Any Major Dude With Half A Heart

Georgia On My Mind is most commonly associated with Ray Charles. It appears on every tribute album to Ray, and Willie Nelson (who recorded the song in 1978) sang it at his funeral. But Georgia was a standard long before Ray Charles made it his own.

It was written by Hoagy Carmichael and lyricist Stuart Gorrell in 1930. The story goes that the Georgia of the title was originally intended to refer to Hoagy’s sister, but realising that Gorell’s words could apply also to the southern US state, the writers were happy to keep things ambiguous. The plan worked: the song was a massive hit especially in the South, and since 1979 it has been the state song of Georgia (a better choice than the tourist-unfriendly Rainy Night In Georgia, the loser-comes-home Midnight Train To Georgia, or the infrastructure-deficient The Lights Went Out In Georgia). When Georgia adopted the song, two years before Hoagy’s death, it was Ray Charles who performed it at ceremony in Atlanta

Carmichael’s version features jazz legend Bix Beiderbecke on cornet. Beiderbecke, a huge star at the time, died a few months later at 28, but Carmichael went on to enjoy a long career, and is perhaps even better known for Stardust and Heart And Soul than he is for Georgia, which he nonetheless re-recorded a few times. Frankie Trumbauer (who according to Carmichael’s 1965 memoirs suggested that he write a song about the southern state, thereby contradicting the much better story above) scored a hit with the song in 1931, as did Mildred Bailey.

Ray Charles, who was born in Georgia but grew up in Florida, recorded his version in 1960, reportedly at the advice of his driver who had heard Ray sing it to himself in the car. It was an instant hit, topping the US charts. The song did not do as well in Britain where it troubled the charts only once when Ray Charles’ version reached the undizzying heights of #24.

The present song swarm provides just a cross-section of covers. There obviously are the early vocal versions (Gene Krupa’s take with Anita O’Day on the vocals is the best of those, though some might prefer Billie Holiday’s), instrumental jazz (very different versions by Artie Shaw, Django Reinhardt, Fats Waller, Jack Teagarden, and Grover Washington Jr with Eric Gale on guitar), country (Brenda Lee – with a spoken bit – Jerry Reed, Ronnie Sullivan, Jerry Lee Lewis), soul (The Manhattans), rock (The Uniques), folk (Tim Hardin, Anya Marina), those versions that built on Ray Charles’ template (Righteous Brothers, Tom Jones, Stevie Winwood, Maceo Parker, whose version which features James Brown’s old saxophonist himself on great vocals), and even a cappella (The Society of Orpheus and Bacchus from Yale University). And there is a rather odd live take by Led Zeppelin from 1973.

Forced to choose a favourite, other than Ray’s, I’d be torn between Lou Rawls’ jazzy 1963 take  and that by the late South African musician Robbie Jansen. The latter choice might be clouded by having heard Jansen sing it live; the recorded version doesn’t do justice to his live performances of the song.

One version is a medley: New Orleans musician Eddie Snoozer Quinn plays Georgia On My Mind and Smoke Gets in Your Eyes, another standard that would become a signature tune for a later act. The song was recorded in 1948 by Snoozer’s friend and long-time collaborator Johnny Wiggs, shortly before Snoozer died of tuberculosis.

So, here are 48 versions of Georgia On My Mind. Which ones do you like best?

TRACKLISTING
1930 Hoagy Carmichael • 1931 Frankie Trumbauer Orchestra • 1931 Louis Armstrong • 1931 Mildred Bailey • 1931 Washboard Rhythm Kings • 1936 Django Reinhardt • 1941 Artie Shaw • 1941 Billie Holiday • 1941 Fats Waller • 1941 Gene Krupa feat Anita O’Day • 1948 Snoozer Quinn & Johnny Wiggs • 1949 Frankie Laine • 1952 Jack Teagarden Orchestra • 1955 Dean Martin • 1958 Danny Guglielmi • 1960 Ray Charles • 1961 Brenda Lee • 1961 Ella Fitzgerald • 1962 Ronnie Sullivan • 1963 Lou Rawls • 1963 Oscar Peterson Trio • 1963 The Righteous Brothers • 1964 Les Double Six • 1965 Matt Monro • 1966 The Uniques • 1969 Jerry Reed • 1970 The Manhattans • 1971 Chet Atkins, Floyd Cramer & Boots Randolph • 1971 Tim Hardin • 1972 Grover Washington Jr. • 1972 Mauro Sérgio (Georgia, Meu Amor) • 1973 Led Zeppelin • 1974 Herb Ellis & Joe Pass • 1977 Jerry Lee Lewis • 1978 Mina • 1978 Willie Nelson • 1986 Stanley Jordan • 1993 Shirley Horn • 2000 Robbie Jansen • 2002 V Morrison • 2004 Marc Broussard • 2005 Alicia Keys & Jamie Foxx • 2005 Anya Marina • 2006 Tom Jones • 2007 Maceo Parker • 2008 Eric Clapton & Stevie Winwood • 2009 Hugh Laurie (from House) • 2010 The SOBs

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Beatlemania coincided with a renaissance of novelty records, and so it is logical that many of these novelty records would concern themselves with The Beatles. Here is a batch of songs particularly about Ringo, as well as a recording Frank Sinatra made for Ringo’s wife Maureen, and a young Sissy Spacek totally going off John Lennon after being exposed to his luxuriant bouffant of pubic hair displayed on an album cover.

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Rainbo (Sissy Spacek) – John, You Went Too Far This Time (1968).mp3
Before she became famous as an actress, including her singing role as country singer Loretta Lynn, Sissy Spacek tried to become a folk singer, releasing a solitary single under the trite moniker Rainbo (which she apparently disliked) before being fired by her label for not being a best-seller. The John whom Sissy Rainbow addresses on this breathtakingly bad record would be Mr Lennon, and his transgression would be letting it all hang out post-coitally on the cover of Two Virgins, his avant garde nonsense recorded with Yoko Ono, who also appears naked on the cover.

Sissy loves John and forgives him many things, but she is not one who would endorse exhibitions of public nudity – and in this particular instance I am inclined to concur with her, purely on aesthetic grounds. John and Yoko were not attractive naked people. But if Lennon went too far on a record sleeve, then Spacek (and the chaps who wrote this bizarre thing, John Marshall and Ronald Dulka) overstepped the boundaries of musical decency with that chorus, which supposedly was meant to evoke the Beatles sound. In 1983 Spacek released a full country album, titled Hangin’ Up My Heart. She was fully clothed on the cover.

