Frank Sinatra, music, Top Ten List

The Best of Everything Part 3: Frank’s World

It’s 1953 and Frank Sinatra is at the bottom. Like…the bottom. The public doesn’t like that he left his wife and kids to be with Ava Gardner. Mitch Miller at Columbia figures Frank is done so it’s time to sing with dogs. On stage – playing to a half-empty house – Frank’s voice gives out: “dust” comes out, he says later. A new batch of singers is eclipsing his popularity: Johnny Ray, Frankie Laine, Perry Como. Frank marries Ava but they battle constantly and this takes a toll on his health. And yet… There’s buzz around Hollywood that Sinatra’s work in the in-production “From Here to Eternity” is stellar. And there are a couple of very astute men working for Capitol Records who feel Frank still has it and they plan to bring him on board and pair him with a young arranger named Nelson Riddle. When they do, the rest, as they say…

Long story short: Sinatra wins the Oscar for “From Here to Eternity”. Then, he records “I’ve Got the World on a String” with a vibrant chart from Nelson and effectively declares his return. Not only with a vocal full of character and life but with an attitude and a declaration of intent. The very title of this number states his creed. Here, in Part Three of this series, Sinatra’s work starting with joining Capitol in 1953 and ending at a proposed pivot point in the spring of 1966 is explored. It is an era of supreme dominance in all areas of celebrity by Sinatra. Here, of course, we are focusing on his recordings and the way in which they repainted the landscape of popular song craft. This story will be told by looking at seminal recordings from this era and also at the albums he recorded that became hallmarks of genius and definitive representations of the pinnacles of artistry.

Sinatra arriving at Capitol coincided with the Long Playing 33 1/3 RPM album becoming the standard of the industry. Sinatra embraced this format immediately putting out his first long-player at Capitol. Ever wonder why “Strangers in the Night” is usually the only song of Sinatra’s people can name? Because there are few other single songs they are aware of. He was NOT a ‘singles artist’. Sure, he had chart hits but he didn’t burn up the singles charts. He never had a gold record (million dollars in sales) until 1966 (“Strangers”). He used to joke with Princess Grace that she had a gold record (“True Love” with Bing Crosby) before he did. And that perfectly illustrates my point – it was about the package, the album, the ‘tale’. He was an auteur, a storyteller and it took him longer than 3 minutes to tell his story whether it was one of jubilation or one of suicidal despair. However, you can point to sublime moments found on these albums as prime examples of a singer’s art. Briefly, a word on the albums themselves. If you really want the skinny on the Chairman of the Board, go out and buy “In the Wee Small Hours” (1955) and “Songs for Swingin’ Lovers!” (1956). With the former, you get a torch album that is perfect. It has a mood and a tone coupled with Nelson Riddle’s subtle orchestrations and topped off by Frank at perhaps his best. His voice is expressive and desolate without being sappy. On the latter, you get another Sinatra/Riddle combination that is perfect. This time, the jams get kicked out. Never has a singer been presented in a more ideal setting. “To swing” is defined for a new age. This is the album that all traditional vocal albums after it have aspired to. A similar twosome was presented in 1958 with the releases of “Come Fly With Me” and “Frank Sinatra Sings for Only the Lonely”. “Come Fly” has maybe the greatest album cover of the era and it is rare for Frank in that it mixes ballads with uptempo numbers. “Lonely” is a torch album, yes. But here the landscape has been absolutely leveled. Where “Wee Small” presents resigned depression, “Lonely” showcases open-wound suicidal despair. To wrap up great albums from this era, Frank’s second outing with Count Basie – “It Might As Well Be Swing” – is the aural representation of a strutting, suit-wearing, hat-tilting, finger-snapping, life-living time. “The Capitol Collectors Series” offers a great sampler of some better-known singles from this era. It’s actually the first FS CD I ever bought. Here are your Top 20 Sinatra recordings from 1953 to 1966: the “swinger” era.

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20. “Falling in Love With Love” (1961 – from “Sinatra Swings”/”Swing Along With Me”) — Someone says to you “explain Sinatra to me”. Tracks like this are a great start. Nothing spectacular just 1 minute and 49 seconds of breezy, fluid, languid, cool, confident singing. The best example? No, but a fine starting point.

19. “I’ve Got the World on a String” (1953 – single) — The song that reintroduced Frank to the world. Not the first song he recorded upon arriving at Capitol but the first one that declared his intent. Confident singing, brash lyrics. The first song that gave us the Frank we know from the ’50’s and ’60’s.

18. “Mood Indigo” (1955 – from “In the Wee Small Hours”) — This Ellington song is second on the album after the title track. Just a wonderful performance that helps set you up emotionally for the long journey into night to come.

17. “You Make Me Feel So Young” (1956 – from “Songs for Swingin’ Lovers!”) — Like #20, this track is just textbook Sinatra. This particular recording is celebrated all the more because it is the perfect kick-off for the greatest album ever made in this idiom.

16. “Nice ‘n’ Easy” (1960 – from “Nice ‘n’ Easy”) — One of the better singles from the Capitol years, this one’s title says it all. Frank is chill and this one stands out partly because you can hear him snapping his fingers. A rare case of a single being used as a title track for an album. Unfortunately in this case, the rest of the songs on the album are slow ballads – as opposed to the cool/breezy title track – from the Columbia era.

15. “(Love Is) The Tender Trap” (1955 – single) — From the film of the same name, this one benefits from it’s association with that excellent movie featuring Debbie Reynolds and Celeste Holm. Great lyrics and another great swinger. FS revisited it years later on his first album with Count Basie.

14. “Come Rain or Come Shine” (1962 – from “Sinatra and Strings”) — A moody, elegant and powerful reading of a dramatic song. Showcases Sinatra’s ability to emote and “act out” a lyric.

13. “The Song is You” (1959 – from “Come Dance With Me!”) — “I alone have heard this lovely strain…” Such a wonderfully sung line from one of the most satisfying uptempo numbers of Frank’s career. A straight-up swinger from an album that won three Grammys and stayed on the charts for 140 weeks!

12. “Hello, Dolly!” (1964 – from “It Might As Well Be Swing”) — Talk about a swinger. This track is almost heavy metal. With shout-outs to Louis Armstrong, Frank and “Splank” (Basie – check the cover) and Co. absolutely blast their way through this. It is as energetic and hard-driving as anything FS did. Smokin’!

11. “This Was My Love” (1960 – b side of “Nice ‘n’ Easy” single) — The “No One Cares” album was an early Frank purchase for me. I was really thrown by the fact it was all ballads. Once I got over that, “This Was My Love” – included as a bonus track – really bowled me over. Such quiet, tender singing from The Swinger and such a sumptuous orchestration. Gorgeous. “Others may cherish fortune or fame. I will forever cherish her name”.

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10. “Ring a-Ding-Ding” (1961 – from “Ring-a-Ding-Ding”) — One of a handful of tracks that can be used to perfectly describe Sinatra and his world at this time. The boys had their own language and this phrase meant “let’s go, let’s get it on, let’s party!”. Frank had his songwriter’s come up with a lyric and he swung through it on this his first album release for his newly created label, Reprise Records.

9. “All the Way” (1957 – single from the film “The Joker is Wild”) — One of the more popular singles for the Chairman. Introduced by Frank in the movie in which he portrayed comedian Joe E. Lewis, this tune won the Oscar that year for Best Original Song. A wonderful string-laden chart and strong singing. This one is very “Sinatra” and has been covered dozens of times.

8. “Come Fly With Me” (1958 – from “Come Fly With Me”) — Similar to “Ring-a-Ding-Ding”, this is a textbook swinger and theme for Sinatra. It’s also very of it’s time, being from the era of continental jet-setting. The lyrics urge the young lady to board the plane and throw caution to the wind. This one is also very “Sinatra” in attitude. In a later recording for Reprise, he sneaks in “and don’t tell your mama” at the end.

