... ehm, well, today with another slummy piece of »did-they-really-print-that?«-Billboard prose. It comes from the issue of April 17, 1961, page 2. Responsible for this »if-it's-not-satire-then-what-is-it?«-gem of musical writing
was columnist and Billboard associate editor Ren Grevatt:
To tell the truth, I have no idea of what he meant. Is there a racist slant in it? ... you couldn't even call it a mere slant if it were true, though. WTF is he trying to say?
Is there some innocouos joke I didn't get? From the rest of his article it becomes clear that he didn't like »chick artists«. (Due to Freudian aberration and assonance
I was about to type »he didn't lick chick artists«, but that might be quite wrong.) There are several »chicks« mentioned by name, so who are the »sickly variety« among them? What a shit!
However, in the continuation of the same article, on page 35, there is another remarkable passage which I'd like to share with you. Grevatt (who seems to have been obsessed with that argument) writes:
For a long time now, many rocking pop discs have been noted for what has been called the "yeah yeah" girl's chorus chant, usually backing up a male vocal. This has also been called the hormonal sound.Hmm. Hormonal sound. Finely said, I should remember it.
Mary Wells is among those mentioned by our brave »hey-I'm-funny-why's-nobody-laughing?«-Billboard staff writer. Truly funny thing is that hers was a female voice backed up by a male chorus chant. Call that a hormonal sound. And she gives it right back at him:
Mary Wells: »Laughing Boy« from the Motown LP # 611 (Recorded Live On Stage) (1963):