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Bonnie Jo Mason (Cher) – Ringo, I Love You (1964).mp3
Another future star recording Beatles-related material under a different name was Cher, who in 1964 sought to buy into the Zeitgeist by declaring her love for the drummer. Before her brief stint as Bonnie Jo Mason, Cherilyn Sarkasian sang backing vocals on classics such as The Ronettes’ Be My Baby, The Chiffons’ Da Doo Ron Ron and the Righteous Brothers’ You’ve Lost That Loving Feeling – and it was the producer of those songs, Phil Spector, who co-wrote and produced Ringo, I Love You. Then she recorded as plain Cherilyn (a song called Dream Baby which your faithful correspondent recently featured on the Star Maker Machine blog) and in a duo as Cleo to Sonny Bono’s Caesar. Within just over a year of releasing Ringo, I Love You, Sonny and Cher were stars. The Ringo anthem was backed with an instrumental titled Beatles Blues, a deliberately bad song placed to deter DJs from ignoring the A-side, as they often did. The ploy backfired: apparently radio DJs were thrown by Bonnie Jo’s deep voice and refused to play what they thought was a gay declaration of affection for the Beatles drummer.

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Ella Fitzgerald – Ringo Beat (1964).mp3
There were loads of Ringo-themed songs in the mid-’60s, apparently some 50 of them. They included The Rainbows’ My Ringo, Christine Hunter’s Santa, Bring Me Ringo, Treat Him Tender, Maureen by Angie & The Chicklettes, Al Fisher & Lou Marks’ Ringo Ringo Little Star, Three Blond Mice’s Ringo Bells, The Whippets’ Go Go Go With Ringo, Neil Sheppard’s You Can’t Go Far Without A Guitar (Unless You’re Ringo Starr), Ringo Did It by Veronica Lee, I Want To Kiss Ringo Goodbye by Penny Valentine, and Bingo Ringo by Daws Butler (who voiced Huckleberry Hound). Even Ella Fitzgerald got in on the act with Ringo Beat, a rather nice number written by Ella herself (one of her 27 compositions), which naturally features a “yeah yeah” reference and namechecks other contemporary popsters.

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The Young World Singers – Ringo For President (1964).mp3
Released in August 1964, the Young World Singers in their cover of Rolf Harris’ song sought to offer an alternative to Lyndon Johnson and Barry Goldwater in that year’s elections for US president, evidently oblivious to the rule that disqualifies those not born in the United States from standing as candidates. And since Ringo was a Kenyan Muslim… In any case, it is doubtful that Ringo, who has acknowledged his limitations in intellectual pursuits, would have been a great president (though the US voters elected a man of even less cerebral qualities to the presidency in 2004).

Of course, it wasn’t cleverness the Young World Singers and the others engaged in the Ringo For President campaign were looking for in their candidate: “He’s our candidate ’cause he makes us feel so great. We could talk about war out on the big dance floor. Oh my gee, oh my gingo…if I could vote, I’d vote for Ringo!” Asked at a press conference in August 1964 about the Ringo For President campaign, Starr admited: “I’m not sort of politically minded.” Asked whether he would appoint the other Beatles to his cabinet, the conversation descends into a typical Beatlesque farce, with George interjecting: “I could be the door”, and John nominating himself to serve as the cupboard.

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Don Bowman – The Other Ringo (1966).mp3
In the early ‘60s, there was a popular cowboy hit titled Ringo, recorded by Bonanza star Lorne Green (the Cartwright patriarch), which Don Bowman parodied to coincide with the height of Beatlemania. Bowman notes the death of the old Ringo and the rise of the Beatle by the same name. He seems to be taken particularly with the length of Ringo’s hair. Bowman was a country singer, comedian, TV presenter and DJ who recorded this rather amusing novelty number for his 1966 LP titled Funny Way To Make An Album, which also included a song called Freddy Four Toes. Bowman clearly did not compromise his comedy with artistic credibility: other LPs were titled Fresh From The Funny Farm (1965), Recorded Almost Live (1966), Support Your Local Prison (1967) and Still Fighting Mental Health (1979).

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Dick Lord – Like Ringo (1964).mp3
Don Bowman wasn’t the only one to make the connection between Lorne Greene’s hit and the Beatles drummer. Dick Lord was not a porn actor but a comedian, and  remains one today. At the time of recording Like Ringo, Dick Lord was a close friend of the great Bobby Darin. I the song, Dick Lord’s girlfriend is rather obsessed with the Beatles man, and Dick Lord’s exasperation at being rejected by the obsessed fan turns to ingenuity as he adopts the Ringo look. Eventually Dick Lord’s girlfriend returns to Dick Lord, informing him tearfully that her Ringo infatuation is over. A great punchline awaits, and I shall not spoil it.

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The Bon Bons – What’s Wrong With Ringo? (1964).mp3
A persistent rumour has it that the Bon Bons were the Shangri-Las by another name. It is, alas, not true. What’s Wrong With Ringo was released before the Shangri-Las’ debut single, Remember (Walking In The Sand), was issued by Red Birds Records in September 1964. The Ringo song was released on the Coral label, the Decca subsidiary that had also issued records by Buddy Holly, Patsy Cline and The Vogues, but never had the Weiss and Ganser sisters under contract.The Ringo song was not the Bon Bons’ only release; also in 1964 Coral issued the follow-up single Everybody Wants My Boyfriend . Anyway, the question of the song’s title concerns the shortage of Beatles songs sung by Ringo. It seems the record-buying public did not share their concern, and so ignored this quite catchy girl-group record (which includes, of course, the “yeah yeah yeah yeah” thing).

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Frank Sinatra – Maureen Is A Champ (1968).mp3
This tribute to Mrs Ringo is not only a great novelty item, but also something of a historical artefact: it’s the first record to be catalogued on the Beatles’ Apple label – its number being Apple 1 (Hey Jude was the first Apple release, but it wasn’t catalogued). Only a few copies, some say only one, of Maureen Is A Champ were made before the master tape was destroyed, because this was a private recording to mark Maureen’s 22^nd birthday. Maureen was a big Sinatra fan, so a train of events was set in motion, apparently by Beatles business manager Peter Brown, which involved the great Sammy Cahn rewriting Lorenz Hart’s lyrics for The Lady Is A Tramp, and Frank Sinatra – who by that point was a Beatles fan (and covered several of their songs) – singing the reworked number, with Cahn on piano. We can assume that when Ringo presented his wife with that special record on 4 August 1968, she probably was quite pleased.

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Beatles Bizarre Vol. 1
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The story of Blue Moon — its transition from a movie song that was rewritten several times to jazz song and then pop hit — was told in The Originals Vol. 40, which included the first version, The Bad In Every Man, sung on film by Shirley Ross.

This collection of 38 versions covers all manner of approaches. There are the early jazz interpretations, most of them with vocals (though Gene Krupa, Django Reinhardt and in 1944 the Cozy Cole Allstars do it instrumentally). Then it became something of a torchsong number in the hands of jazzy crooners such as Mel Tormé (whose 1960 re-recording is my favourite version), Billy Eckstine, Billie Holiday, Julie London and Ella Fitzgerald. Nat ‘King’ Cole weighed in with a more upbeat version. In 1960, Bert Kaempfert — the first producer of The Beatles — contrived an easy listening instrumental that is very much of its time.