7. “It Was a Very Good Year” (1965 – from “September of My Years”) — Another song that is readily identified with Frank. In 1965, he turned 50 and marked the occasion with this album of songs sung from the perspective of a middle aged man looking back. In many ways, the album was an end point of sorts and ushered in a more mature sound as Sinatra led his legion of fans into the ‘September of their years’. The song itself features another stunning chart from Gordon Jenkins. Originally a folk song, Jenkins loaded this version with lush strings that state a phrase that grows in resonance as the song goes on. The lyrics are poignant and this song is a unique triumph in Sinatra’s oeuvre.

6. “Ol’ Man River” (1963 – from “The Concert Sinatra”) — I’m actually coming to this song late in my life and my journey through Frank’s music. “The Concert Sinatra” was an ambitious undertaking from Frank and Nelson Riddle. Frank had always been interested in longer song forms and this was his chance to embrace his highbrow aspirations and record eight songs with a larger-than-normal orchestra. The timeless “Ol’ Man River” is just one example of the many high points on this record (“Lost in the Stars”). A showpiece of mammoth proportions, Sinatra cements his reputation as a serious and gifted vocalist with his performance here. The dark wood quality of his voice was never brought to the fore in a more spellbinding setting than this. Truly remarkable. Headphones suggested.

5. “One for My Baby (and One More for the Road)” (1958 – from “Frank Sinatra Sings for Only the Lonely”) — Those who know, know. This is the track. The performance that displays what makes Sinatra Sinatra more than any other. He’d tell you himself; at heart, he was a saloon singer. He sang in the dead of night, after the joint had closed. And this was the song. When he sang this live, it was showtime. He was lit by a single spot, lit a cigarette and sang while just his pianist, Bill Miller, played. This is Sinatra. “It’s quarter to three. There’s no one in the place except you and me…” (This song was recently featured in the film “Blade Runner 2049”)

4. “Fly Me to the Moon” (1964 – from “It Might as Well Be Swing”) — Meanwhile, in outer space… On a lighter note, here we are again at yet another lesson in swing from Francis and Bill Basie. Finger-snapping, grinning, head-bobbing perfection. In 1964, Frank’s version was played on the Apollo 10 mission that orbited the Moon. Five years later, it became the first music heard on the Moon when Buzz Aldrin took a portable cassette player with him when he stepped onto the Moon. Outta sight.

3. “In the Wee Small Hours of the Morning” (1955 – from “In the Wee Small Hours”) — In my opinion, his finest torch song. It’s the lyric: “In the wee small hours of the morning, when the whole, wide world is fast asleep, you lie awake and think about the girl…”. It’s the gentle Nelson Riddle arrangement: not grandiose or dramatic but quiet. An orchestra but a small orchestra. It’s the album cover: Frank, alone on a street corner in the middle of the night, no one around. For me, this is the perfect track to set up the perfect album of songs of lost love. Indeed, it sets up a long career of singing for the lonely in the wee smalls.

2. “The Way You Look Tonight” (1964 – from “Days of Wine and Roses, Moon River and Other Academy Award Winners”) — Kind of out of the blue, on an album with a ridiculously long name, Frank puts on a clinic. He ‘plays’ his voice like an instrument here. It’s an amazing vocal. And you know what? Nelson Riddle… Listen how he starts things off with tooting saxophones and those gorgeous muted trumpets. Frank here sings effortlessly. The man is 49 years old and yet he sings it breezy, light and youthful – and those reeds tooting all the while behind him. Not enough is said about this wonderful recording, this wonderful melding of Frank and Nelson, voice and orchestra.

1. “I’ve Got You Under My Skin” (1956 – from “Songs for Swingin’ Lovers!”) — Commonly referred to as Frank’s shining moment, the absolute pinnacle of his craft. His appeal, everything that we love about Frank is embodied in this recording. FS chose the songs and arranger Nelson Riddle for this album of uptempo numbers. A great many legends surround Frank’s recording of this song. He was a busy man and moved fast. This often put pressure on his arrangers to have charts ready when it came time to record. One legend claims that, called into action suddenly one night during recording of the “Swingin’ Lovers” album, Nelson finished up this arrangement in the back seat of a car as he was being driven to the recording studio. Another one states that after the band had learned the chart and ran through it the first time, the musicians gave Riddle a standing ovation. What is undoubtedly true is that the arrangement is commonly held as the zenith of the collaboration between Frank and Nelson. The chart features a general building – a crescendo – in terms boldly stated by the horn section. And then there is trombonist Milt Bernhart. His four-bar solo riding the crest of the climax of this crescendo has been singled out as a definitive moment in Frank’s recording career. It is exceedingly energetic and has been described as “startlingly out-of-control”. It “has become one of the most widely heard trombone statements in history…(it was) something hysterical, something historical”. All things considered, the recording is the preeminent example of high art in this idiom. Scholar Will Friedwald has gone so far as to suggest that Bobby Darin based the entire ‘lounge singer’ portion of his career on this one recording.

Up Next: The Long Journey Into Evening…

 

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music, Nat King Cole, singing, Top Ten List

But Beautiful: Your Guide to Nat Cole

If pressed, a lot of people nowadays, but certainly not all, could name three or four singers of American popular standards. One name they would probably be able to come up with would be Nat ‘King’ Cole. Most people would know the name, the fact that Natalie Cole was his daughter and that he sang Christmas music. But there is SO much more going on with Nat Cole that needs to be known and appreciated. As opposed to an in depth look at his life and career, what I propose to present is a quick run-through, focusing on the wonderful music he recorded and how it varied throughout his tenure as one of the smoothest voices in popular song. Lastly, I’d like to run down, in order, the ten greatest recordings of the man born Nathaniel Coles.

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There are a few key things about Nat Cole that I would present to a beginner who is wanting to know what all the fuss is about and who is wanting to know what to listen to based on their interests. The first thing I like to point out – the thing that perhaps makes Cole cooler than anything else – is that, at the beginning of his career, he was a jazz pianist. And he was good. He was a student of the recordings of the great Earl ‘Fatha’ Hines and Cole was considered one of the leading jazz pianists of the late 1940’s-early 1950’s. So much so that he was the featured pianist on the original “Jazz at the Philharmonic” concerts originated by Norman Granz that featured all-star line-ups of the finest jazz musicians in the land. Also notable is the make-up of Cole’s early trio – piano, guitar and bass. Those three instruments in particular (no drums) was a unique set up especially in the big band era and it was emulated by many combos that emerged later. It’s amazing to think that, with a voice like his, Nat originally sang only occasionally. Legend has it that he sang live for the first time because a drunken customer demanded it. Nat sang “Sweet Lorraine” and was tipped 15 cents. The recordings of the Nat ‘King’ Cole Trio – with or without vocals – are wonderful. They present perfect, smooth, small combo jazz. It’s only Nat’s tremendous success later as a vocalist that somewhat relegates this part of his career to the background. In 1942, songwriter Johnny Mercer founded Capitol Records and a year later Johnny signed Nat and the trio to the label and they began enjoying great success there. The trio was so successful that the revenue from their record sales propelled Capitol to the forefront of the record business, allowing them to build the famous Capitol Tower as a home base. The world’s first circular office building is often referred to as ‘the House That Nat Built’.

By the early-to-mid 1950’s, Nat had – unfortunately, some jazz purists lamented – jettisoned the small group sound and stepped to the fore as one of the premier proponents of the smooth vocal pop tune with orchestral accompaniment. In 1953, Nat scored a hit of immortal proportions with his first recording with an orchestra: “The Christmas Song”. Many hit singles followed and Nat was paired with all the major arrangers of the day: Nelson Riddle, Gordon Jenkins, Billy May. He delivered album after album of sublime vocals. Indeed, you could look at Nat Cole as an ‘album artist’. Yes, he placed many tunes on the charts (28 top 40 hits between 1954 and 1964) but his main contribution to traditional pop or jazz vocal is a string of excellent albums with great arrangers and attractive album covers.

