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These three Christmas records are 60, and they still sound great! December 19, 2018

Posted by intellectualgridiron in Pop Culture.
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This year, 2018, marks three Christmas songs that have become classic hits over the decades.

The Chipmunks Song

One of the three is “The Chipmunk Song”, the title alone sounding confusing to those unaware of its context.  First of all, let us be clear on who The Chipmunks were.  No, in this case, they are not Chip & Dale (that was always my default assumption regarding The Chipmunks back when I was, say, five years old!), rather the other Chipmunks, Simon, Theodore and Alvin.  They were the brainchildren of one David Seville (which was his stage name:  his mother knew him as Rostom [Ross] Bagdasarian), a singer-songwriter, the latter part through which he had hits spanning the whole 1950s.  For example, he wrote “Come On-A My House” in 1950, which Rosemary Clooney had a million-selling hit with the following year and launched her career in the process.

By 1958 he had come up with an idea for a novelty record after experimenting with different playback speeds on a tape recorder.  That idea manifested itself into a No. 1 hit in the Spring of that year with “Witch Doctor”.  Liberty Records released it under Bagdasarian’s new stage name, David Seville.  The tune is a duet consisting of Seville’s real voice and an accelerated version of it, the latter being the genesis of The Chipmunks characters.  “Witch Doctor” went on to sell 1.5 million copies in 1958, and Seville realized he had the opportunity to expand his chipmunk character into a trio.  The names for the three new characters all came from the names of the executives at Liberty:  Simon (Waronker), Theodore (Keep), and Alvin (Bennett).

This new trio debuted with an even bigger smash hit, “The Chipmunk Song”, which sounds generic on the surface, until you hear it and realize how timelessly familiar it is (“We can hardly stand the wait; Please, Christmas, don’t be late”).  So yes, the title might not suggest it, but it’s a timeless Christmas classic.

Such a status came almost instantly: it was released on Nov. 17, 1958, and was No. 1 in America by the week of Dec. 13, and would remain at the top of the charts for the rest of the month, selling 4 million copies in this inaugural run.  At the first-ever Grammy Awards in May of 1959, it won three such coveted awards; Best Recording for Children, Best Comedy Performance, and Best Non-Classical Engineered Song.

Seville himself reaped an outsized share of the benefit of such a huge hit, since he wrote the song, provided all of the vocals, and even produced the record itself.  Its success allowed for him to launch an entertainment franchise based on this rodent trio.  Indeed, Seville/Bagdasarian founded and owned Chipmunk Enterprises, which was the business end of said entertainment franchise, which in turn allowed for him to scream at Alvin (on his records) all the way to the bank until his premature death in 1972 from a heart attack in his Beverly Hills home at age fifty-two.

Rockin’ Around the Christmas Tree

Unlike the first entry, the second entry leaves nothing to confusion from a generic title, for it makes no bones about what it is and the season for which it is intended.  “Rockin’ Around the Christmas Tree” By Brenda Lee, a.k.a., Little Miss Dynamite, a nickname she earned because of her short stature – 4’-9” – and her 1957 hit “Dynamite”.  She had already started recording Country hits on the Decca label in 1956 at age 12, and in December of that year, had a minor Christmas hit with “I’m Gonna Lasso Santa Claus”.

The years 1958 through 1962 were her peak period of fame and recording success, having two No. 1 hits alone in 1960, for example (“I’m Sorry” and “I Want to be Wanted”), with other big successes coming with “Sweet Nothin’s” and “All Alone Am I” that same year.

But her biggest hit was, yes, a Christmas song, the aforementioned “Rockin’ Around the Christmas Tree” from sixty years ago this month.  The song was written by Johnny Marks, who already had “Rudolph the Red-nosed Reindeer” to his name (written in 1949 ten years after his brother-in-law wrote the story about the red-nosed titular character as an assignment for the Montgomery Ward department stores) and four years later would write “A Holly Jolly Christmas”, which by Christmas of 1964 would forever be associated with Burl Ives.