Elvis on his debut album in 1956 gave it a minimalist, slow feel, with a rare falsetto (that take is later replicated in tribute by Chris Isaak and The Mavericks). Around the same time as Elvis, The Emanons recorded a doo wop version, which with Sam Cooke’s might have influenced that by The Marcels, which became a huge hit.

In 1970 Bob Dylan released a rather unexpected cover, with a unique arrangement. Another unexpected performer in this compilation is Robert de Niro, who performed it in the 1977 film New York, New York, in which Bob played a bandleader. Likewise, alt-country rockers My Morning Jacket are not the first band one would think of in a mix of covers of Blue Moon.

I’ve included a playlist file, which runs the versions in the chronological order, as listed below.

Glen Gray and his Casa Loma Orchestra (1934)
Frankie Trumbauer and his Orchestra  (1934)
Connie Boswell & Victor Young Orchestra  (1935)
Al Bowlly with the Ray Noble Orchestra (1935)
Benny Goodman and his Orchestra  (1935)
Django Reinhardt  (1935)
Gene Krupa  (1939)
Tommy Dorsey and his Orchestra  (1939)
Cozy Cole Allstars (1944)
Mel Tormé (1949)
Billy Eckstine (1949)
Nat ‘King’ Cole (1951)
Jo Stafford (1952)
Billie Holiday  (1952)
Oscar Peterson  (1954)
Ella Fitzgerald (1956)
Elvis Presley (1956)
The Emanons (1956)
Sam Cooke  (1958)
Julie London  (1958)
Bert Kaempfert Orchester (1960)
Mel Tormé  (1960)
Frank Sinatra (1961)
The Marcels  (1961)
The Ventures (1961)
Bobby Vinton (1963)
Dean Martin  (1964)
Bob Dylan  (1970)
Spooky & Sue  (1975)
Robert de Niro & Mary Kay (1977)
Sha Na Na  (1978)
Mark Isham with Tanita Tikaram  (1990)
Chris Isaak  (1994)
The Mavericks  (1995)
Tori Amos  (1996)
Vidal Brothers (1997)
Rod Stewart (2004)
My Morning Jacket  (2005)

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And this will be the final New York mix. There are still plenty of songs that I have not used, but 92 New York-related tracks should suffice. In fact, I’ll add on eight tracks to round the number up to 100.

The timeline on this mix spans 116 years, which surely is quite unusual as far as mixes go. So we have the U.S. Marine Band from 1894 and two songs from outstanding 2010 albums, by the wonderful Caitlin Rose and Ray Lamontagne. I owe the Ben Sidran track to reader Marivic (thank you).

TRACKLISTING:
1. Velvet Underground - I’m Waiting For The Man (1967)
2. Death Cab For Cutie – Marching Bands Of Manhattan (2005)
3. Wallflowers - 6th Avenue Heartache (1996)
4. Bob Dylan – Hard Times in New York Town (1962)
5. John Lennon – New York City (1972)
6. Hank Ballard and the Midnighters - Broadway (1962)
7. Ella Fitzgerald – Manhattan (1956)
8. Grover Washington Jr. – East River Drive (1981)
9. Tyrone Thomas and the Whole Darn Family – New Yorkin’ (1976)
10. Ben Sidran – New York State Of Mind (1975)
11. Albert Hammond – New York City Here I Come (1974)
12. Ray Lamontagne and the Pariah Dogs – New York City’s Killing Me (2010)
13. Dar Williams – Southern California Wants To Be Western New York (1996)
14. Caitlin Rose – New York City (2010)
15. Rufus Wainwright – Poses (2001)
16. Al Stewart – Broadway Hotel (1992)
17. Cat Stevens – New York Times (1978)
18. Eagles - In A New York Minute (1994)
19. Simon & Garfunkel – At The Zoo (1968)
20. U.S. Marine Band – Manhattan Beach (1894)

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And here are eight more, to make it a century of NYC songs:
Christy Moore – Fairytale Of New York (1994).mp3
Ben E. King – Spanish Harlem (1961).mp3
B.J. Thomas - Eyes Of A New York Woman (1968).mp3
Counting Crows – Sullivan Street (live, 1998).mp3
Swift Jewel Cowboys – Coney Island Washboard (1939).mp3
Sex Pistols – New York (1977).mp3
Shinehead – Jamaican In New York (1992).mp3
Billy Murray – Take Me Back To New York Town (1907).mp3

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NYC – Any Major Mix Vol. 1
NYC – Any Major Mix Vol. 2
NYC – Any Major Mix Vol. 3 – New York in Black & White
NYC – Any Major Mix Vol. 4

The second mix of Beatles covers comprises songs from the group’s 1967-68 period, ending rather abruptly in the middle of the White Album selection. So the third mix will carry on with songs from that double album (leading with the Beach Boys doing Back In The USSR).

There are some quite unexpected covers. Ella Fitzgerald singing Savoy Truffle? Soul group The Moments singing Rocky Racoon, of all songs? Some performers are also surprising. Bill Cosby, for example. The stand-up comic did an album of covers in 1969, including Sgt Pepper’s Lonely Hearts Club Band. It’s not mugging for comedic effect either, though it is fairly bizarre. Backing Cosby is the Watts 103rd Street Rhythm Band.

Elvis Costello’s performance of “an English folk song” was a minor highlight at Wembley’s Live Aid, not because Costello is doing it very well, but because the crowd is filling in the horn bits, thereby proving Costello’s introduction right. McCartney has attributed inspiration for the sound of Lady Madonna, particularly the piano, to Fats Domino, so it is apt that Domino’s cover, recorded soon after the Beatles released it, should feature here.

Some inclusions are entirely obvious: Pickett’s Hey Jude is the best version of that song, and Spooky Tooth’s cover of I Am The Walrus is masterful. I also particularly like Richie Haven’s take on Strawberry Fields and John Denver’s Mother Nature’s Son.

Part 3, covering 1968-70 will be posted next week.

TRACKLISTING
1. Richie Havens – Strawberry Fields Forever (1969)
2. Kenny Rankin – Penny Lane (1970)
3. Bill Cosby – Sgt. Pepper’s Lonely Hearts Club Band (1968)
4. The Undisputed Truth – With A Little Help From My Friends (1973)
5. Syreeta - She’s Leaving Home (1972)
6. Gabor Szabo – Lucy In The Sky With Diamond (1967)
7. The Wedding Present - Getting Better (1988)
8. Big Daddy – Being For The Benefit Of Mr. Kite (1992)
9. Claudine Longet - When I’m Sixty-Four (1967)
10. José Feliciano – A Day In The Life (live) (1969)
11. Elvis Costello – All You Need Is Love (live) (1985)
12. The Impressions – Fool On The Hill (1969)
13. Spooky Tooth - I Am The Walrus (1970)
14. Ambrosia - Magical Mystery Tour (1976)
15. Fats Domino - Lady Madonna (1968)
16. Wilson Pickett – Hey Jude (1969)
17. Bobby Bryant – Happiness Is A Warm Gun (1969)
18. The Moments – Rocky Raccoon (1970)
19. The Five Stairsteps – Dear Prudence (1970)
20. Ella Fitzgerald – Savoy Truffle (1969)
21. John Denver – Mother Nature’s Son (1972)
22. Paul Weller - Sexy Sadie (1994)
23. Siouxsie & the Banshees – Helter Skelter (1978)

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Any Major Beatles Covers: 1962-66

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On a regional audition round for the South African version of Idols, a hopeful entrant introduced his chosen song as “Ain’t That A Kick In The Head by…Michael Bublé”. As one would expect, the contestant’s performance was thoroughly mediocre.