Nat Cole was a pioneering black entertainer. He became one of the first African American’s to host his own show – “The Nat ‘King’ Cole Show” aired for a year starting in 1956. The show was well done and featured many big stars of the day but it could not maintain sponsorship as many brands were hesitant to support so visibly a black artist, even one as universally loved as Nat Cole. Finally, Nat had to shut the show down. Referring to the inability to maintain sponsorship, Nat quipped notably “Madison Avenue is afraid of the dark”. Nat was a quiet and gentle crusader for equal rights. He was an inspiration to all black entertainers at the time. Nat had married singer Maria Ellington and eventually had five children, two of them adopted. During his peak years, Nat moved his family to a affluent neighbourhood in Los Angeles where they were met with hostility from their neighbours. Nat attended a community meeting at which a spokesmen boldly stood up and proclaimed that the area did not want any “undesirables”. Nat responded by rising and saying “Neither do I. If I see any undesirables, I’ll let you know”. Nat’s home was vandalized (racial slurs burned into the lawn) and a family pet was killed (poison meat thrown over the fence). Nat soldiered on, dignity intact.

Into the 1960s, Nat began to work with lesser known arrangers and orchestrators. The results yielded many additional hits – “Ramblin’ Rose”, “Dear Lonely Hearts”, “Those Lazy-Hazy-Crazy Days of Summer” – but the old-timey, sing-along quality of this period represented the nadir of Nat’s recordings. Even still, with his vocal charm, he was able to squeeze out a couple more charming tracks. He does a version of “The Girl from Ipanema” on the last album released during his lifetime that is excellent and “Let Me Tell You Babe” is a track released after his death that purists probably hate as it has a late-60’s-pop-soft-rock sound to it but I like it. Throughout his career, Nat had been one of the sharpest dressed cats in the business, always in a sharp suit or sweater, sometimes sporting a fedora – and always, but always, smoking a cigarette in a cigarette holder. This wretched vice became the undoing of Nat ‘King’ Cole. You have to understand that – and if you look into it, you’ll see it’s true – everybody loved Nat Cole. All reports indicate that there was not a classier person in show business. A loving husband and father, he quietly blazed a trail for black artists and was a genuine human being. When Nat fell ill in the early 1960’s, many friends and associates expressed their concern to him. The hazards of nicotine were not as widely known as they are today and people were simply worried that his constant smoking would wreck his voice and his health. A visit to the doctor confirmed a lung cancer diagnosis. The historic Surgeon General’s report confirming the negative effects of cigarette smoke was issued in January of 1964. Nat Cole received his death sentence 9 months later. The disease progressed rapidly and Nat was confined to hospital. He left one last time for an afternoon drive in February of ’65 looking gaunt and aged. He graciously allowed photographers to take pictures of him and his wife outside the hospital. As Mr. and Mrs. Cole drove away, the photographers wept.

Nat ‘King’ Cole died on Valentines Day, 1965. In his last days, he reportedly pressed his doctors to get him well so that he could tell people to quit smoking. His cancer death – along with the Surgeon’s General report – were early events in the worldwide crusade against the evils of smoking and it’s link to cancer. While he was not without his transgressions, Nat Cole was truly and dearly loved by his family, his friends, all of his contemporaries, the press, the recording industry and fans the world over. His legacy is unique and his gifts to all of us are immense.

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Let’s return to that which never dies; the music. You have to be careful with record companies. They will often stick with an established and well-known group of songs and – with little deviation – reissue these tracks ad nauseum. Beware the many redundant ‘greatest hits’ packages. It seems, with Cole, that many of his most popular “hits” are actually some of his most mediocre recordings. Keep in mind that, as you scan this list, you may not see songs you thought you would. In compiling this list, I took many things into consideration and I found that sometimes ‘immense worldwide familiarity’ did not necessarily indicate a quality recording. Not only are there many Cole songs you know by heart and you don’t need me to tell you about them but also, as I’ve said, the recordings embraced by the masses don’t always represent high quality material. Helping you to know what is good based on what you like (trio jazz or pop vocal) is the goal of this list of the ten greatest recordings of Nat ‘King’ Cole.

10. “Baby, Baby All the Time” (1946)  This track from the Nat ‘King’ Cole Trio was written by Bobby Troup. I notice that the little known Troup penned two songs in this top ten. Better known as the husband of chanteuse Julie London and as Dr. Joe Early on “Emergency!”, Troup wrote jazzy little numbers for small jazz combo settings and Cole and company introduced this track which quickly became a jazz standard. It’s gentle gait and pleading lyrics are straight down the Trio’s alley. It’s a cozy piece that serves as a delightful example of what Cole and his trio did best.

9.  “That’s All” (1953)  Written in 1952 by singer Dick Haymes’ younger brother, Bob, here’s another standard that was introduced by Nat. This song is unique in that it really had no initial ‘hit’ phase and instead went straight to ‘standard’. Bobby Darin helped popularize it when he presented it as the energetic title track of a 1959 album. Nat’s version was one of his early successes with the great conductor and arranger Nelson Riddle. Riddle’s name is synonymous with the very best recordings of Frank Sinatra but the Chairman himself has said that it was Nat’s records with Nelson like “That’s All” that made him want to work with the arranger. This recording of Cole’s is sublime and is an early example of him plying the sound that would become his trademark.

8. “Answer Me, My Love” (1954)   This song has it’s origins as a German piece to which English lyrics were added. It was a hit in 1953 for both David Whitfield and Frankie Laine. Another of Cole’s outings with Nelson Riddle, Nat had the best-selling version of the song which was popular throughout 1954. It is another marriage of the very finest of Cole’s ballad singing and absolutely gorgeous strings and orchestra directed by Riddle. The chorus of white, female voices detracts from it only slightly. Like “That’s All” before it, this track is quintessential, sigh-worthy Nat Cole balladry. Celestial.

7. “Sweet Lorraine” (rec. December 15, 1943)  Perhaps the oldest song on this list, “Sweet Lorraine” was written in the late 1920’s and featured lyrics by Mitchell Parish who also contributed the words to such perennials as “Stardust”, “Moonlight Serenade” and “Sleigh Ride”. It is another song that has become a jazz standard. This is a significant recording in Nat Cole’s oeuvre. Earlier recordings than the 1943 edition I’ve chosen here represent the first of Nat Cole’s truly fine vocals. Singing this song early on in clubs gave audiences their first taste of Cole’s fine voice and provided him with an opportunity and the confidence to hone his vocal skills. This Trio recording from ’43 – like “Baby, Baby…” – is just another fine example of this small group at it’s subtly swinging best. You can notice a slight lisp that never gave Nat much of a problem – except when he sang “Sweet Lorraine”. Listen for him to sing “I’m as happy as a baby boy playing with a brand new choo-choo choy” – as opposed to “toy”. Three years after this recording, Frank Sinatra recorded a version also employing the Nat ‘King’ Cole Trio’s intimate sound. After Cole’s death, Tony Bennett sang “Sweet Lorraine” in tribute on his “If I Ruled the World: Songs for the Jet Set” album (1965).

6. “L-O-V-E” (1964)  Our first selection on this list from the latter part of Cole’s career. Actually, the last part. “L-O-V-E” is the title track of the final album of Nat’s to be released during his lifetime. He finished making the album with his final recording sessions in December of ’64. This means that this swinging number was recorded so sublimely by Nat when he was already sick with the disease that would take his life only months later. This track was written by legendary German Bandleader Bert Kaempfert and Nat, again, was the first to sing it. Although any list of the finest recordings of Nat ‘King’ Cole will undoubtedly be laden with ballads, the cat could swing, as this song attests. It starts off gently trotting and sounding like Bobby Darin’s “Hello, Dolly!” and then – also like the Darin track – builds to a brash climax. It is a joy to sing along to and is a prime example of how good Cole was at uptempo material.

