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“Ol’ Blue Eyes” and “Ted” February 18, 2015

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After three years, fans of the Seth MacFarlane comedy “Ted” are about to be relieved from suspenseful waiting, as a sequel, “Ted 2,” is about to debut in theatres come late June.  In case the reader is unaware, the protagonist is a live, talking teddy bear, who is foul-mouthed, lecherous, super-lascivious, and given to bouts of indolence, drunken revelry, and pot-smoking, yet altogether strangely endearing nonetheless.  Basically, he is a modern, crude adaptation of Charlie McCarthy (or, to put it another way, MacFarlane’s Ted is analogous to Edgar Bergen’s McCarthy), and needless to say, it has proven to be most amusing!

This commercial-length preview — which debuted during the Super Bowl, no less — alone is enough to have one rolling in the aisles.  Once the dear reader has recovered from hysterics, though, re-run the ad again and listen to the tune used for background music.  That’s right, they are using Frank Sinatra’s “Can I Steal A Little Love?” which has, er, interesting implications, given the sub-theme this part of the movie explores!

“Can I Steal A Little Love” was released in 1957, and one of Sinatra’s many wonderful swinging singles from that year.  Indeed, that year turned out to be yet another banner one for Ol’ Blue Eyes, who not only had a spate of hit singles, ranging from “Witchcraft” to “All the Way,” to three albums produced as well, such as “Where Are You?”, “Come Fly With Me,” (both title cuts remain famous in his repertoire) and his ever-popular, ever-timeless, ever-wonderful Christmas album. But as a brief summation, “Can I Steal A Little Love” is one of a plethora of great examples of why not only was 1957 a banner year for Sinatra, but also why his body of work at Capitol Records remains so timeless to this day, as is evident by its use in a major movie commercial 58 years later.

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The Top Three Greatest Christmas Albums December 18, 2014

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NKC-the-christmas-songNo. 1:  Nat King Cole:  The Christmas Song.  What merits this as number one?  Start with the fact that the title cut of the album is perhaps the most iconic recording of a secular Christmas song.  Add in the fact that A) this is Nat “King” Cole, whose vocal talents just feel perfect for music to promote Yuletide cheer, and B) this is a Capitol Records album, produced at the time (1960, specifically) when the label included not only Cole, but also both Frank Sinatra and Dean Martin as his stablemates and thus the label pretty much owned the mainstream popular music market in that era.  But Cole mixes well the secular and religious songs, making fun, upbeat versions with some (e.g., “Deck the Halls” and “Hark!  The Herald Angels”) and poignant versions with others (e.g., “O Tannenbaum” and “O Little Town of Bethlehem”), making for a compilation that spans the proper emotional gamut during this sentimental time of year.

The only irony is that it does not contain the best version of “The Christmas Song,” a tune that Cole himself would record officially at least three different times, but that is a discussion for another day.

FS_XmasNo. 1a:  A Jolly Christmas from Frank Sinatra.  Make no mistake about it, this album was cut in 1957, when Ol’ Blue Eyes was on top of his game, only a year or so removed from recording his two greatest albums ever (“Songs for Swinging Lovers” and “A Swingin’ Affair”).  It shows in this album, too.  Just as the previously mentioned album introduced me to Nat “King” Cole, so too did this particular album introduce me to Sinatra at a very early age.

Certain songs grab you in such a way that you remember where you were the first time you heard them.  For me, it was Christmastime while I was in kindergarten when I first heard the opening track, “Jingle Bells,” on this album, and it stuck with me ever since.  The song is so well-known as to be trite, but every once in a while, one hears a version that is so well-rendered as to rise above the triteness.  This is one of those songs.

But if you are first grabbed by that opening track, you stay for “Mistletoe and Holly.”  To this day, few have attempted to cover it because Sinatra did it so well the first time.  But two additional tracks truly cement the album’s timelessness.  Sammy Cahn’s “The Christmas Waltz” truly helps define the song collection, and no Christmas season is complete without enjoying this track a few times.  Others have tried to duplicate Frank’s efforts with this song over the years, but each time, they keep coming up short.