The real ring-a-ding-ding thing: Today any crumb wants to be a Rat Packer.

I have no particular beef with Michael Bublé — except that he personifies the banalisation of the rich legacy of what Rod Stewart (of late another offender) calls “The Great American Songbook”. Bublé compensates for his entire lack of personality with some talent. His swinging version of George Michael’s Kissing A Fool was quite excellent. But Bublé and singers of his ilk have created an impression that anybody can and should sing the standards.

His is not a solitary presence in that accusation, of course. Many more talented artists have travelled the retro route and some have even found their way. Natalie Cole, when not singing ghoulish duets with her father, is a wonderful interpreter of the standards. Even the serial twat Phil Collins delivered a good performance with Do Nothing Till You Hear From Me on Quincy Jones’ Q’s Jook Joint album (he undid all the goodwill he might have merited for that by producing a thoroughly ghastly album of his songs in Big Band style).

But blame for the banalisation of the big band must be appointed. Frank Albert Sinatra (his birth certificate said Frank; Francis was a later affectation) has to shoulder some of it for allowing himself to be recorded duetting with a bunch of chancers, among a few genuinely talented artists. It communicated a most vile message: if Bono can sing poorly with the self-styled Chairman of the Board (and, my goodness, how embarrassing are his wankful wailings in contrast to even a half-assed Sinatra), then so can any old joker. Like Robbie Williams.

Robbie Williams sees himself as a latter-day one-man Rat Pack, and so he did what comes naturally to latter-day one-man Rat Packs: record an album of songs that may evoke the Rat Pack (the Sinatra-led version, not Bogart’s original gang). So it is not a surprise when on the terrible version of Me And My Shadow — a Rat Pack anthem — the word “pally” is self-consciously used to describe a friend. And, of course, there is the obligatory duet with Sinatra-from-beyond-the-grave. In fairness, Williams did not do an entirely bad job on his Swing When You’re Winning album of 2001. But more than reflecting well on Williams, it really proved that with a good arrangement, any old karaoke singer can sound good. The song selection was astute, lacing the eye-bleedingly obvious with a few less remembered numbers. The cover art was good as well, a successful pastiche of a late ’50s Capitol record (even if much of the material post-dates that era).

The filmed concert at London’s Royal Albert Hall — incredibly not renamed the Francis Albert Hall for the occasion — is entertaining, because Robbie Williams certainly can entertain you, with a little help from his talented friends. Williams doesn’t take himself too seriously, he mugs with a bizarre combination of self-deprecation, modesty and smugness. All that. And yet: on what basis does Robbie Williams presume to measure himself against Sinatra, Sammy Davis or Nat ‘King’ Cole? And if his intention is not to measure himself against the legends, what is he doing covering them (other than making money)?

The most cringe-inducing portion of Williams’ show is also the most telling. The singer who so craves to shiver in reflected Rat Pack Cool tells the audience how much he loves his mummy. Which is nice; a good boy should love his mummy. It is a sweet moment, if one can stomach maudlin moments of sentimentality. But what would Sinatra do? Most likely he’d have said something like: “Ladies and gentleman, my mother. She’s one classy broad.” And then perhaps threaten Dino with violence for making eyes at his Ma before returning to racially abusing his close pally Sammy. In contrast, Robbie Williams is a real Harvey.

Williams’ success-in-a-tux set the scene for the advent of all manner of fake rat-packery. Canadian Bublé and the insufferable Jamie Cullum soon had the housewives wetting themselves. Then Westlife, the blandest, most characterless pop band ever, got in on the act. Dressed like — and you would not guess it — a Rat Pack living it up at The Sands (the Scunthorpe version rather than the mafia palacio in Vegas, presumably), they issued a batch of standards selected not for their suitability but instant recognisability. And then they titled their karaoke collection, with putrid punnery, Allow Us To Be Frank. I wouldn’t allow you to be Daisy, never mind Frank. Did the world of music absolutely need Westlife’s interpretations?

At around the same time our old friend Michael Fucking Bolton (as his mother calls him) — having had his vicious way with soul and opera — molested the Sinatra canon and Rod Stewart began his American Songbook series. The first of these Songbook albums was quite good, as far as pastiche goes, if somewhat redundant (did we really need Rod singing standards?). But one album of that was quite enough. When the concept turned into a franchise, Stewart ended up performing songs that have no claim for inclusion in any great Songbook.

Here’s the rub with revival of ratpackery. You don’t go around impersonating Jesus just because you think the Gospel According Matthew is brilliant. You have to earn to earn it first, baby. Likewise, you don’t just decide to do Sinatra because your Mum had the Strangers In The Night single and you think you look great with brylcreemed hair. You have to earn it first. Which means you don’t just sing the ring-a-ding-ding showstoppers, but learn to do the quiet stuff. Don’t ask me to fly with you unless you first have mastered the lonely introspection brought by being caught in the wee small hours of the morning. And, for fuck’s sake, know that Ain’t That A Kick In The Head is a Dean Martin song.

Here then, for the benefit of those who think that Straighten up And Fly Right is a Robbie Williams original, are the songs he covered on the Swing While Your Winning in more glorious recordings, in the sequence of the Williams album — plus Anita O’Day’s fine version of It’s De-Lovely, which Williams covered (rather well) on the biopic about Cole Porter, De-Lovely.

1. Anita O’Day – It’s De-Lovely (1959)
2. Ella Fitzgerald – Mack The Knife (live, 1960)
3. Carson & Gaile - Something Stupid (1967)
4. Billie Holiday - Do Nothing ‘Till You Hear From Me (1946)
5. Kingston Trio – It Was A Very Good Year (1961)
6. King Cole Trio – Straighten Up And Fly Right (1942)
7. Bing Crosby & Frank Sinatra – Well Did You Evah (1956)
8. Nina Simone – Mr Bojangles (1971)
9. Frank Sinatra with the Count Basie Orchestra – One For My Baby (And One More For The Road) (live, 1966)
10. Nancy Sinatra & Dean Martin – Things (1966)
11. Dean Martin – Ain’t That A Kick In The Head (1960)
12. Ella Fitzgerald & Louis Armstrong - They Can’t Take That Away From Me (1957)
13. Frank Sinatra - Have You Met Miss Jones (1961)
14. Frank Sinatra & Sammy Davis Jr. – Me And My Shadow (1963)
15. Bobby Darin – Beyond The Sea (live, 1971)

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I promised a while back to follow up the first two New York mixes with one in black & white. In the interim, the two Christmas in Black & White mixes were quite popular, so I hope that this collection of songs about or set in New York, spanning 30 years, will find an audience. And I hope that some of these songs will inspire the listener to seek out more music by some of the artists who are largely forgotten now.