5. “(Get Your Kicks on) Route 66” (1946)  I realized as I was compiling this list that Nat Cole can give Fred Astaire a run for his money when it comes to introducing some of the most enduring songs in the history of American popular music. Here he is again with his Trio being the first to record another standard written by Bobby Troup. In this case, the song is considered to be an R&B standard and has been covered by an extensive and varied list of artists: Bing Crosby, Chuck Berry, the Rolling Stones, Them, Depeche Mode, the Cramps and John Mayer. Cole’s first version with his trio is an uptempo swinger featuring lyrics about traveling the expanse of the American country side on the famed highway. It is one of the very few quintessential Cole recordings not only in terms of quality but also popularity. An absolute delight featuring Cole in great voice and displaying his light-fingered chops on the keys.

4. “Straighten Up and Fly Right” (1943)  A companion piece to “Route 66”.  Many similarities exist between these two seminal Trio recordings. The main difference being that while this is also a song that Cole introduced to the world before it became a standard, this was one that he actually wrote himself. He took the lyrics from an old, black folk tale that Cole’s father – a Baptist minister – had used as a basis for a sermon. A lighthearted vocal from Nat is paired with the Trio’s charming brand of breezy small combo jazz. The song’s popularity has been sustained through uses in the 2010 video game “Mafia II” and more recently in the TV series “This Is Us”.

3. “That Sunday, That Summer” (1963)  And here we are at probably the only recording on this list that I would really have to defend. This song was published in 1963 and, as far as I can tell, Nat Cole was, again, the first to record it. The problem is it appeared on his “Those Lazy-Hazy-Crazy Days of Summer” album, the title track of which went to #6 for Nat in the spring of ’63. He followed that up with an album of the same name made of turn-of-the-last-century sounding songs singing the praises of summer. A lot of banjo. The album was successful for Nat but it is a good example of one of those times when public adoration did NOT mean quality work. The title track is delightful but this old-timey setting simply does not mesh well with Nat’s dulcet tones. The exception is “That Sunday, That Summer”. This is the only track on this list that charted in the top 40 on the pop charts during the “modern era” of the tracking of chart activity which began in 1954-55. Fittingly, in September of ’63, after summer frolicking had given way to autumn studies, the nostalgic “That Sunday” spent 9 weeks on the charts peaking at #12. The banjo is present but subdued and adds to the wistful nature of the lyric and compliments Nat’s dreamy vocal. Again, we’re assaulted with an inappropriate chorus of angelic female voices but it doesn’t matter here. The track never appears on any compilations you’ll find at the record store but that just supports my theory that the real ‘best of Nat’ is not that easily found. Seek out this gorgeous number and drift away.

2. “The Christmas Song (Chestnuts Roasting on an Open Fire)” (1961)  Here’s a song that deserves it’s own post. Let’s just take it slow and from the beginning. This song was written by singer Mel Torme and Bob Wells. It was written on an exceedingly hot day in an effort to keep cool. Here’s also another example of a new song making it’s way to Nat Cole first. The Nat ‘King’ Cole Trio recorded the song first in 1946. Cole then convinced Capitol to let him record it again months later but this time with a small string section – an auger of things to come for Nat. This second version became a massive hit on pop and R&B charts. Cole again recorded an orchestral version during his productive year of 1953 with Nelson Riddle. Nat’s fourth recording of it took place at Capitol Studios in March of 1961 with the Ralph Carmichael Orchestra. This is the version that you hear every Christmas. Cole issued a Christmas LP in 1960 called “The Magic of Christmas” and then, in 1963 while his newest version of “The Christmas Song” was becoming legendary, Capitol decided to reissue “The Magic of Christmas” as “The Christmas Song”, adding the new title track and deleting “God Rest Ye Merry, Gentlemen”. This version of his Christmas album (complete with new cover replacing white kids admiring tree with Nat chilling in sweater by the fire) has sold untold scores of copies and is still a seasonal favourite. (All this, of course, makes Nat’s “God Rest Ye Merry” the ‘lost carol’!) “The Christmas Song” – the track – is sublime but here’s the funny thing: Nat Cole has an incredibly huge rep as a ‘Christmas artist’ but the truth is that the rest of “The Christmas Song” album is quite boring and plain and since Nat never again recorded a full album of Christmas music this means that his huge Christmas rep is based solely on these three minutes of absolute perfection. There may be no finer recording in Nat’s catalog than his 1961 version of “The Christmas Song”. From the opening two notes, this tune manages to encapsulate all the warmth, peace and joy, all the emotion of the Christmas season. Nat’s vocal is the pinnacle of excellence and the unheralded Ralph Carmichael provides an appropriately lush setting featuring a wonderfully mellow guitar solo. It conjures up all the wonderful feelings usually associated with a night in late December relaxing in a warm room lit only by your Christmas tree and surrounded by those you love. The only reason it’s not number one on this list is because it would’ve been too easy. It benefits so much from these external things.

#1 “Stardust” (1957)  “The Christmas Song” is a resplendent recording. However, part of it’s immense charm certainly comes from the Christmas season itself and all of our thoughts, feelings and memories regarding it. “Stardust” does to you what that Christmas classic does to you but all on it’s own. “Stardust” is the aural manifestation of Nat ‘King’ Cole in all his glory. This standard among standards was written in 1927 by the great Hoagy Carmichael (who not only wrote great songs but possessed one of the greatest names in history) with lyrics added by Mitchell Parish. It is one of the most recorded songs of the 20th century with 1,500 recordings of it to date. Nat recorded his version in December of 1956 for his album “Love is the Thing”. The orchestral accompaniment for this album was arranged for strings alone and conducted by the great Gordon Jenkins. Jenkins provides strings so lush that “Stardust” takes on an ethereal quality. It seems to drift down out of the heavens. Nat does well with any type of material but his legacy and his strength is definitely ballad singing and “Stardust” is the quintessence of this strength and represents one of the peak experiences of vocal balladry in the history of recorded sound. It is that good. “Love is the Thing” was the first of four albums Nat would make with Gordon Jenkins. This album was one of the earliest stereo albums made at a time when such albums were made specifically for a niche stereo hi-fi market. The album was also very successful for Nat reaching #1 on the charts while “Stardust”, released as a single, reached #79. What more can be said? It is a flawless vocal performance wrapped in a plush and almost surreal environment of dreamlike beauty. The album is perhaps the finest single moment in either Nat’s or Gordon’s career and provides us with the finest example of the art of Nat ‘King’ Cole.

In compiling this list one of the many things I discovered is that looking at single recordings maybe isn’t the best way to explore Nat Cole. As Bennett has said, it’s about the catalog, the whole, as opposed to single moments. Nat’s entire career is a joy. Do yourself a favour and grab an album – not a compilation – of his. You won’t be disappointed.

Honourable Mentions: “Unforgettable”, “Walking My Baby Back Home”, “Mona Lisa”, “Embraceable You”, “When I Fall in Love”, “Too Young”, “Somewhere Along the Way”, “Say It Isn’t So”, “Lights Out”

 

 

 

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Elvis Presley, In Memoriam, Red West

Red West: One of the Good Ones

Robert Gene “Red” West died this past July, aged 81, of an aortic aneurysm. He had “pains” in the afternoon and, by evening, he was dead. Red is probably best known as a longtime “bodyguard” of Elvis Presley. They met in high school and formed a bond that lasted until 1977, the year Elvis died. As this month we mark to 40th anniversary of Presley’s death, it’s timely to take a quick look at the interesting life of Red West.