Unlike “The Chipmunks Song”, which was practically an instant hit, “Rockin’…” was a delayed hit.  Despite the memorably twangy guitar by Grady Martin and the raucous-sounding sax by Boots Randolph, it only sold 5,000 copies upon its first release.  It was released a second time in 1959 and did not do much better.  Not until two years later (again, 1960), when Lee had her banner year with her aforementioned hits, did Decca re-release “Rockin’ Around the Christmas Tree”, and it exploded as a hit, eventually selling 5 million copies.

It remains a perennial favorite by folks of all ages six decades later, and is obviously the record by which Lee is best known to this day, not to mention a favorite to sing in grade-school music classes for 60 years and counting.

Interestingly, the record is a deceptively seminal one.  That is, it was one of the first to use what became known as the “Nashville sound”, which at its core consisted of a string section overlayed with legato vocals, combined to make up the musical background of a recording.

Run Run Rudolph

Last but not least, the third entry is the hardest-rocking of all.  But this one is by Chuck Berry, so one would expect nothing less!  And yes, there is a tie-in with the previous entry, and not just with the year, either!  Just as Johnny Marks, who, as mentioned earlier not only wrote “Rudolph the Red-Nosed Reindeer” in 1949 and later wrote “Holly Jolly Christmas” in 1962, in addition to “Rockin’ Around the Christmas Tree” in 1958, also wrote “Run Run Rudolph” (well, the lyrics, at least) as a follow-up to his 1949 classic that very same year.

Musically, the credit goes to Marvin Brodie, and some of Berry’s signature, nay, inimitable guitar riffs on his Gibson ES-335 echo that of “Johnny B. Goode”.

More to the point, this rocking Christmas classic is actually a close musical copy of a hit Chuck Berry had earlier that year in “Little Queenie”.  Indeed, one could easily transplant the lyrics of the former and superimpose them on the latter.  Hear for yourself:

Ironically, “Run Run Rudolph” peaked at only No. 69 in 1958, but it remains a perennial favorite anyhow.  Its popularity does not manifest itself so much in record sales, as its appeal in other areas:  the numerous cover versions this tune has invited over the decades.  For example, Luke Bryan, Whitney Wolanin, and Justin Moore have all made cover versions of this timeless rocker within the past 10 years alone.  Other previous covering artists included Lynyrd Skynyrd, Billy Ray Cyrus, The Grateful Dead, Kelly Clarkson, Jimmy Buffet, Dwight Yoakum, and that’s just the short list.  This (admittedly) random selection does nevertheless beg a question:  what do all these country artists within said list want to want to do with a 12-bar blues riff?  Food for thought.

So as we continue to enjoy these hits at this month’s Christmas parties, let us pause to appreciate their timelessness and how well they have endured over the course of six decades.  If nothing else, it’s further proof that, as Danny and the Juniors famously said, “Rock and Roll is Here to Stay”, especially at Christmastime.

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America’s Greatest Music: Cheek to Cheek August 29, 2013

Posted by intellectualgridiron in Pop Culture.
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The great Irving Berlin has been estimated to have written 1,500 songs throughout his 60-year career (he lived to be 100 years old).  A good many of this estimated 1,500 have become legendary in their own right within the Great American Songbook.  Quite possibly his most-recognized musical contribution is “God Bless America,” which, when he wrote and published the song in 1939, it became so popular so quickly that it threatened to supplant the Star-Spangled Banner as our national anthem.  One of the positive developments in the wake of 9-11 is that the tune has enjoyed an extra boost of popularity over the past almost-dozen years.

But that important song aside, Berlin’s contribution-in-song to American popular culture is vast, and one of his most famous — aside from the aforementioned patriotic tribute — is “Cheek to Cheek”.  Enter Fred Astaire, who himself is legendary not just for his amazing dancing ability, but also for the fact that he himself broke some of the most famous tunes ever to grace the Great American Songbook, this ballad being one of them.

First sung in the film “Top Hat” (1935), which is considered by many to be the quintessential Fred-and-Ginger movie, its original version from that picture remains famous to this day.  Indeed, it can be argued that not only did Fred Astaire break many famous American popular songs, but that he often performed the definitive version of them for all time.

Note that I said “often.”  In this case, that is debatable, not because the version is mediocre — far from it; in fact, what Astaire clearly lacked in vocal ability, he made up for this intangible quality of making the listener/viewer “believe” the tune — but because the competition is very fierce when it comes to great singers trying to out-do each other on the ultimate version of this song.