Here I think of the great Anita O’Day, featured here twice, an extraordinary vocalist whose lifestory would mirror any sordid rock & roll tale. Or Red Nichols, the innovative jazzman who is said to have recorded 4,000 songs before he turned 25. Danny Kaye played him in the 1959 biopic The Five Pennies, which also starred Bob Crosby, the younger brother of Bing, who was a vocalist and bandleader in his own right, though here he appears as a guest of The Dorsey Brothers, both of who feature in this mix heading their own bands.

Jimmy and Tommy Dorsey played with Sam Lanin as did two other future bandleaders included here: Red Nichols on the cornet and saxophonist Frankie Trumbauer. Lanin was more an arranger than he was a musician, but a 1920s hit factory nonetheless (Bing Crosby got his break with Lanin’s orchestra). By the late 1930s, Lanin had retired from the music business.

The Mills Brothers may be most widely remembered better for their 1952 proto-doo wop hit Glow Worm, but by then they were veterans in the music game, having started in 1928, paving the way for the similar Ink Spots. The brothers stopped performing 61 years later, in 1989 (by then having been decimated to two by death).

Dolly Dawn, known to her mother by the more demure name Theresa Maria Stabile, was a massive singing star in the 1930s and early ’40s. She was one of the very fist female singers to lead her own band, the Dawn Patrol. Her career was cut short when many members of her band were drafted to serve Uncle Sam in WW2.

The 1920s and ’30s were the golden age of African-American vaudeville acts ó the age of the tap dance and the soft-shoe, silver-capped canes and gleaming cufflinks, the Bojangles scene. Jimmy Lunceford, whose orchestra began as a high school band which Lunceford taught in Memphis, is perhaps the best example here of that influence on jazz, incorporating humour in the music (in much the some way the Italian Louis Prima would). Rumour has it that Lunceford died in 1947 after being poisoned by a restaurateur in Oregon who resented the presence of a black patron in his establishment. More extreme things happened in the sorry history of 20th century US racism.

TRACKLISTING
1. Anita O’Day - Take The ‘A’ Train (1958)
2. Tommy Dorsey & Jo Stafford – Manhattan Serenade (1943)
3. Dolly Dawn and her Dawn Patrol – Blossoms On Broadway (1937)
4. Mound City Blue Blowers - She’s A Latin From Manhattan (1935)
5. Louis Prima and his Orchestra – Brooklyn Bridge (1945)
6. The Dorsey Brothers feat. Bob Crosby - Lullaby Of Broadway (1935)
7. The Quintones - Harmony In Harlem (1940)
8. The Mills Brothers - Coney Island Washboard (1932)
9. Patsy Kelly & Barry Wood - I’m Gonna Hang My Hat On That Tree That Grows In Brooklyn (1944)
10. Albert Ammons & Pete Johnson - Sixth Avenue Express (1941)
11. Jimmy Dorsey and his Orchestra – Cowboy From Brooklyn (1938)
12. Judy Garland & Fred Astaire – A Couple Of Swells (1948)
13. Lee Wiley & Ellis Larkins – Give It Back To The Indians (1954)
14. Dinah Washington – Manhattan (1959)
15. Ella Fitzgerald & Louis Armstrong – Autumn In New York (1956)
16. Gene Krupa feat. Anita O’ Day - Let Me Off Uptown (1941)
17. Cab Calloway Cotton Club Orchestra – Manhattan Jam (1937)
18. Mills Blue Rhythm Band – There’s Rhythm In Harlem (1935)
19. Jimmie Lunceford and his Orchestra - Slumming On Park Avenue (1937)
20. Artie Shaw and his Orchestra – To A Broadway Rose (1941)
21. Tempo King’s Kings Of Tempo - Bojangles Of Harlem (1936)
22. Red Nichols and his Orchestra - The New Yorkers (1929)
23. Sam Lanin’s Orchestra with Jack Hart - The Broadway Melody (1929)
24. Frankie Trumbauer – Manhattan Rag (1929)
25. Leadbelly – New York City (1940)

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NYC – Any Major Mix Vol. 1
NYC – Any Major Mix Vol. 2

After offering a “Christmas mix, not for Mother” last year, I feel obliged to make amends to your Mom by creating a mix she might like. Yes, it’s all gloriously retro this year. The youngest of the songs, as far as I can tell, is Jim Nabor’s version of Sleigh Ride from 1968; the oldest, Eddie Duchin’s (Don’t Wait Till) The Night Before Christmas, is 30 years older. Most of the songs here come from the 1940s and ’50s. A hurriedly put-together front and back CD cover is included, and as always the mix is timed to fit on a standard CD-R, which might sort out the Christmas prezzie for some relatives. If this mix is popular enough, I’ll do a second volume. Let me know what you think in the comments section (you do know that bloggers really like to receive comments, so don’t be shy).

Fans of The Originals series will appreciate the first version of I Saw Mommy Kissing Santa Claus by Jimmy Boyd, then 13, which was released in 1952. Boyd died in Mach this year at the age of 70.

TRACKLISTING
1. Sammy Davis, Jr - Christmas Time All Over The World
2. Burl Ives – A Holly Jolly Christmas
3. Billy May - Do You Believe In Santa Claus
4. Dean Martin - Rudolph, The Red-nosed Reindeer
5. Lena Horne - Santa Claus Is Comin To Town
6. Nat ‘King’ Cole – Mrs. Santa Claus
7. Gene Autry – Here Comes Santa Claus
8. Andrews Sisters - Winter Wonderland
9. Connee Boswell - Let It Snow! Let It Snow! Let It Snow!
10. Dinah Washington – Ole Santa
11. Fontane Sisters – Nuttin’ For Christmas
12. Frank Sinatra – Jingle Bells
13. Brenda Lee - Rockin’ Around the Christmas Tree
14. Ernest Tubb – Blue Christmas
15. Bob Wills & His Texas Playboys – Santa’s On His Way
16. Jogi Jorgensen – I Yust Go Nuts At Christmas
17. DeCastro Sisters - Snowbound For Christmas
18. Jim Nabors – Sleigh Ride
19. Perry Como – Silver Bells
20. Bing Crosby – Frosty The Snowman
21. Jimmy Boyd – I Saw Mommy Kissing Santa Claus
22. Louis Armstrong – Zat You, Santa Claus?
23. Lionel Hampton & his Orchestra – Boogie Woogie Santa Claus
24. Judy Garland – Have Yourself A Merry Little Christmas
25. Ella Fitzgerald – The Secret Of Christmas
26. Eddy Duchin Orchestra – (Don’t Wait Till) The Night Before Christmas
27. Gordon Jenkins Orchestra – White Christmas
28. Les Brown Orchestra feat Doris Day – The Christmas Song
29. Red Foley – Put Christ Back Into Christmas
30. Rosemary Clooney – Happy Christmas, Little Friend

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More mixes

It seems that the first New York City mix was well received, so here’s another one. There will be at least one more (or two, depending on how popular this one turns out to be), next time going retro in black and white — like all the great New York photos.

