Quite simply, when it comes to high tenors, Eddie James Kendricks represents the apex.  The point where the art of the falsetto/high tenor in quartet gospel, doo-wop, and soul groups reached its utmost point of perfection.  That falsetto was round and bell-like.  It could lull a baby to sleep, it could make a woman go mad, it could make a boy take to the streets and sing for hours trying to emulate it.  Prior to him there were cats like Clyde McPhatter, Maithe Marshall (the Ravens), Johnny Carter and any number of doo-wop group falsettos.  He influenced all of the Philly cats (though none of them maintained the masculine, non-saccharine edge that he had) and most certainly influenced Phillip Bailey.  But let it be known, no one surpasses Eddie for finesse, skill and appeal.  I had to stop and pay homage to the man that sang so sweet.  Happy Birthday, Eddie.
Dec 17, 2011 / 26 notes

Quite simply, when it comes to high tenors, Eddie James Kendricks represents the apex.  The point where the art of the falsetto/high tenor in quartet gospel, doo-wop, and soul groups reached its utmost point of perfection.  That falsetto was round and bell-like.  It could lull a baby to sleep, it could make a woman go mad, it could make a boy take to the streets and sing for hours trying to emulate it.  Prior to him there were cats like Clyde McPhatter, Maithe Marshall (the Ravens), Johnny Carter and any number of doo-wop group falsettos.  He influenced all of the Philly cats (though none of them maintained the masculine, non-saccharine edge that he had) and most certainly influenced Phillip Bailey.  But let it be known, no one surpasses Eddie for finesse, skill and appeal.  I had to stop and pay homage to the man that sang so sweet.  Happy Birthday, Eddie.

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    OH DAMN. You know I’m always complaining about how Eddie Kendricks doesn’t get any respect, so you know I’ve got to...
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