Customer Reviews

Flappers, Vamps And Sweet Young Things

5 star:		(7)
4 star:		(7)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

How can anyone NOT love this sort of historical music? What some of these reviewers who complain about the "squeaky" voices, background noise, and unintentionally funny lyrics misunderstand is that this sort of music MUST be placed in the cultural context of the era in which is was meant to be heard.

These sorts of songs and singers emerged after the entire world was recovering from the horrors and brutality of World War I--a war in which an entire generation (20 million) of young men was killed. These people wanted fun, fun, fun: "Four Wheels, No Brakes" and "Hey Chicken, Here's Your Roost"! The age of youth and consumer culture hit the scene and the United States hasn't looked back! After all, this was the era in which "dating" emerged. Previously, people engaged in courting on front porches. But now, young people's romantic activities moved from the front steps to the back seat!

So maybe the sound is raw, the singers do squeak, and the lyrics seem nothing more than "cute." But this music certainly can't be labeled old-fashioned and in no way is it "innocent." This music is a testament to the times; these songs and singers' styles are historical cultural documents. Have fun with it like the co-eds, flappers, flivvers, and racoon-coated ukulele-toting collegiates did! Our times aren't so very different from theirs.

~~23 Skidoo~~

If you are here reading this you have been doing some home work. I bought this a few weeks ago and it is very good if your into the twenties. This cd has led me to seek out full cd's by some of these artists. My personal favorites are Ruth Etting,Annette Hanshaw and Libby Holman. The cd is well done the sound quality is very good. I was starved for new music and this is all new to me. Fun stuff.

If not for a few clunkers and the weak notes this would be a certain 5 Star collection. You will hear voices unheard elsewhere, songs previously unknown, singers later famous at the beginning of their careers, and vocalists in performances you'll be shocked at. We know that young people have been behaving badly since the beginning of time, but this is the first time they really flaunted it, and the new medium of recorded sound made it easier to join in on the fun. This is jaunty, daring, snappy, well-performed, sophisticated and amazing well-remastered stuff.

I'll keep it brief. For the price, a winner! Enjoy, and be a bit startled at how "hot" the music was waaaay back then! The contemporary musicians may use more graphic language, but they have no monopoly on heat.

This well-chosen selection of songs, all by female singers, leans a bit heavily towards the blues, but there is only one truly sad song. Most of them are so sassy and tongue-in-cheek that you end up smiling. There are lots of toe-tapping, spirited numbers, and every one has a good melody. There isn't a clinker in the whole bunch. I own over 75 CD's of pre-1950 popular music, and this is one of the top 5.

Because it is hard to get music from this era, this CD is a rather above average offering (or an able introductory sampling for those not particularly familiar with this era's music). Personally, I bought this disc to get the (almost) only recorded song by Lillian Roth---"Why am I so Romantic"--- available on CD from this era. Other than this song---which is literally lifted from the Marx Brothers' Animal Crackers' film (and, incidentially, works there a lot better than here without the visual playfulness of Miss Roth---I was unfamiliar with the selections offered on this CD. Happily, It has introduced me to some added favorites of mine---Ruth Etting & Kate Smith's early years, amongst others. So, do help yourself to the song samples available herein and judge for yourself whether "this sound" of the 1930s appeals at all to you. If it sounds promising to you, I'd recommend this CD to you. Keep in mind, however, that the song quality from this era is probably not what you're used to---hissing static, amongst other imperfections from, now, 75 year old (usually mono) recordings are apparent on this disc. Admittedly, this is more annoying on a car stereo when you're in the thick of it, so to speak, listening to it in close proximity. On a home system, this effect is less annoying (athough still present, of course). It helps, moreover, to turn down your treble and/or disable your surround sound enhancement effect when listening to discs such as this one. That said, I nevertheless like this CD & listen to it on an infrequent, but regular basis. In effect, what I am saying here, is that don't expect a lot from this compilation. It is but a sampling from the era; a springboard which I hope you---if you are keen on familiarizing yourself with some fine music of the 1930s---will utilize, like I did, & come to know better many of the ladies that are contributors to this disc. Who you'll likely find favor with, I couldn't tell you, but I'd bet you'll have several candidates to explore further after listening to this disc. Cheers!

Flappers, Vamps and Sweet Young Things offers twenty marvelous tracks that give us great insight into just how much women enjoyed their new found romantic freedom during the jazz era of the 1920s. These recordings may have surface noise but they remain enjoyable to this day and this is one CD you'll listen to over and over again. Just one listen proves it all!