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TRACKLISTING
1. Frank Sinatra, Gene Kelly, Jules Munchin – New York, New York (excerpt) (1949)
NYC hook: It’s our three sailor friends’ first time in New York, and having just arrived on shore leave (happily in New York, not in LA where they might have gone on to beat up Mexicans), they already presume it to be “a helluva town” because “the Bronx is up, but the Battery’s down”. Additionally, “the people ride in a hole in the ground” (as they do in many other cities, so big deal, chums).

2. Frank Sinatra & Tony Bennett – New York New York (1994)
NYC hook: Let’s face it, our boy from Hoboken was a promiscuous man when it came to American cities. Chicago? His kind of town! L.A.? It’s a lady he can’t say goodbye to. Las Vegas? He made it! And New York? Well, more of a challenge than a love affair; it seems. By the way, the song needs no fucking high-kicks, party goers.

3. Theme – Seinfeld (1989)
NYC hook: Would Seinfeld have worked had it been set anywhere else? Nah!

4. Klaatu – Sub-Rosa Subway (1976)
NYC hook: The song that caused speculation about a clandestine Beatles reunion. Alas, it was just a bunch of Canadians with a funny name singing about Alfred Beach, the man who built America’s first subway in New York, based on the London Underground. (More on Beach)

5. NRBQ – Boys In The City (1972)
NYC hook: You might leave New York for the country, but you’ll still sing about “the trees in the Park”.

6. Harry Nilsson – I Guess The Lord Must Be In New York City (1969)
NYC hook: New York as the new Jerusalem instead of its usual role as a fetid Babylon. So Harry makes his pilgrimage to the city permanent, leaving all his sorrows behind. Same year, he soundtracked Hoffman and Voight’s exit from bad, bad NYC.

7. Mason Jennings – New York City (2002)
NYC hook: Jennings is in love in and with New York City.

8. Kevin Devine – Brooklyn Boy (2006)
NYC hook: The eponymous lad is doing coke on his birthday, prompting Kev — rarely a herald of rampant cheer — to launch into an apocalypso.

9. Ian Hunter – Central Park N West (1981)
NYC hook: Hunter obviously hates living in stinky, crime-ridden, burning New York City. Except he doesn’t: “You’ve got to be crazy to live in the city, and New York city’s the best.”

10. Donavan Frankenreiter – Spanish Harlem Incident (2007)
NYC hook: A rather decent cover of Dylan’s 1964 song about having steamy, casual interracial sex.

11. Bobby Womack – Across 110th Street (1972)
NYC hook: 110th Street is the street that divides Harlem and Manhattan. Bob is not painting a pretty picture of what lies at the other side of Manhattan: pimps and hookers, pushers and junkies jostling on the streets of “the capital of every ghetto town”.

12. Billy Joel – New York State Of Mind (1976)
NYC hook: The New Yorker might leave the city for Miami Beach or for Hollywood, but if they are anything like Bronx-born, Long Island-raised Billiam, they’ll miss the New York Times and Daily News (but not the Post, it seems) so much, they’ll feel compelled to return.

13. Ella Fitzgerald – Manhattan (1956)
NYC hook: On his wonderful radio show, Bob Dylan described the Rodgers & Hart song as a love letter to New York City. Who knew that Zimmerman had a way with words? Ella is full of giddy tenderness as she provides us with a partial road map of the city. Are pushcarts still gliding gently on Mott Street?

14. Hem – Great Houses Of New York (live) (2006)
NYC hook: Native New Yorkers Hem don’t need to mention the city in a song that incorporates its name in the title to prove that it’s set there. It suffices to refer to NYC’s winter climate as a metaphor for a dying relationship, a recurring theme in Hem’s beautiful songs..

15. The Mamas & The Papas – Twelve-Thirty (Young Girls Are Coming To The Canyon) (1968)
NYC hook: The Mamas and the Papas lived in New York before moving to Hawaii and then to California. It seems fair to say that they didn’t dig New York — “every thing there was dark and dirty “ — and this is their fuck-you note to the city. Most likely, the Daily News won’t be enough to lure them back.

16. Odyssey – Native New Yorker (1977)
NYC hook: Two decades before Thingymajig Bradshaw in Sex And The City made her, erm, acute observations about the politics of sex, Odyssey had it already figured out: “No one opens the door for a native New Yorker.” So, like, take charge of your life yourself, girl!

17. Elkow Bones & The Racketeers – A Night In New York (1983)
NYC hook: A sadly ignored club gem whose horns sounds like New York traffic to me. Delicious.

18. Nicole with Timmy Thomas – New York Eyes (1985)
NYC hook: What in the name of all that’s ophthalmological are these New York Eyes that have short-lived soul starlet Nicole attracted to ’70s soulster Timmy Thomas (who I presume provides the groovy keyboard here)? Whatever they are, reciprocally gazing at Nicole’s NY eyes, they make Timmy feel good inside.

19. Beastie Boys – An Open Letter To NYC (2005)
NYC hook: And it’s another love letter: “Brooklyn, Bronx, Queens and Staten, from the Battery to the top of Manhattan. Asian, Middle-Eastern and Latin, black, white — New York you make it happen.”

20. LL Cool J feat. Leshaun Williams – Doin’ It (1995)
NYC hook: Six people are credited with writing this droll ode to physical intimacy. None of them have sought to distance themselves from this lyrical gem which surely provides all the required evidence to support the notion that ladies really can’t help themselves but love Cool James. Mr Toddrattles off the specials on today’s hum menu: “It’s the first time together and I’m feeling kinda horny, conventional methods of makin’ love kinda bore me. I wanna knock your block off, get my rocks off, blow your socks off, make sure your G-spot’s soft” (you get hard G-spots? And, more importantly, how do you get away rhyming “off” with “soft”?). With Cool James, sex is a matter of territorial chauvinism, not unlike the so-called World Series. He points out that he represents Queens, whose residents may well jostle for prime bedside seats, the better to cheer on their local stud muffin. Cool James’ hopefully softly G-spotted friend was raised “out Brooklyn”, where she learnt to yearn for a “Big Daddy” who might “pull my hair and spank me from the back” and finish off with some “candy rain”. Just as the contender from Queens might, if his dick is as big as his braggadocio.

