amazon.com and cdnow, and also through Earthbeat
records.
We predict you’ll quickly fall under their musical
spell. By track three you’ll be irresistibly tapping
your fingers and twitching your feet, swaying and
grinning, wistfully humming along … "Electric Aunt
Jemima, fix me something good to eat, cook a bunch for
me … caress me, electric Aunt Jemima, caress me …!"
REVIEWS OF "ON THE
GOOD SHIP LOLLIPOP"
"On
the Good Ship
Lollipop:"
People (May 31,1999)
"'Christ had to persuade people to listen,' baritone
Jerry Lawson once said, explaining how the a cappella
group he helped form in 1962 got its name, "and so do
five guys without a band.' Fans who've heard some of the
18 albums and countless live shows the Persuasions have
performed in their 37-year career need no inducements.
As adept at percussive vocal effects as they are at
soaring quartet-style gospel harmonies, the
singers---Lawson, tenor Joe Russell, bass singer Jimmy
Hayes, tenor Jayotis Washington, and baritone B.J. Jones
(a former member of the Drifters)---make instrumentation
superfluous. Here the quintet aims to entertain a new
generation of listeners with 14 tunes, ranging from
ditties like "How Much Is That Doggie In The Window?"
and "On Top of Spaghetti" to a delightful obscurity
cowritten by Country Joe and the Fish's Joe McDonald
that will give boomer parents a kick: 'I'm so glad that
I've got skin/ 'Cause that's what keeps my insides in.' Bottom line: Kids will need no
persuading to play this."---Steve Dougherty
Billboard (June 5, 1999)
Persuasions Bring Their Vocal Charms To Kids' Music, by
Moira McCormick
A
SWEET TRIP:
Venerable a cappella group The Persuasions,
who've been harmonizing for some 37 years, are the
latest grown-up artists to toss their collective hat
into the children's audio ring.
The Persuasions' purely delicious Music For Little
People (MFLP) offering, "On The Good Ship Lollipop,"
contains 14 tracks both traditional ("Big Rock Candy
Mountain," "On Top of Spaghetti") and original
("Persuasions' Nursery Rhyme Medley," "A Cappella Fellas")
along with a most welcome helping of African-American
folk standards ("Swing Low,Sweet Chariot," "Shoo Fly,
Don't Bother Me").
Without a doubt, "Lollipop" is one of the
freshest-sounding, most outstanding kids' albums of the
year.
Actually, it's a bit of a surprise that it took
this long for The Persuasions to release a children's
record. Unlike most moonlighting celebs from the pop
world, this five-man outfit from the Bedford-Stuyvesant
section of Brooklyn, N.Y., actually has a history of
performing for kids. They have been singing for young
audiences and putting on music workshops practically
since day one, according to lead singer Jerry
Lawson. "We would practice in the park in our
early days," he says, "and a lot of kids would always
join in. We're kids at heart ourselves, and have
children of our own."
The workshops began in
the '70s, according to Lawson, whose fellow group
members are bass Jimmy Hayes, tenors
Jayotis Washington and "Sweet"
Joe Russell and baritone Bernard "B.J."
Jones. "We put them on at local Bed-Stuy
schools," says Lawson, noting that one summer the New
York school board had them perform for children at
housing projects across the city. Still, he says, "we
never thought anyone would ask us to do a kids' record.
But we were doing a concert in Oakland, Calif., and (MFLP
founder Leib Ostrow) came up and said,
'Would you guys consider doing a children's album?' When
we came back to New York, our producer called us and
said, 'Did a guy from Music for Little People contact
you about a kids' record? He sounded sincere.' The
following month, we were in the studio."