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Red and Elvis boxing, June 14, 1956

Red was born is Memphis and attended Humes High School with his cousin, Sonny West, at the same time Elvis did. Red was a strapping, red-headed athlete and knew Elvis only by sight when he came upon a group of toughs hassling Elvis in the boys bathroom. Quiet Elvis, with his slick hair piled up in a pompadour and guitar slung over his shoulder, was regularly the brunt of teasing. Famously, Red confronted the gang and managed to extricate Elvis from the situation. A friendship was born. Red went on to occupy a unique position in “Elvis World”. Never a sycophantic ‘yes man’, Red was something unique to Elvis: he was his friend. That’s not to say that their relationship ran smoothly. Far from it. But through it all I think it can be seen that Red’s motives were pure in his relations with Elvis even though Red was strong-willed enough to go toe-to-toe with his boss at times. Also, as we’ll see, he was more than capable of operating and earning outside of just working for Elvis. Keep in mind that “working for Elvis” meant a lot of good things but it also meant that you never had money of your own.

Red West was nothing if not a “good, ol’ boy” and he and Elvis hit it off instantly when they met. It floored Red when he heard his buddy on the radio and it was soon after that Elvis decided he wanted Red around so Red began driving Elvis and his band to dates. Red also tackled the challenging job of simply getting Elvis from the car to the stage door which became increasingly difficult as Elvis’ publicity soared and the girls that went to these concerts began to grow more and more demonstrative. As we’ve discussed, Red was big, strong and hot-headed. Simply put, if you stepped to him it was lights out for you. On the eve of Elvis heading to Hollywood to make his first movie, Red got into another fight. Elvis’ father, Vernon, was petrified of bad publicity and had the first of his shouting matches with Red, telling Red he was not going to make the trip to Hollywood. Red, mostly disappointed that Elvis did not have his back, blew a gasket and said he was quitting to join the Marines, which he did. Already we see Red’s “no BS” policy in effect. While many would endure anything and toe the line to ensure a free ride through life with Elvis Presley, Red wasn’t having it and quit.

Two years later came the event that perhaps is the most significant in “Elvis World”; the death of Elvis’ beloved mother, Gladys. Months before her death, Red showed up in Memphis on a two-week leave from the Marines. He learned that Elvis was in Hollywood but stopped by Graceland to pay his respects to Mrs. Presley. Before he left, Gladys implored him – as indeed she did any and all of those in EP’s circle – to “look after my boy”, indicating plainly the anxiety and worry that had plagued her since her only child had become famous. Red called Elvis from Memphis and King flew Red out to the coast, Red arriving on the set at Paramount a “crew-cut hick” in his Marine uniform. He spent the rest of his leave hanging out with Elvis in the California sun and then headed back to camp in Virginia. In August of 1958, Gladys Presley died and Elvis was beside himself. As soon as Red heard of his friends’ distress, he asked for leave from the Marines and was denied. However, later that same day, Red learned that his own father was gravely ill and was heading home to be with him when he received word that he had passed. He was unable to attend Gladys’ funeral but was dumbfounded when Elvis appeared at the funeral for Red’s father. Elvis, only two days removed from laying his beloved mother to rest and still overcome with grief, almost had to be helped over to Red where the two wept together. Elvis lamented the fact that just two days earlier he had been in the same funeral home for Gladys’ services  and now he was joining his friend in his sorrow over his father. At this moment was born a unique bond between Red West and Elvis Presley; they each had lost a parent on the same day.

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Margit Burgin, Elvis and Red, Bad Homburg, Germany, October, 1958

Elvis was in the Army going through his basic training when Gladys died. Shortly after, still mourning the loss of his mother, he prepared to ship out to Germany. On the eve of his departure, Red, fresh out of the Marines, came to say goodbye. On a whim, Elvis asked Red to come with him and he did. Mostly, Elvis desperately needed people with him; his friends, people from back home who ‘knew’ him and that would have been reason enough to have Red in Germany with him. But there was more than that. Red – and others – have been called ‘bodyguards’ but they had to do much more. There was always plans to be made and details to look after and Elvis never actually traveled with a ‘staff’ so ‘the guys’ looked after things. But protecting Elvis from overzealous fans could be a full-time job and Red did it well. Red was sometimes VERY aggressive when carrying out his duties and there was often fights. Once again, Elvis’  father, Vernon, would be sick with worry over the potential of bad press and would get into screaming matches with Red. And, once again, Red got fed up and quit.

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Red and Elvis jam on the set of “It Happened at the World’s Fair”, 1963

Returning Stateside, Red traveled to Hollywood where he looked up people he had met through Elvis, people like Nick Adams and Robert Conrad both of whom had their own TV shows. Robert Conrad was making “Hawaiian Eye” and later “Wild, Wild West” and Red was able to find regular stunt work on these and other television shows. When Elvis returned from Germany in 1960, he tracked down Red and they renewed their friendship. It wasn’t long before Elvis was heading to Hollywood to start his movie-making machine throughout the ’60’s. He used Red often and the sharp-eyed can spot him in the films. He was usually the first guy to attack Elvis when the fight broke out. Interesting when you think of actors back then and the way they liberally used stunt men for even the most innocuous looking scrap. But here was Elvis and Red, a couple of redneck hillbilly boys, getting paid to do on camera what they had always done for kicks down at Graceland. Sometimes Red even got to say a few lines. He portrayed Elvis’ brother in “Wild in the Country”, for example. One of the many interesting things about Red West was that even with his athletic prowess and his proficiency as a street fighter, he was also a songwriter. He began to make inroads in the music industry by writing songs, making a demo recording featuring himself singing and then shopping it around to see if someone would record it. Quite often, he would present these songs to Elvis and the King recorded many of them: “If Every Day Was Like Christmas”, “Holly Leaves and Christmas Trees”, “If You Talk in Your Sleep” and the incredibly heartbreaking “Separate Ways”. This means that Red West, a “bodyguard”, wrote better material for Elvis than some of the professional songwriters writing songs for Elvis’ movies. Red’s involvement in EP’s recording career went even deeper. Often times Elvis could not be bothered to appear at the recording studio to decide on and record songs for his movies. Red was often recruited to go to the studio, sift through AND CHOOSE the songs that Elvis would sing in the movies. Once the songs were picked, Red would record them with the band, singing them in the way he knew Elvis would. He would then take the recordings to Elvis so Elvis could learn them before going in to record them properly. Red also joined Elvis in his passion for karate, sparring with Elvis and for a time running a karate school in Memphis. When Elvis’ marriage to Priscilla was on the rocks, she took up with renown karate instructor Mike Stone. Elvis was enraged. He was determined to have Stone killed. Who did he turn to? Red West. West recalls he felt he was in a daze while he arranged the weaponry and prepared to carry out any instruction Elvis gave him. Finally, Elvis cooled down and said ‘forget it. It’s too heavy’. Red breathed a sigh of relief.