The other track that seals the album’s greatness for all time is Sinatra’s definitive version of “Have Yourself a Merry Little Christmas.”  Sinatra truly captures the essence of the song itself, arguably outdoing the other definitive version by Judy Garland from 1944.  Listening to this song proves to any discerning listener why Frank Sinatra was indeed the singing voice of the 20th Century.

The religious songs on the latter part of the album are not too shabby, either.  Recent re-releases of the album include an alternative version of “The Christmas Waltz,” which is not quite as good as the official rendition, but it remains a good listen nonetheless (it being a Nelson Riddle arrangement, compared to the Gordon Jenkins arrangements that populate the rest of the track line-up).

AChristmasGifttoYoufromPhilSpectorcoverNo. 3:  Phil Spector’s A Christmas Gift For You (1963).  One unique aspect of this album is that it does not center on one artist, but rather on several artists/groups that were the talent pool on Spector’s label at the time.  The recording effect that defined the legendary producer’s records came to be known as the “Wall of Sound,” (a primer for those unfamiliar with this effect of recorded sound) and while that effect lifted many Spector-produced tracks to legendary status and made for a definitive element in some music from 1960s, one could argue that this effect was perfected on this very album.  If that exceeds credibility in the minds of some readers, I invite them to listen to the last several bars of instrumentation of “Santa Claus is Coming to Town” by The Crystals:  it’s vintage Phil Spector (this is not to mention that the song’s arrangement has been copied by many artists in the 50+ years since).

There is not a bad track in the line-up, and they include some of the most iconic versions of certain secular Christmas songs.  The Ronettes’ version of “Sleigh Ride”, for example, remains the definitive version of this song – in most circles – to this day, though ironically paced with a shuffle beat (one of the oldest rhythmic patterns in popular music).  Bob B. Soxx’s rendition of “Here Comes Santa Claus” is a fresh take on that song, too.   Indeed, there is a timeless “hipness” to these tracks, which is what makes the album so classic.

Of course, Darlene Love contributed the lion’s share of musical gems.  Her version of “White Christmas” is the closest one to rival Bing Crosby’s eternally popular 1942 and 1947 versions.  “Baby Please Come Home” has become an iconic song in its own right, and her multi-dubbed vocals on “Winter Wonderland” have made it arguably the best version of that winter-themed song to date.  With such a strong line-up of recordings, it almost makes “Marshmallow World” get lost in the mix, but an attentive listen reveals that this track is the most underrated on the album.  This is easily the greatest version anybody has made of the song, and the energy that Love puts into the vocals on this track are positively contagious.  Moreover, if one focuses just on Love’s contributions to this song compilation, one cannot help but conclude that these make up the very cornerstone to her musical legacy.

Put all three albums together, and you have a solid trifecta of timeless Christmas music that has stood the test of time for more than five decades, which is all too fitting for a holiday season partially defined by timeless traditions.

America’s Greatest Music: I Only Have Eyes For You October 31, 2013

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“I Only Have Eyes For You” is yet another great example of a venerable pop standard who writers lack the fame or prowess of the big boys like Gershwin, Berlin or Porter.  Case in point, it was written in 1934 by comparative nobodies Harry Warren and Al Dubin.  Dick Powell and Ruby Keeler introduced it that year in the film “Dames”.  Bandleaders Ben Selvin and Eddy Duchin also had hits with it that same year.  Interestingly enough, it was also used in a film the following year (1935), where it was performed by Barbara Stanwyck and Gene Raymond.  In the years and decades, certain big-name recording artists have added it to their reportoire; for example, Peggy Lee recorded a version of it in 1950.  Even Art Garfunkel had a hit with it in 1975.  In between those years and later, it has been recorded by hundreds, if not thousands of different artists, as it is considered both a pop and a jazz standard.