The material on
"Lollipop" is strikingly diverse, including songs
popularized by Patti Page ("How Much is
That Doggie in the Window?"), Shirley Temple
(the title track), and Country Joe McDonald
("I'm So Glad I've Got Skin"). There's a "Train Song
Medley" "to end all train song medleys," featuring
"People Get Ready," "Little Red Caboose," "Choo-Choo
Boogaloo," and "To Stop The Train." "Before we started
recording," says Lawson, "I said, 'Everyone come up with
at least six kids' songs. We started getting calls from
people: 'What about this one?' We ended up with 100, and
before we left for California, we'd gotten it down to
13.But some songs we put on the album caught on
later---'On The Good Ship Lollipop' wasn't on the
schedule when we left New York, and neither was 'Teddy
Bears' Picnic.' But when we got there, they worked their
way in."
Ostrow, who produced
the album with Lawson, served as executive producer, and
wrote the charming Persuasions-history tune, "A Cappella
Fellas," was also responsible for bringing in some
top-notch kids' chorus that guests on some of the tunes.
The Persuasions may do a family concert tour
highlighting "Lollipop," says Lawson, noting with a grin
that their motto is "Still Ain't Got No Band."
"Leib's also asked us
to do a kids' gospel album," he adds. In the meantime,
the versatile fivesome (editor's note: they are now
six---see "The Pers' Story")will continue to demonstrate
its far-reaching musical range, recording a tribute
album to early mentor Frank Zappa,
according to Lawson, as well as "an album for the
Grateful Dead family, too."
Los Angeles
Times (July 8, 1999):
The Persuasions Do Doo-Wop So
Well, by Lynne Heffley
In a
Brooklyn neighborhood 38 years ago, five young
guys---four of them still in their teens---would get
together to shoot hoops. Afterward, they'd sing. No
instruments, just a couple of baritones and tenors and a
deep, deep bass, rising in harmony on the corners of
some of New York's toughest streets. In 1962, they
became The Persuasions.
Today, The Persuasions,
with their innovative vocal style rooted in Southern
gospel, R&B and pop, are esteemed as a cappella
masters---the "godfathers of a cappella," Spike Lee
called them in his video production, "Do It A Cappella."
Singers' singers who
have performed and recorded backup vocals for major
artists from Paul Simon to Stevie Wonder, their
influence on the art of four-and-five-part harmony
singing can be heard in '60s doo-wop, and in the music
of Boyz II Men and Bobby McFerrin.
Baritone Toubo Rhoad
died in 1988, but lead singer and baritone Jerry Lawson,
tenor Joe "Jesse" Russell, tenor and lead Jayotis
Washington and basso profundo Jimmy Hayes are still
going strong. With recent fifth member, former Drifter
B.J. Jones, the group has just recorded a children's
album.
From the opening "bumb-ba-dum-ba-dum-da-dum"
and "diddy-wop, diddy-wop," you know that the Music For
Little People release, "On The Good Ship Lollipop," is
never going to gather dust on a CD shelf. Whether it's
Hayes' extraordinary velvet bass in "Teddy Bears'
Picnic," Lawson's husky-sweet baritone in Dan Conley's
tender, "My Daddy Do, Too," or the soulful rendition of
"On Top of Spaghetti," this mix of old and new
children's songs is infused with exuberant life and
cross-generational appeal.
Spreading good cheer
through a cappella is what The Persuasions do. Upbeat
Lawson, who frequently breaks into song during an
interview,says that music is much more than a profession
for the group.
"It's something God
wanted us to do," Lawson said. "He wanted us to use what
he gave us naturally, and that's our voices. And when
you get together and you sing and that harmony comes out
ringing,that's just something special."
"It's like getting up
in the morning and mixing the grits. You can put grits
on the plate and you can put eggs on the plate, but when
you mix the grits and the eggs together with a little
black pepper, ohhh. . .It goes right down just right.
"And when you put the
tenor and the bass and the baritone in there together
and they've got that sweetness, it's just like that."
Although a children's
album is a first for The Persuasions, they often perform
in schools and children's hospitals, and their rapport
shows on the album with the songs and with their
Lollipop Kids Chorus.
"Id go off sometimes
and shed a tear, because when the kids came in, they
were Chinese, they were black, they were Jewish, they
were Korean, they were Mexican---and they were singing
'Swing Low, Sweet Chariot.' I went out and started
crying. Chills just came up and down my spine to see
these kids having such a good time.