The CD opens with the upbeat number entitled "I'm Gonna Meet My Sweetie Now;" Jane Green performs this with all her might and the musical arrangement remains timeless to this day. Jane's voice is rich, warm and vibrant--awesome! The CD then makes a complete about face for the next track entitled "Am I Blue?" performed by Libby Holman. Libby sings of a lonely woman who wants a new romance in her life now that her man has suddenly left her. Libby Holman delivers this with panache and sophistication, too.

Other gems on this CD include the then extremely popular Helen Kane singing "Dangerous Nan McGrew;" this number is about a woman who makes her own rules and enjoys men strictly on her terms. "Maybe, Who Knows" features a young Kate Smith singing magnificently about her life after her man has left her; and Mildred Hunt delivers the classic "Please Don't Talk About Me When I'm Gone." "Please Don't Talk About Me When I'm Gone" lets Mildred Hunt sing of how she doesn't want to be bad mouthed now that her romance with her man is finally over. Mildred also sings the opening verse before the chorus of the song which is something you don't always hear; this enhances the beauty of the number.

Sophie Tucker belts out advice with "If Your Kisses Can't Hold The Man You Love;" this number lets Sophie tell women to go out and make the best of things with a new romance if their man leaves them. She even encourages them to cheat on their men if they discover that their man is unfaithful! The bold advice represents the new freedom women experienced during the 1920s jazz age. The Brox Sisters also perform a number about a "Red Hot Mama" who enjoys her life and makes her own decisions about her romances with men.

This concept album wraps up nicely with "Ya Gotta Know How To Love" performed by Esther Walker. Esther sings of a woman taking control of a romance. This was a bold, revolutionary theme for the 1920's; but women enjoyed their new found freedom and there was no looking back once women discovered the joys of power.

The liner notes tell us the difference between ladies who were "Flappers," "Vamps" or "Sweet Young Things;" there is some discussion of the type of lady who was a "Red Hot Mama" too. The liner notes give you all the song credits and recording dates along with an essay about the female singers on this CD and how the lyrics to these songs celebrate the exuberance of the 1920s. The art work is excellent, too.

I highly recommend this CD for fans of early jazz and female singers from the 1920s; and people who want to get acquainted with these fine songbirds would do well to use this CD as a starting point.

Let's hear it for the roaring `20s!!! Great job, everyone!!!

The most talented gals on this unique CD are Annette Hanshaw(the only pre-Armstrong true jazz singer) and her rival Ruth Etting(a superior 20's pop singer, though nowhere near as great as Hanshaw. This CD gives one as idea of how talented 20's singers could be(Hanshaw) to how terrible they could be(Helen Kane, who boop, boop a doops her way through songs in an annoying squeeky voice), and all the inbetween pop vocalists who wer talented but limited like Helen Morgan, Etting, and Kate Smith. Highlights include such popular jazz standards as "Am I Blue" and "I'm Gonne Meet My Sweetie Now." The one Marion Harris vocal is worth the price of the whole CD, since her material isn't available elsewhere. A fun, if not essential CD of some jazz and some pop vocals. Recommended if you like 20's jazz and singers, and as an introduction to these jazz vampires.

Like most compilations there are some great songs, some good songs and some stinkers but over all it is a fun CD. The songs cross the spectrum from women in love in the infectious "I'm gonna meet my sweetie now" to the heart broken "Moanin' low" with a strong dose of get over it in Sophie Tucker's "If your kisses can't hold the man you love" You can almost taste the bath tub gin while listing to Red Hot Henry Brown. I gave it an extra star for having both Helen Kane & Annette Hanshaw.

What were once called "girl singers" are featured on FLAPPERS, VAMPS AND SWEET YOUNG THINGS. The 20 songs span the years 1924 to 1931, with only three being from the pre-electric recording era. Condition of source material is spotty, which is to be expected with antique 78s. Fine print-sized liner notes comment on all tracks.

This collection gets a middling rating for a persistent usage of lesser-known songs and B sides. Many of these ladies had far more entertaining records. Recommended mainly for completists. (3½ stars)

TOTAL RUNNING TIME -- 57:03

I am a fan of the Brox Sisters, and I was so happy to find a CD with them singing on it! They are so spooky! In their movies they always come out dressed like a three-headed monster! They have great voices and they were really popular in the 1920s. They were the first poular sister team, I think. They came before the Boswells. Hooray for Bobbe, Patricia, and Lorriane Brox! There are also some nice clear recordings of great artists like Annette Hanshaw, Ruth Etting, Sophie Tucker, Blossom Seeley, and others. Once again, HOORAY FOR THE BROX SISTERS!!!