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Sonny West, Elvis and Red, Atlanta Georgia, June 5, 1976

It’s common knowledge that the 1970’s saw a general decline in Elvis Presley’s health. A lot – but not all – of this was due to his use of pharmaceuticals. Red was especially persistent in trying to steer Elvis away from this lifestyle. Elvis always maintained that he knew what he was doing. He was not addicted and he knew how to use prescription drugs responsibly to relive his many ailments. In this negative atmosphere, with many close to Elvis becoming increasingly concerned with the changes in his habits and his sometimes violent reactions, everyone was on edge. In the mid-1970’s, there were a couple of instances when Elvis had his life threatened and his security staff had to be particularly vigilant. Quite often, certain lines may have been crossed in dealing with unruly fans. It was undoubtedly hard to tell, in the heat of the moment, who was a homicidal maniac and who was simply an excited fan. Again there were fights, beatings. Vernon – always petrified of being poor again and trying vainly to curb his son’s extravagant spending – continually questioned Elvis’ need of such a large ‘staff’ and when lawsuits started to mount up due to Red’s and others physicality, Vernon pushed through the idea of firing many employees. Three security men – Red West, his cousin and long-time Elvis associate Sonny West and newly arrived Dave Hebler were let go. By Vernon. Red West was hurt and angry. 22 years with Elvis and fired by Vernon without a word from Elvis. Here’s where the big debate regarding Red that polarizes many Elvis fans begins. Red is suddenly and cruelly expelled from the life of his long time friend. He is left without a job (although working for Elvis NEVER actually PAID much). He is angry, sure, at the way he’s been treated but also at the way Elvis is killing himself. In an effort to make money but also to hopefully prompt Elvis to right the ship, Red writes a book. Together with his cousin Sonny and Dave Hebler, they publish the infamous “Elvis: What Happened?”. The book is published in the summer of 1977, two weeks before Elvis dies. Knowing what we know about Elvis’ dependence on pharmaceuticals it’s tough to remember that, before Red’s book was released, the general public had no idea that anything was amiss in Elvis World. The book shocked the public and devastated Elvis. Red took a lot of flak over exposing many secrets as “silence” had long been the mantra of the Memphis Mafia. But let’s face hard facts: Elvis’ intake of prescription drugs was mammoth and – although he did indeed have legitimate health issues – over-prescribing himself was killing him. It has been suggested that Red, Sonny and Dave were the only ones of the inner circle who actively pestered Elvis to get his act together and this could be one of the reasons they were dismissed. Also, as I’ve explored in previous posts, Elvis’ father could never enjoy his son’s success as he lived in fear of one day being poor again. The Memphis Mafia were nothing but hangers-on according to Vernon and he NEVER wanted ANY of them around and this presents an obvious reason why the boys were fired. The debate rages in Elvis World: was Red motivated solely by greed or was he legitimately trying to help his friend by exposing his foibles? No one can say for sure. However, I’ve learned that analyzing the life and career of Elvis Presley is a massive undertaking.  There is so little black or white in his tale and so much room for conjecture. I have found that you need to have all the information. Consider many different accounts from many different sources. Mostly I think what you have to do is accept that Elvis was human. He was an incredibly charismatic man who lived a life that had no blueprint – NO ONE before him had trod a similar path. But he was human and, like all of us, heavily flawed. So when you take the case of Red West you have to look at the facts. Before Elvis was anything but an outcast, really, Red stood up for him – even though the two high school kids barely knew each other. He helped Elvis in the early days but then left to join the Marines. Elvis opened doors in Hollywood for Red, yes, but Red walked through most of them himself and built his own career and reputation in film. Red worked for Elvis through the ’60’s but also found success working with other artists and wrote some high quality material for Elvis. Three prominent members of Elvis’ inner circle wrote a massive book on their lives with the King. In it, they agree that Red wrote his book to make money – naturally. After all, he had a story to tell that many people would want to hear. But they also all agree that NO ONE was closer to or loved Elvis more than Red West. And, while we’re facing facts, most of the claims in Red’s book have been proved accurate. In the summer of ’77, a shocking book is published with hard-to-believe allegations about Presley’s drug use – allegations that had NEVER been raised before. Then TWO WEEKS after this ‘outrageous’ book is published, Elvis Presley dies a drug-related death. You really have to look up the facts and draw your own conclusions.

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The infamous book, released two weeks before Elvis died.

 

After Red’s life with Elvis came to a close, he became a full-time actor earning a recurring role in Robert Conrad’s series “Black Sheep Squadron”. He also made guest appearances in many television shows throughout the 1980’s. He is perhaps best known to audiences for his role in the classic Patrick Swayze film “Roadhouse”. He also appeared in Francis Ford Coppola’s “The Rainmaker” and Oliver Stone’s “Natural Born Killers” and “I Still Know What You Did Last Summer”. Unbeknownst to just about everybody, he gained his first starring role in the 2008 independent film “Goodbye Solo”. Roger Ebert called it “a masterwork” and the New York Times hailed it as “a near-perfect film”.

A major player in the life of Elvis Presley has died this year, the 40th anniversary of the death of the King. The Memphis Mafia is never included in official family business in Memphis during the annual Elvis Week marking the anniversary of his passing but this year Red and his wife of 56 years, Pat (Red met Pat when she was a secretary for Elvis) were going to be involved in some events with longtime Elvis associate, disc jockey George Klein. Unfortunately, that won’t happen now. It’s this Elvis fan’s opinion that Red West gets a pass. He gets the benefit of the doubt. There really is too much evidence to support the deep love that flowed between Red and Elvis. They went back too far together and Red had too many more options outside of Elvis to make any of Red’s actions purely mercenary. One of the many sad parts of Elvis’ story is the people he left behind. People who lost a son, a grandson, a father and a friend. Many people were left behind to suffer with sadness, frustration, anger and guilt. Red West was one of these people. And he was one of the good ones.

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Vernon Presley, Elvis and Red, Chicago, 1972

 

 

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Centennial, Dean Martin, music, singing

Dino 100: Part 3

Dean Martin hit ‘legend’ status early. By the late 1960’s, his records weren’t charting anymore and he wasn’t starring in hit movies. But it didn’t matter. He performed on stage in Las Vegas and elsewhere to sold out crowds. Dino played it “drunk” and sang all the old songs and the people loved it. He gathered his celebrity friends together to put on one of his legendary “Dean Martin Celebrity Roasts” and the people laughed. Funniest of all was watching Dean, laughing harder than anyone. And not just at Don Rickles ripping people to shreds, either. You could believe that he was laughing mostly because he truly had it made. He could sustain a career and reap the rewards with very little effort. He just had to be himself.

The thing about Dean Martin is that he didn’t care. Now, as soon as you say that, it sounds negative. But I don’t mean to say that he had a poor attitude toward things or he was indifferent to his family and friends. When I say he didn’t care I mean that, for the most part, he wasn’t consumed with striving to attain a level of greatness in his singing or his acting. He could sing. He could sing well. He liked to sing. So, he sang. Period. And the record buying public loved it. His talent was based on ‘feel’ as opposed to ‘craft’. He had ‘a way with a song’. While making movies, he was laid back and jovial on set. When the cameras rolled, he acted naturally and his charisma shone through. But that’s not to say he wasn’t good – very good – at what he did. Watch him in his films with Jerry Lewis and you’ll see that Jerry is bang on when he talks of Dean’s comedic timing and his handling of a funny line. Not to mention the looks and expressions he could pull off in place of a spoken punch line. It all came so naturally to him. That is what is at the root of his greatness – it was all so seemingly effortless. He was so completely confident and sure of himself that he was able to simply be himself his entire career. This is what people today remember most about Dean Martin. His attitude, his coolness. He was also successful when he went looking for a stretch and played it serious in films like “The Young Lions” with method actors Marlon Brando and Montgomery Clift or “Rio Bravo” with John Wayne. While making records, he could delight you with joyous recordings like “That’s Amore” and “Ain’t That a Kick in the Head” but he could also make you close your eyes while his voice washed over you with the smoother sounds of “Once in a While” or “My One and Only Love”. With a change of sound upon moving to Reprise in the ’60’s, he could still delight listeners with a jaunty run-through of “I’m Gonna Change Everything” or make them shake their heads and sigh with the heartbreak of “Nobody’s Baby Again”.

In the interest of taking care of business, it should be noted that the last years of Dean Martin’s life were not happy ones. One of Dean’s sons was Dean Paul Martin, who was known as “Dino”. Young Dino was a noted tennis player and a minor actor. He starred in a TV series in 1985-86 called “Misfits of Science” that also starred Courtney Cox. Dino was also a pilot. He joined the California Air National Guard and rose to the rank of captain. He died in 1987 when his jet crashed into the San Bernardino Mountains, the same mountains that had claimed the life of Frank Sinatra’s mother, Dolly. Losing his son devastated Dean and he was truly never the same. In 1988, Frank Sinatra organized a series of reunion shows featuring himself, Dean and Sammy Davis, Jr. Frank reportedly said that the main purpose of the reunion shows was to give Dino something to do, to get him out and about, to maybe forget his troubles. But Dean’s heart was never in it. He lasted only five performances before bowing out. In the fall of 1993, Dean was diagnosed with lung cancer. He died Christmas Day, 1995 of acute respiratory failure resulting from emphysema. He was 78.