The term “fierce competition” is not an exaggeration when one considers that Julie Andrews, Ray Anthony, Desi Arnaz, Chet Atkins, Count Basie, Tony Bennett, Connee Boswell, Rosemary Clooney, Bing Crosby, Vic Damone, Ziggy Elman, Eddie Fisher, (take a deep breath) Billie Holiday, Harry James, Joni James, Al Jolson, Steve Lawrence, Peggy Lee, Guy Lombardo, Glenn Miller, Louis Prima, Buddy Rich, Frank Sinatra (from this 1958 album “Come Dance With Me”), Rod Stewart, Mel Tormé
, and Teddy Wilson — among many others.

But one version does stand out above most others, and that is the one cut by Ella Fitzgerald and Louis Armstrong on the Verve label in 1956.  Indeed, Louie and Ella as a duet recorded many tunes from the Great American Songbook; many a fine version at that (one could argue a few of which are some of humanity’s [many] greatest recordings).  This particular rendition is one of the finer examples of the duo’s body of work from the latter half of the 1950s, and could rightfully be classified as one of humanity’s great records.

If the reader has never heard this version before, then the reader is in for a treat!  Regardless, though, the song itself wonderfully describes the bliss one experiences when dancing with that special partner.  Guys, when you’ve danced with that special girl before, you know what this song means!

America’s Greatest Music: You Must Have Been a Beautiful Baby August 15, 2013

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Whenever you meet a girl whom you instantly recognize as a cut above the rest, this tune instantly enters your mind.  You know that even further when this tune pops up on the radio (assuming you’re tuned in to the SiriusXM 40s on 4 channel) and without hesitation you start singing along to the record.  But the question becomes, along with which version do you sing?

Such is a valid question.  After all, like many legendary tunes in the Great American Songbook, it has been recorded by many a legendary artist throughout the ages.  At different times, Artie Shaw, Lee Wiley, Perry Como (1946), Rosemary Clooney, The Crew Cuts — who made their mark on the business by doing cover versions of early ’50s R&B and doo-wop hits — Vic Damone, Joni James, Dean Martin, and Frank Sinatra have all taken their individual cracks at this song.  Let us also not forget Bobby Vee, Bobby Darin (1961), The Dave Clark Five (1967), or Michael Bublé (2001, which, compared to the years of the previous records, might as well be literally yesterday).

But this does not even acknowledge the spate or recordings made of this song when it was written (1938) by Harry Warren (music) and Johnny Mercer (lyrics — figures!).  That year, Tommy Dorsey recorded his version with Edythe Wright on the vocals.  Chick Bullock — who provided the vocals for some of Bunny Berigan’s small group recordings on the Vocalion label in 1936 — also rendered his version that same year, as did Russ Morgan.

Yet the version that clearly stands out above all others was also recorded the same year the song in question was written (1938, in case you skipped the previous paragraph), and it was sung by none other than Bing Crosby (recorded on the Decca label, of course!).  It is this version that sticks out in one’s mind when a guy meets a girl that stands out from all the rest; it is this version that you joyous sing along with in your car when it comes on the radio….and it swings!

For anybody who doubts that Crosby owns the definitive version of this song, take a moment to notice its reference elsewhere in popular culture.  In the Looney Tunes cartoon “What’s Up Doc?” (1950) featuring Bugs Bunny and Elmer Fudd, an obvious reference to this record surfaces in the middle of the show.

A scene depicts Elmer Fudd coming across, by happenstance, a down-and-out Bugs.  Of the four characters that Fudd passes up before reaching Bugs, the first is a caricature of Al Jolson (“mammy” being a lyric often found in some of his songs), the third is a caricature of Eddie Cantor, and the fourth is obviously a satirical depiction of Der Bingle himself, singing a line of from the featured recording of this very article.  Watch for yourself!

Such humorous references to contemporary pop culture were a hallmark, and indeed, a distinctive competency (to borrow a business term) of the Warner Brothers’ Merrie Melodies cartoons!  But as hinted previously, this very reference also demonstrates that Crosby’s version stands apart from all others, much like that special lady.