Frank Sinatra did this song not once (1949)*, but twice (1962), the latter of which he did with Count Basie’s band, just after he switched from the Capitol label to his own Reprise Records brand.  It certainly ranks among the better versions of the tune for sure.  The late-era big band backing gives it a ‘swinging’ quality, something that one would normally not expect from a ballad-type song, but it works well, particularly when paired with Sinatra’s vocal talent.

But let us not kid ourselves.  One version out of all the rest stands out in the minds of music connoisseurs and laymen alike, and that is the Flamingos’ version, recorded exactly 55 years ago today (Oct. 31, 1958), though it peaked on the charts in 1959.

The song in question was recorded with a reverberation effect, which was one of several things that sound engineers were able to perfect within the broader science of analog recording technology during that decade.  The effect gave the record a very dreamy ambience (it certainly left a lasting impression on yours truly as a young boy!), helping it stick in people’s minds for more than five decades.  It also ranks as one of the best love song recordings, not only from the 1950s, but from all time in general.  When you and your significant other are sharing a tender moment, this tune can only add to it!

One very interesting aspect about this record is that it was part of a major trend in the recording industry throughout that decade, that of cutting updated arrangements of pop standards and show tunes from the 1920s and 1930s.  To brief wit:  The Clovers did “Blue Velvet” in 1954 and “Devil or Angel” in 1956.  Fats Domino elevated “Blueberry Hill” to legendary status in 1956, in so doing making it far more famous that it was in its almost 16 years of existence prior to that year.  Connie Francis had her breakout hit with “Who’s Sorry Now” in 1958 (the song was already 34 years old by then!), and let us not forget that in 1957, Billy Ward and His Dominoes had hits not only with the venerable “Stardust” — already 30 years old by then — but also with “Deep Purple“.**  This only scratches the surface of this amazing recording trend that happened more than five decades ago.

*To be sure, Sinatra also performed a live version of this song on a radio show in the 1940s, with the Benny Goodman Sextet providing the instrumentation.

** What do two legendary tunes from the Great American Songbook, “Stardust” and “Deep Purple” have in common?  Mitchell Parish wrote the lyrics to both songs!

America’s Greatest Music, entry 08-04-13 August 4, 2013

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Inspiration hit me over the course of this weekend to share with friends and/or readers alike the many splendors of the golden age of American Popular music.  The era of this golden age is rather lengthy (more than three decades; to be defined more precisely at a later time), and thus what becomes truly vexing is where to begin.  Then again, if one were to continuously vacillate over the myriads of delectable options, one would never decide on a starting point to begin with, and no articles on this marvelous subject would be written.

So, to borrow a decision-making technique in the business management world known as “satisficing,” I’ll go with an example that is as good as any.  It has been a great weekend for yours truly, largely defined by an occasion — without going into excessive detail — that has left me in the best of moods.  It is only therefore fitting that we first take a look and a listen at the designated song below.  Moreover, the record in question turned 60 years old earlier this year, thus further augmenting the appropriateness of the occasion.

The chosen song in question is “I’ve Got the World on a String” by Frank Sinatra.  Ol’ Blue Eyes made a smash debut with this tune in light of his recent switch from Columbia to Capitol Records in 1953.  Recorded in April of that year, it set the upbeat tone for Sinatra’s body of work with Capitol for the next eight years.  The song itself was already 21 years old at the time, written by the notable duo of Harold Arlen and Ted Koehler in 1932 (they would also write a number of other timeless tunes in the Great American Songbook, including, for example, “Stormy Weather“).  Louis Armstrong produced a wonderful version of it the following year (1933), and in subsequent years would be covered by Lee Wiley (1940), Louis Prima (1957), Ella Fitzgerald and Jo Stafford (both 1960), Diana Krall (1995), Barry Manilow (1998), and even Celine Dion (2004) and Michael Buble (2007).

But Frank Sinatra’s 1953 version clearly stands out above all others.  Behold, listen to, and appreciate the record that set the tone for arguably the best era of the body of work for the Voice of the Century!