But enough of that. We’re here to celebrate Dino’s LIFE. His legacy is remarkably full and varied. He made many great comedy films in the golden age of Hollywood with one of the greatest and most celebrated comedians that ever lived. He recorded timeless music in his early days, sprinkling lovely Italian melodies amongst gems that are the very definition of mid-century crooning. His alliances with other legends added a luster to his personality as regular joes looked at him as the ultimate ‘pally’: the perfect guy to hang out with. In a tux at Romanoff’s or a sport shirt in the clubhouse after a round of golf. He epitomized the swank Las Vegas lifestyle and aura that appealed to royalty and working stiffs the world over. With his many westerns he won over many fans of that hardy, masculine genre. Adding to this was the appeal of his style of country crooning throughout the 1960’s – just one more way he endeared himself to the majority of the adult record buying public. It seems today he is remembered for one major thing. His most lasting legacy seems to be COOL. When hip, happening people of today look back for inspiration when it comes to handling the lady, handling the cocktail, handling the situation no matter what it is – and handling it dressed to the nines – they all seem to land on Dean Martin. He may have had equals but was there ever anybody cooler than Dino? I don’t think so. As Dean’s character in “Ocean’s 11”, Sam Harmon, said: “Everywhere I go people stare at me in dumb admiration”. Yes. We do.

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Centennial, Dean Martin, music, singing

Dino 100: Part 1

To commemorate the 100th anniversary of the birth of Dean Martin, SoulRide will be looking at the life of this legendary entertainer. As usual with iconic personalities, the public perception of Dino is one thing but there is much to know and much to love about the man who may be in a group of only three or four singers remembered as the greatest, most definitive and most beloved vocalists of the golden era. Here’s Part 1 of our 3-part series.

Dean Paul Crocetti was born June 7, 1917 in Stuebenville, Ohio. Born to Italian parents from Abruzzo, Dean spoke only an Abruzzo dialect of Italian until he started school at age five. He was bullied in school for his broken English and dropped out of Stuebenville High in grade 10 thinking he was “smarter than his teachers”. And here, already in his early life, is where Dean’s path differs greatly from his famous friend, Frank Sinatra. As we’ll see later, Frank and Dean would set the standard for cool in the early 1960s. Sinatra was always the more earnest. Edgy and driven to perfection in all things, Frank’s nature was very different from Dean’s. In some interviews, Frank would like to cultivate the idea that he had hard scrabble beginnings and was a bit of a tough in his early days, which was not exactly the case. Dean Martin, who said little or nothing about his early days, did indeed operate outside of the law and in some shady, half-criminal environments. After leaving high school, Dean worked as a bootlegger, dealt blackjack and ran card games in speakeasies. He also worked in a steel mill and spent time – as did Sinatra – in the ring, fighting as ‘Kid Crochet’. During his 12-bout fight career, he suffered a broken nose (which was later fixed with the financial help of comedian Lou Costello) and many broken knuckles. I’ve always thought, when I looked at Dean Martin’s hands, that he had strong looking but gnarled fingers and here is the reason. Martin began singing with local bands in the early 1940’s using the name Dino Martini. His style was heavily influenced by Harry Mills of the Mills Brothers. By 1946, he was making a decent living as a singer but was unknown outside of the small east coast night club circuit he operated in.

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In 1945, Martin was performing at the Glass Hat in New York. Also performing there at that time was a comic who was nine years Dean’s junior. Jerry Lewis was a skinny, Jewish kid who would lip sync to popular records. The two became friends but didn’t team up until the summer of 1946 when “Martin and Lewis” debuted at the 500 Club in Atlantic City. They bombed. The 500 Club was owned by Skinny d’Amato, a serious guy with mob connections. After the duo’s first unsuccessful show, Skinny told them – in his quiet, menacing way – that if the boys didn’t improve, they’d be fired. What followed is one of those glorious and true Hollywood legends that reveal true talent and personality in performers that today may be taken for granted or not understood at all. Dean and Jerry, huddled in a back alley, decided to go for broke. What they had scripted wasn’t working so, for their next show, they ad-libbed a routine – made it up as they went along – and were a smash. Jerry Lewis – still alive at 91 – is class in so many ways. Not the least of which is his propensity to heap praise on his ex-partner. Lewis is always quick to point out that Martin had impeccable comedic timing and was one of the all-time straight men with immense comedic gifts. This is something often lost in Dean Martin’s story. The comedy team of Dean Martin and Jerry Lewis went on to conquer first night clubs, then radio, then television and finally the movies. In the films, Dean sang the songs, kissed the girls and played straight man to Jerry’s antics. But after ten years together, the films began to be more tailored to Jerry’s insane style of comedy and Dean had had enough. Under a deep cloud of animosity, Martin and Lewis split up, ten years to the day after forming their partnership.

circa 1955: American comic team Dean Martin (1917 - 1995) and Jerry Lewis smiling in a promotional portrait. Martin smiles and rests his chin on top of Lewis's head, as Lewis makes a funny face.

By the time he split with Jerry, Dino had scored 13 top 40 hits, many of them becoming not only inextricably linked with Dean Martin but also becoming quintessential “crooning” classics: “That’s Amore”, “Sway”, “Standing on the Corner”, “Return to Me” and the worldwide number one song “Memories Are Made of This”. Recording for Capitol Records, Dean soon gained a reputation as a light, breezy, smooth vocalist known for his effortless delivery. He also embraced his heritage recording many Italian flavoured songs and a complete LP devoted to same: “Dino: Italian Love Songs” (1962). His recorded output while with Capitol consists of several great albums exhibiting the relaxed style Dean came to be known for. “Pretty Baby” (1957) contains lovely mid-tempo numbers like “I Can’t Give You Anything But Love” and the title track and some gorgeous ballads, most notably “Once in a While”, maybe Dino’s smoothest, loveliest work at Capitol. “Sleep Warm” (1959) is a dreamy set dedicated to songs dealing with ‘sleeping’ or ‘dreaming’. This album is notable for the orchestra having been conducted by Frank Sinatra. “A Winter Romance” (1959) is a seasonal treat to be listened to every December. Unique among “Christmas” albums, the songs don’t reference Christmas specifically but are odes to winter sports, indoor and out. “This Time I’m Swingin'” (1960) teamed Dean with the great arranger Nelson Riddle and the results are impeccable. Some of Dean’s finest recordings can be found on this LP: “You’re Nobody ’til Somebody Loves You” (this version was used over the opening credits of the film “Swingers”), “Until the Real Thing Comes Along”, “Just in Time” and a contender for Dino’s finest Capitol recording, “I’ve Grown Accustomed to Her Face”. Another contender, “My One and Only Love”,  can be found on Dean’s last album for Capitol, “Cha-cha de Amour” (1962).

The 1960’s would bring new levels of stardom and success to Dean Martin. And as the decade unfolded, Dino forged a reputation and a cultural significance that would last throughout the ages.