21. Ben Folds – Rock This Bitch (NYC version) (2004)
NYC hook: Some “motherfucker in Chicago” once shouted out “rock this bitch” at a Ben Folds gig, giving rise to a tradition whereby Folds (evidently reluctantly) improvises a new “Rock This Bitch” version on the spot. As he did in this recording from the 2004 Summerstage concert. “R.O.C.K. with your C.O.C.K. out, in N.Y.C.”

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New York City – Any Major Mix Vol. 1

Frank Sinatra was a supreme interpreter of music. Even in the later stages of his career, when the arrangements often transgressed the boundaries of good taste, Sinatra still knew how to appropriate a song. One may well think that he was essentially a cover artist — after all, he never wrote a song — and much of his catalogue consists of songs more famous in other artists’ hands. But many of Sinatra’s most famous songs were first recorded by him, and often written especially for him, particularly by Sammy Kahn and Jimmy Van Heusen. The songs that were first recorded by others but became known as Sinatra standards are relatively few. About a dozen or so, by my count. This series has already examined My Way, New York New York and Something Stupid. Here are five other songs first recorded by others, some even had hits with them, but are now unmistakable linked with Sinatra.

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Bert Kaempfert – Beddy Bye.mp3
Frank Sinatra – Strangers In The Night.mp3
The melody for Strangers In The Night featured in a theme written by German composer and arranger Bert Kaempfert (who had also produced the Beatles’ first recordings on Tony Sheridan’s record) for the 1965 movie A Man Could Get Killed. The Strangers In The Night melody was adapted for or had been adapted from a recording of the song which Kaempfert wrote as Fremde in der Nacht (video) for Croatian singer Ivo Robić, who also sang it in Croatian (some say that Robić wrote it and gave it to Kaempfert because he latter was supposedly out on his luck; an unlikely notion). The sequence of events is confused: Robić released the song in 1966, the year after Kaempfert scored A Man Who Could Get Killed.

Set to English lyrics by Charles Singleton and Eddie Snyder, Kaempfert was involved in arranging Strangers In The Night for Sinatra, who recorded it on 11 April 1966. Sinatra didn’t want to record the song that would give him one of his biggest hits — so big, he could not exclude the song he called “a piece of shit” from his concert setlist, much as he tried. Audiences loved the song, applauding wildly even when a bemused Sinatra asked: “You like this song?” At the same time, he also acknowledged that “it’s helped keep me in pizza”.

Strangers In The Night produced an appalling travesty: in the public imagination, the lazily scatted doobee-dobeedoo (that was Sinatra mocking the song, descending into a gibberish that really says “fuck you”) has become associated with Sinatra more than his wonderful phrasing, the timing of his interpretation and the precise diction (listen to any Sinatra song, and you’ll understand every word; when speaking, Sinatra’s elocution was less meticulous in his speech). Still, “the worst song I ever fucking heard” won Sinatra a pair of Grammys (The Beatles’ Michelle won Song of the Year).

Strangers In The Night is now often billed as Sinatra’s great comeback song. But just a year before, Sinatra was Grammy-awarded for a song which we shall review in a moment. So it might only by the standards of sales, not quality, that Strangers In The Night marked any kind of rebound. Even then, many of Sinatra’s most popular songs performed poorly in the charts. None of his singles between Hey Jealous Lover in 1957 and Strangers In The Night in 1966 topped the Billboard charts. As far as I have been able to ascertain, the 1957 chart topper, hardly a Sinatra classic, was his only Billboard #1 during the golden period on Capitol. And that other Sinatra behemoth, My Way (which he also despised) reached only #27. In short, Sinatra’s success could not be measured by sales or chart placings.

Apparently the ad lib inspired the name of cartoon hound Scooby Doo. Playing rhythm guitar on the song is Glen Campbell (a musical Zelig of the ’60s), about whom Sinatra, not rarely an asshole, enquired: “Who’s the fag guitarist over there?” When the English version became a hit, Sinatra’s first chart-topper in 11 years, composer Ralph Chicorel accused Kaempfert of plagiarising his song You Are My Love (the claim was settled, to Chicorel’s dissatisfaction, out of court). Kaempfert might have been an easy listening merchant, but he was no hack. Songs he wrote or co-wrote include Nat ‘King” Cole’s L-O-V-E and Al Martino’s Spanish Eyes.

Also recorded by: Johnny Dorelli (as Solo più che mai, 1966), Mel Tormé (1966), The Sandpipers (1966), Johnny Rivers (1966), Jack Jones (1966), Petula Clark (1966), John Davidson (1966), Jim Nabors (1966), Vikki Carr (1966), Connie Francis (1966), Sandy Posey (1966), Barbara McNair (1966), Peggy Lee (1966), Fred Bertelmann (as Fremde in der Nacht, 1966), Johnny Mathis (1967), Andy Williams (1967), José Feliciano (1967), Dalida (as Solo più che mai, 1967), Jimi Hendrix (as part of Wild Thing at the Monterrey Fesival, 1967), Line Renaud (as Étrangers dans la nuit, 1969), Violetta Villas (1970), The Ventures (1970), Teddy Harold & Jeremy (1974), Bette Midler (1976), Mina (1984), Babe (as Stranac usranac, 1994), Los Manolos (1991), Manuel (1998), The Supremes (unreleased until 1998), Michael Bublé (2000), Paul Kuhn (2003), Nick the Nightfly & The Monte Carlo Nights Orchestra (2004), Cake (2005), Barry Manilow (2006), Dany Brillant (2007), Russell Watson (2007), Marc Almond (2007) a.o.

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Virginia Bruce – I’ve Got You Under My Skin.mp3
Ray Noble & his Orchestra with Al Bowlly – I’ve Got You Under My Skin.mp3
Frank Sinatra – I’ve Got You Under My Skin.mp3
The Four Seasons – I’ve Got You Under My Skin.mp3
Sinatra was a marvellous interpreter of Cole Porter’s songs, and both of his solo versions of I‘ve Got You Under My Skin are superb (whereas his long-distance duet with Bono was embarrassing. “Don’t you know, Blue Eyes, you never can win” indeed.). The song was originally written for the 1936 MGM musical Born To Dance, in which Virginia Bruce vied with star Eleanor Powell for the affection of James Stewart. The film was the first to be entirely scored by Porter (and his first engagement for MGM), and featured another classic in the exquisite Easy to Love, crooned by Powell and, in an unusual singing role, Stewart.

The song was quickly covered by scores of crooners and orchestras, with Ray Noble and his Orchestra’s version, with the English singer Al Bowlly on vocals, scoring the biggest hit among various versions released in 1936. Two months earlier, in October, Hal Kemp and his Orchestra had a hit with it. Noble’s arrangement is superior, but Skinnay Ellis’ vocals, when they finally come in, are preferable. Bowlly met an untimely end in 1941 when the explosion of a Blitzkrieg bomb on London blew his bedroom door off its hinges, lethally smashing the crooner’s head (see the wonderful Another Nickel in the Machine blog for the full story).

