I have always enjoyed song lyrics with double meanings and 40s and 50s doo-wop and rhythm ‘n blues are crammed full of lyrics like that. I guess most of the cuts on the records below has never seen radio air. Dangerous Doo-Wop came in 4 volumes but Risqué Rhythm was produced in just the one. I’ve got all these records and I never tire of listening to them – Ted
One of the most enjoyable of R&B vocal collections, this first volume of the Dangerous Doo Wop series not only offers a first-rate entrée into the music, but should intrigue collectors as well. The familiar sounds of the Chords‘ "Sh-Boom" and the Robins‘ rendition of "White Cliffs of Dover" are included along with such marginalia as the Blisters‘ "Shortnin Bread" and the Poets‘ "Vowels of Love." Full of hits or not, the 20 numbers here are high quality, spanning the range of straight a cappella to combo R&B. The rich vocal tradition born in black churches is given secular wings throughout, informing both the Velvet Angels‘ utterly transcendent "I’m in Love" and King Odom 4’s sublimely terrestrial "All of Me." And adding to the fun are the Larks‘ Ink Spots-inspired "Lucy Brown," the Monograms’ malt shop bit of innocence "My Baby Dearest Darling," and Flamingos‘ rock & roll jumpin’ "Let’s Make Up." A record that never gets old.
Review by Stephen Cook
The blue blues compiled on Columbia’s Raunchy Business and reprised on Bluesville’s Bawdy Blues are novelty material. Voicing r&b’s revolt of the body against the cerebral demands of bebop, this stuff is sexy. Even the novelties–the original "My Ding-a-Ling," say–are carnal, and though the oft-collected "Work With Me Annie" and "Sixty-Minute Man" may be mild as poetry, they’re plenty physical as music. The Sultans’ "It Ain’t the Meat" and Connie Allen’s "Rocket 69" are plenty physical as poetry. And Wynonie Harris and Dinah Washington will make you want to fuck. The gift that keeps on giving for any music-lover whose genitalia you cherish.
You can listen to the Risqué Rhythm HERE
Review by Robert Christgau