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music, rock 'n' roll

Stayin’ Alive: Little Richard

Little Richard Penniman is 84 years old. Recently, I scored his first album, “Here’s Little Richard”, mainly because I had heard so much about this record by the man a lot of people would say was the most dynamic performer of the 1950’s. I looked up some info on the album, as I’ll often do when an artist/album/movie attracts my attention. Reaching #13 on the pop albums chart, it is Little Richard’s highest charting album and it contained two of his biggest hits: “Long Tall Sally” and “Jenny, Jenny”. The lead-off track, “Tutti Frutti”, is a legendary recording that has since landed on many lists of the greatest rock ‘n’ roll recordings of all-time. The album ranks #50 on Rolling Stone Magazine’s top 500 albums and “Tutti Frutti” comes in at #43 on their list of the top 500 songs of all-time. Impressive. So, all this made me want to read up on Little Richard. Or should I say re-read up.

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I was 13 or 14 years old when I read the definitive Little Richard biography, “The Quasar of Rock” (30 years later I’m still not sure what the title means). At that time, it was the biggest book I’d ever read. So, all these years later I found myself going over his life story again and I was looking for anything that really stood out that I could maybe build a post around, something I thought you people should know. His is an interesting story, for sure. An admitted gay man, (I was shopping for Little Richard t-shirts and saw one that said “The Real King of Rock ‘n’ Roll is a Gay Black Man from Macon, Georgia”) he was an absolute wild man in the early days of rock ‘n’ roll, scoring many hits with songs that are nothing less than definitive of the genre. After several years of hits, he – like Jerry Lee Lewis – became convinced that he had been called into the ministry and (unlike Jerry Lee) Little Richard quit rock ‘n’ roll to be a preacher and release albums of gospel music. After several years of this, he returned to secular music and excelled in live performances but was never again a factor on the charts. He had trouble maintaining record contracts and was embroiled in litigation over monies owed him by his original record label, Specialty Records. All this is pretty common stuff. Where his story gets truly remarkable is when you consider the impact he had on some of the greatest artists ever and on the evolution of many genres of popular music.

In general, his style was influential. He was loud, flamboyant and possessed of a raspy, shouting singing style that was soon to become a hallmark of rock. Two of soul music’s pioneers – Sam Cooke and Otis Redding – stated that Little Richard had contributed greatly to soul’s development. Redding had also spent time in Little Richard’s band. James Brown was quoted as saying that Little Richard and his band, the Upsetters, were the first to inject funk into their rhythm and a biographer added that their music provides a bridge between ’50’s rock and ’60’s funk. Ray Charles said in 1988 that Little Richard was “a man who started a type of music that set the pace for a lot of what’s happening today”. Bo Diddley called him “one of a kind” and said that he influenced so many in the music business. Many of his contemporaries covered his music including Bill Haley, Jerry Lee Lewis, the Everly Brothers, Gene Vincent, Eddie Cochran and Elvis Presley. Notably, Presley once told Little Richard publicly that his music had influenced him and that he was “the greatest”. Pat Boone noted that “no one person has been more imitated than Little Richard”. Ike Turner once claimed that most of Tina Turner’s early vocal delivery had been based on Little Richard. In high school, Bob Dylan played Little Richard songs with his band and stated in his year book that his ambition was “to join Little Richard”. In 1966, Jimi Hendrix said “I want to do with my guitar what Little Richard does with his voice” (Jimi also took to emulating Little Richard’s pencil-thin mustache). Bob Seger and John Fogerty were influenced by him, Michael Jackson said that, prior to “Off the Wall”, Little Richard had been a major influence on him and it was often pointed out that Prince adopted a physical appearance that was almost identical to Little Richard’s – right down to the colour purple. It is well known that the Beatles were heavily influenced by him. Paul McCartney idolized him and channeled him when he wrote rockers such as “I’m Down”. Indeed, “Long Tall Sally” was the first song Paul performed in public. Perhaps most significantly, during the Beatles acceptance speech at their Rock ‘n’ Roll Hall of Fame induction, George Harrison made it plain when he said “thank you all very much, especially the rock ‘n’ rollers. Little Richard there, if it wasn’t for him…it was all his fault, really”. And when John Lennon first heard “Long Tall Sally” he said he “couldn’t speak”. Mick Jagger and Keith Richards were both profoundly influenced by him with Jagger adding that Little Richard was his first introduction to R&B and referring to him as “the originator and my first idol”. David Bowie went even a step further. He called Little Richard his “inspiration” and stated that when he first heard “Tutti Frutti” that he “heard God”. The band Bluesology once opened for Little Richard and the band’s piano player, Reginald Dwight, was inspired to become a rock ‘n’ roll piano player and changed his name to Elton John. As a teenager, Farrokh Bulsara performed covers of Little Richard songs and went on to find fame as Freddie Mercury. Little Richard inspired Lou Reed to “go to wherever that sound was and make a life”. John Bonham, drummer for Led Zeppelin, was fooling around one day emulating the pounding drum intro to Little Richard’s “Keep a-Knockin'”. Jimmy Page jumped in and the iconic “Rock ‘n’ Roll” was born. The late Bon Scott, original front man of AC/DC, idolized Little Richard and aspired to sing like him and guitarist Angus Young decided to take up the guitar after listening to Little Richard. It has also been said that recent performers including Andre 3000 and Bruno Mars have channeled Little Richard in many of their recordings and performances.

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And here’s a couple of bonuses for you: in 2010, Time Magazine ranked “Here’s Little Richard” at #2 on it’s list of the most influential albums of all-time, the highest ranking rock album on the list. He was ranked 8th on a Rolling Stone Magazine list of the greatest artists of all-time. That’s huge. I mean, look back at the names listed above. I find it interesting that those who say they owe Little Richard a debt are the most influential and world-shaking artists ever. All the big hitters – Presley, Dylan, the Beatles, etc. – have pointed to Little Richard and have publicly stated their debt to him, that he inspired them, that he made them want to rock ‘n’ roll. It’s crazy that on that list of the 100 Greatest Artists of All-Time everyone supposedly ranked ABOVE Little Richard says they were influenced by him. Every one (except Chuck Berry) have said ‘Little Richard is the man. He started me on the road to where I am now. He’s the greatest’. And yet they’re ranked HIGHER than him. Makes you wonder if Little Richard gets all the respect he obviously deserves. Maybe the real king of rock ‘n’ roll really is a gay black man from Macon, Georgia.

Little Richard In Concert At Epcot Center

 

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Elvis Week 2017: Day 2 – SUN and SAM PHILLIPS

It’s Day 2 of Elvis Week 2017! The week long celebration of the 82nd anniversary of the birth of Elvis Presley.

Day 2: SUN and SAM PHILLIPS – Those of us who spend a lot of time in Elvis World will be familiar with two quotes of his: “I sing all kinds” and “I don’t sound like nobody”. Memphis in the mid-1950’s was a melting pot of musical styles and teen-aged Elvis was taking it all in. Like so many other entertainers of the mid-20th century, he first sang in church and was enamored of the gospel quartets prevalent at the time. Indeed, it was his goal at the time to one day belong to one of the more popular quartets. He claimed throughout his life that he probably knew every gospel song ever written. He also was taken by the dynamic physical delivery of some of the more active preachers in the area. At home, he was exposed to the country music that emanated for the most part from nearby Nashville. He knew and loved these songs as well and they emerged constantly from the family radio. As a teenager in Memphis he also began to explore the burgeoning rhythm and blues scene for which the city is so noted. All of these parts added up to a sum that began to emerge on a summer afternoon when he went out to get a gift for his mama. Memphis Recording Service was run by Sam Phillips. Presley went there to record a song for his mother. He didn’t sound like much that day – or on subsequent days – but one thing’s for sure. He didn’t sound like nobody. Visionary Phillips heard something in this 21-year-old truck driver. But the kid couldn’t seem to relax. Ballad after ballad was tried but nothing clicked and frustrations were running high. During a break, Elvis and the boys tore through an amped up version of an old blues song, “That’s All Right”. Only it wasn’t blues. But it wasn’t country, either. No one was sure and the boys were just foolin’ but Sam Phillips sprang into action. He might not have known exactly what he was looking for – but he’d found it. A white man that sang like a black man.

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