The complex and exceedingly popular vocal arrangements of groups such as the Association and the Beach Boys in the '60s and '70s had some common inspiration, and not just because the former group was imitating Brian Wilson. Actually, Wilson was a huge fan of Clark Burroughs, an original member of a harmony vocal group called the Hi-Lo's, who some listeners think have yet to be surpassed in terms of intimidating harmonizing. Burroughs and his associates, including the bass-baritone bandleader Gene Puerling, were sort of like a hip pop group doing standards, but the sound of the Hi-Lo's wound up having a direct effect on pop music itself. This turned out to be more hands-on than simply being processed through the genius of Wilson. There were times when it was the Association kicking sand in the faces of the Beach Boys on the hit parade beach, and it was Burroughs himself who created arrangements for Windy and Never My Love, two of the Association's biggest smashes. A native of Los Angeles, Burroughs' performing background included acting as well as singing. His parents were dancers and could be proud of the fact that at age three their son had already scored a bit part in live theater. One of the most important aspects of his musical training was choir practice, his chops working up to the level demanded by the classical vocal repertoire. He met Puerling as dormitory roommates; they were both members of a vocal group called the Youngsters who were featured on Alan Young's television series. Burroughs proceeded to spend a year with the Encores, the vocal ensemble that was part of the Billy May Band's stage show. This is where he met Bob Morse, another future member of the Hi-Lo's.

Ironically, Burroughs was not so excited about the idea of the latter group, at that point having worked up his courage to head to New York City and try for a Broadway debut. Puerling and associate Bill Thompson cooked up some arrangements that changed Burroughs' mind, however. By 1953, the new group was active, having come up with a moniker that described both vocal range as well as the diversity of heights amongst the folks on-stage. The group's big break came three years later when they got hitched up with the #Rosemary Clooney Show, in turn leading to a Columbia recording contract. The Hi-Lo's hit the top of popular culture like one of Burroughs' octave jumps, the group's exposure not just limited to vinyl sides. The vocalists held forth on a Hertz-Rent-A-Car commercial and showed up in several Jack Lemmon movies, adding up to maximum public exposure for the '50s.

The popular culture of the '60s was much less kind than the previous decade had been. Despite the influence of the group on cutting-edge musicians of the era, the popularity of bands such as the Beatles meant a too-de-loo for what became perceived as cheesy vocal groups. Good taste power-mongers such as Mitch Miller and Frank Sinatra tried to keep the group in the recording studio, but '60s projects such as a folk music album were duds. The band would wind up being revived more than once, including a comeback recording done live in Villigin, a German town better known for skinhead riots than harmony vocal groups. In fallow periods, Burroughs formed a folk-rock duo with spouse Marilyn Burroughs, and got steady jobs in both record production and jingle composition. L'Arc is the name of an ensemble he created in 1996 out of a desire to span several generations of musical repertoire. Filling out an artistic circle, L'Arc performed a series of Burroughs' vocal arrangements on a Brian Wilson tribute album. Other artists that have given a nod to Burroughs' inspiration include the Mamas the Papas, the Gatlin Brothers, Manhattan Transfer, and Take 6. ~ Eugene Chadbourne, Rovi