"I played (the album)
in Brooklyn at our favorite barbershop, where they're
used to listening to rappers. When it got to 'Swing
Low,' people came in from outside. They kept playing it
over and over and I was saying to myself, this is
amazing: they don't know that there's a little white
Jewish kid (Bernie Steinberg) singing---and they
wouldn't care, you see what I'm saying? Teenagers came
in and were getting down off of this 'Good Ship
Lollipop,' and they didn't even know who we were."
Lawson says passing the
a cappella torch is what it's all about.
"I think it's deep in
people that they were born wanting to sing."
"The Persuasions'
latest project, recorded with a new sixth member, high
tenor Raymond Sanders, is an album of songs by the late
Frank Zappa. Zappa gave them their break in 1968,
signing them to his Straight label after hearing them
sing over the phone.
"Now we're doing a
tribute album to Frank," Lawsons said. "I really believe
he is going to love it."
Publisher's
Weekly (May 10, 1999)
All hands will want to be on deck for this listening
pleasure cruise. Many of the song titles here may be
familiar, but the lush harmonies of male a cappella
group The Persuasions could not be fresher. For young
listeners new to this style of singing, there is the song, "A
Cappella Fellas," as a snappy introduction: "Our voices
are our instruments/the flute, the harp, the gong/ in
harmony together. . .a vocal symphony." With nary a note
of traditional instrumentation, the five rich voices,
ranging from basso profundo to baritone, enliven a broad
array of favorites, including "How Much is That Doggie
in the Window?"; the perennial kid-pleaser, "On Top of
Spaghetti"; and the title tune, madefamous years ago by
Shirley Temple. The Persuasions have much experience
working with children and it shows on such numbers as
"Persuasions Nursery Rhyme Medley," which includes a
silly twist on "Humpty Dumpty": "All the king's horses
and all the king's men. . .had scrambled eggs for
breakfast!" The group sometimes shares personal
anecdotes, too, making listeners feel as though they are
listening to a private concert. Another standout: "Train
Song Medley," melds "People Get Ready," "Little Red
Caboose," "I've Been Workin' On The Railroad," "Choo-Choo
Boogaloo," and "To Stop The Train," with appropriate
chug-a-chug sound effect throughout. All Ages.
RARB
(Recorded A Cappella Review Board), by Karl Schroeder
The mighty Persuasions
have been belting out solid, heartfelt, genuine-article
a cappella for well over 30 years and - incredibly -
don't show signs of quitting any time soon. When I ran
into them in April, they were super excited about the
upcoming release of this CD, and now I know why. The fun
they had recording this project is evident on nearly
every track, and their love of making music together
shines through. The most striking aspect of this whole
recording for me is the juxtaposition of a run-ragged
group like The Persuasions - who have recorded such
classics as Women and Drinkin'
- with an album aimed mainly at children. A small group
of kids even joins the masters on a number of tracks
(the most tender of which is Teddy
Bears' Picnic, but How Much Is
That Doggie is a treat too), which makes it all
the more interesting.
I'm nowhere near having
kids of my own, but I hope I'll still have this CD lying
around if that day ever comes. Probably my favorite
childhood album (back in the days of vinyl) was a solo
effort by Ken Blackwood, bassman for The Blackwood
Brothers. I loved to hear him woof out solos and would
smile my whole way through, dreaming about the day when
I could make all those crazy sounds. The Persuasions'
resident sub-woofer, Jimmy Hayes, has a few moments here
that remind me of that, and I imagine it's great fun for
kids to listen (or feel, if you play it loud
enough) as he thunders out notes below low C again and
again.
Any fan of The Persuasions should have this album. Any
fan of a cappella who remembers anything at all from
their childhood should have this album. It's a
rollicking good time from the godfathers of a cappella;
a fun listen for both kids and oldsters and pretty much
everyone in between. |
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