Bobby Darin’s “Mack the Knife” at 60 December 19, 2018
Posted by intellectualgridiron in Pop Culture.Tags: 1958, 1959, Ahmet Ertegun, Atco, Atlantic, Bertold Brecht, Bobby Darin, Brian Setzer, Cole Porter, Dean Martin, Decca, Dick Clark, Ella Fitzgerald, Frank Sinatra, George Gershwin, Hoagy Carmichael, Ira Gershwin, Irving Berlin, Jerome Kern, Jerry Wexler, Johnny Mercer, Kevin Spacey, Kurt Weill, Lotte Lenya, Louis Armstrong, Macheath, Mack the Knife, Michael Buble, Richard Wess, Satchmo, Simon Cowell, That's All, Threepenny Opera, Tony Bennett
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Sixty years ago today – Dec. 19, 1958 – more music recording history was made. Specifically, Bobby Darin cut his biggest hit, “Mack The Knife”. Released first as a single and later on his career-defining album “That’s All”, it was a song that would help define an era just as said era was coming to an end.
The song itself was not new. For that matter, neither was the musical style in which it was recorded. This alone would be an odd juxtaposition in a time when newer car styles and newer technologies were rapidly entering society. Yet this record would go on to win the Grammy for Record of the Year for 1959; in the fall of 1959, it stayed No. 1 on the charts for nine consecutive weeks. Some polls hold it up as the fifth-ranked song of the 1955-1959 Rock Era, despite the song clearly not being rock. And it all started with one legendary recording session 60 years ago today.
The actual, written song was already 30 years old when Darin recorded it on the Atco label, which was an Atlantic Records subsidiary. Indeed, the record’s producers were Atlantic’s usual suspects of Ahmet Ertegun (its founder), brother Neshui Ertegun, and Jerry Wexler.
Kurt Weill wrote the melody and poet/writer Bertold Brecht wrote the original lyrics for “Moriat” (its original title) as part of their musical drama “Die Dreigrosschenoper”, or “The Threepenny Opera” in English. In the musical play, an organ grinder sings the song which tells the tale of Mackie Messer, a murderous criminal who in turn was based on the Macheath character from John Gay’s “Beggar’s Opera” from 1728. So yes, it’s all very derivative.
The word “Messer” means “knife” in German, hence the easy transition from Mackie Messer to Mack the Knife. And yes, the original lyrics to “Moriat” were indeed auf Deutsch.
An English-language version of the opera was first offered to the public five years later (1933), with translated lyrics by Gifford Cochran and Jerrold Krimsky. The production had a run of only ten days. In 1954, though, another English-language production of the Threepenny Opera was staged, and it enjoyed an off-Broadway run of six years. Mark Blitzstein used his own English translation of the murder ballad of Mack the Knife, and these lyrics became the standard we know and love today.
Louis Armstrong actually beat Darin to the punch in having a pop hit with this song, recording his rendition in 1956, and giving it his typical Dixieland-inspired flavor. But despite Satchmo’s first-mover advantage, the song today is associated with Darin, and rightly so.
This is not to say that the song’s success came easily. Recording it was not even an easy sell. Dick Clark advised Darin not to record the song because he feared its perception as an opera song would alienate rock n’ roll-oriented audiences. But rather than repel such audiences, it attracted them instead. Moreover, while Darin’s traditional young target demographics embraced his more mature music, the parents of the young audiences were reassured by the record’s strong Big Band sound (shouts to Richard Wess, who directed the orchestra for this track and indeed, the whole album), and enjoyed the record, too, as a result. In short, this timeless track appealed to a massive range of the buying public, which clearly was a leading factor in its stunning success.
Other notable names soon jumped on the bandwagon with their own versions of “Mack the Knife”, such as Ella Fitzgerald recording a live rendition in 1960, and Dean Martin doing a nice, live version the previous year. Frank Sinatra recorded it with Quincy Jones as part of his 1984 album “L.A. is My Lady”, yet he himself confessed that Bobby Darin did the better version. Other notables offering their respective takes on the tune include Tony Bennett, Brain Setzer, Kevin Spacey, and, not surprisingly, Michael Bublé. Bill Haley and His Comets recorded an instrumental version of the tune in 1959, which would be the last track the legendary singer and group would cut for the Decca label. Other notable acts have recorded variations and instrumentals of the song over the years.
One sterling example of the song’s timeless appeal: superstar music judge Simon Cowell once named “Mack the Knife” as the greatest song ever written. That is a stretch, to say the least, considering the bodies of work of Hoagy Carmichael, Cole Porter, Irving Berlin, Johnny Mercer, and Jerome Kern, to say nothing of George and Ira Gershwin. But on the other hand, it’s refreshing to hear a current superstar with a credibly discerning ear remind us of what a great song “Mack the Knife” is. It might not be the best ever, but it surely ranks up there.
Cool trivia: both Louis Armstrong and Bobby Darin give a nod to actress Lotte Lenya in their respective versions. Lenya was Kurt Weill’s wife, and she introduced the song during the first productions of Die Dreigrosschenoper.
America’s Greatest Music: You’re a Sweet Little Headache September 12, 2013
Posted by intellectualgridiron in Pop Culture.Tags: 1938, 75, American, Artie Shaw, Benny Goodman, big band, Bing Crosby, Cole Porter, diamond anniversary, Disney, golden age, Helen Forrest, Indiana Jones, Irving Berlin, Last Crusade, Martha Tilton, pop culture, RCA, standard, swing era, The Rocketeer, You're a Sweet Little Headache
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In a slight change of pace, this particular tune does not merit itself into the Great American Songbook. Nevertheless, it is a lovely little ditty, one that a few bands recorded during the Swing Era. The main reason we highlight this tune right now is because it was recorded on this day (Sept. 12) 75 years ago.
One thing is for certain, and that is that Benny Goodman’s “sound” certainly did the tune justice. An uptempo “businessman’s bounce” — something at which Benny’s band excelled — this record is also a good example of the lilting tone effect heard in Goodman’s woodwind section, something he practically perfected that year.
While Benny Goodman did not have a monopoly on this song, his is arguably the definitive version, what with his aforementioned sound, combined with his gutsy style of play. Martha Tilton’s vocals make for a very nice addition, too. With all that said, other prominent recording stars took their stab at this song around the same time, including RCA stablemate Artie Shaw (who recorded it with Helen Forrest singing the lyrics that same year [1938])*, and even Bing Crosby lent his vocal talents to the ditty in question the following year.
A more modern pop cultural reference to this recording can be heard in the ever-popular film “Indiana Jones and the Last Crusade” during the apartment scene in Venice, where one can hear the Elsa Schneider character play the tune on an acoustic phonograph (making the recording sound 10-15 years older than it actually was!).
So while the lyrics do not rate the song itself as highly as a good Cole Porter or Irving Berlin standard, it nevertheless merits our attention as a solid record during the golden age of American popular culture — enjoy!
*The Artie Shaw version one can briefly heard in the very underrated 1991 Disney Film “The Rocketeer,” which also takes place in 1938.