Sinatra first performed I’ve Got You Under My Skin as part of a medley with You’d Be So Easy To Love on radio in 1946 (some sources say 1943), but didn’t record it until 1956, with Nelson Riddle’s arrangement on the Songs For Swingin’ Lovers album (it is the version featured here; the built-up to the instrumental break is quite delicious). He re-recorded the song again in 1963, in full swing mode, on Sinatra’s Sinatra, an album of remakes of some of his favourite hits. In an international poll conducted in 1980, I’ve Got You Under My Skin was voted the most popular Sinatra song. In 1966 the song was a hit in the popified remake of the Four Seasons.

Also recorded by: Frances Langford with Jimmy Dorsey (1936), Shep Fields (1936), Hal Kemp & his Orchestra (1936), Eddy Duchin (1942), Erroll Garner (1945), Artie Shaw & his Orchestra (1946), Ginny Simms (1946), Frank Culley (1951), Eddie Fisher (1952), Stan Freberg (1952), Peggy Lee (1953), The Ravens (1954), Dinah Washington (1955), Ella Fitzgerald (1956), Georgie Auld (1956), Jimmy Callaway (1956), Shirley Bassey (1957), Anita O’Day With Billy May & His Orchestra (1959), Perry Como (1959), Louis Prima & Keely Smith (1960), Dinah Shore (1960), The Miracles (1962), Danny Williams (1962), Julie London (1965), The Four Seasons (1966), Gloria Gaynor (1976), Hank Marvin (1977), Chris Connor (1978), Rosemary Clooney (1982), Julio Iglesias (1985), Babe (1985), Neneh Cherry (1990), Dionne Warwick (1990), Frank Sinatra & Bono (1993), Guy Marchand (1998), Diana Krall (1999), Jamie Cullum Trio (1999), Neil Diamond (2000), Patricia Paay (2000), Echo (2002), Nick the Nightfly & The Monte Carlo Nights Orchestra (2004), Michael Bublé (2005), Danny Seward (2005), Steve Tyrell (2005), Michael Fucking Bolton (2006), Smokey Robinson (2006), John Pizzarelli with the Clayton-Hamilton Jazz Orchestra (2006), Cídia e Dan (2008), Wilfried Van den Brande (2008) a.o.

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Ethel Merman – I Get A Kick Out Of You.mp3
Frank Sinatra – I Get A Kick Out Of You.mp3
Ella Fitzgerald – I Get A Kick Out Of You.mp3
Trust Cole Porter to identify in his lyrical witticisms a yet undiscovered matter of science. As we now know, the emotion of love triggers a neurochemical reaction. So when Porter has generations of singers crooning about getting a kick out of you (or whoever the object of unrequited desire is), he gets them to rhapsodise about the intoxicating effect of oxytocin. The first to do so was Ethel Merman, whose voice is most unlikely to give you oxytocin overload.

The song was originally written for an unproduced musical titled Stardust, but languished for three years until a reworked version was included in the 1934 musical Anything Goes. This was Porter in his list-song pomp. Here he enumerates all the things that fail to give him a dopamine rush (he doesn’t give a flying fuck about a flying fuck, long before air travel became widely accessible), while in You’re The Top, from the same musical, he goes metaphor-crazy in cataloging all the ways his true love is, well, the top. While his brief did not refer specifically to Merman performing these songs, Porter did have her diction in mind when he included the line “it would bore me terrifically too”, just so that she could roll those Rs (alas not on the present version, but note how Sinatra accentuates the F instead). That line, of course, makes reference to cocaine — not a kick-giver, apparently — which for the 1936 movie version was replaced, incongruously, by Spanish perfume (not French and not quite in the same kick-giving league as a Class A drug).

Sinatra recorded the song at least three times, in 1953, 1962 (featured on Monday) and on his Live In Paris album, also in 1962 but not released until 1994. The earlier version is a jazzy guitar-based number in which Sinatra, just climbing out of career slump, treats the song with a certain decorum. He sounds nonchalant about all these supposed stimulants but is still sad because she obviously does not adore him. The song and the Songs For Swingin’ Lovers! album it came from marked Sinatra’s big comeback after a few years in the wilderness (partly due to his vocal cord haemorrhage in 1951 and his subsequent dumping by Columbia records), coinciding with his success on the big screen in From Here To Eternity. It was his first outing with Nelson Riddle, whom Sinatra had to be tricked into working with, Riddle’s recent success arranging Nat ‘King’ Cole’s Mona Lisa notwithstanding. It is said that in their long association, Sinatra rejected one eight of Riddle’s proposed arrangements.

The big band swing recording from 1962 — when Sinatra was in his Rat Pack grandeur — has the singer brimming with hubris. Here her lack of adoration is not a big snag — using Sinatra terminology, she’s still a great broad. As for the cocaine: in the 1953 take he is blasé about cocaine; by 1962 he is instead left cold by the riffs of the bop-tight refrain. Ella Fitzgerald, in her utterly enchanting version (and do try to sing along to get an idea just how intricate her effortless vocals are), also refers to cocaine. Does Ethel Merman in her remake for the notorious 1979 disco album?

Also recorded by: George Hall (1934), Paul Whiteman & His Orchestra (1934), Bob Causer and his Cornellians (1934), The Dorsey Brothers Orchestra (1934), Leo Reisman and his Orchestra (1935), Eddy Duchin (1942), Johnny Dankworth Seven (1953), Johnny Hartman (1956), Ella Fitzgerald (1956), Shirley Bassey (1962), Anita O’Day with Billy May & his Orchestra (1959), Shirley Scott (1960), Nana Mouskouri (1962), Esquivel (1962), Sandie Shaw (1965), Dave Brubeck Quartet (1966), Alma Cogan (1967), Gary Shearston (1974), Anita O’Day (1975), Ira Sullivan (1979), Ethel Merman (1979), Rosemary Clooney (1982), Madeline Vergari (1984), Kim Criswell (1989), Jungle Brothers (1990), Dionne Warwick (1990), Tom Jones (1990), Tony Bennett (1991), Bobby Caldwell (1993), Diana Krall (1999), Lisa Ekdahl (1999), The Living End (2001), Dolly Parton (2001), Jamie Cullum (2003), Patrick Lindner & Thilo Wolf Big Band (2005), Steve Tyrell (2005), Leah Thys (2008), Lew Stone and His Band (2008), Patricia Barber (2008), Heike Makatsch (as Nichts haut mich um aber Du, 2009) a.o.

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The Kingston Trio – It Was A Very Good Year.mp3
Frank Sinatra – It Was A Very Good Year.mp3
William Shatner – It Was A Very Good Year.mp3
When Michael Jackson was a 12-year-old, he appeared on Diana Ross’ TV show, delightfully performing It Was A Very Good Year in mock-inebriated ring-a-ding-dinging rat-packer mode before dumping a fur-clad La Ross (video). Little Mike was clearly in on the joke of a small boy taking off a rather world-weary sentimentalist. What a showboy he was, and how poignant to see this child, from whom childhood was taken, singing that when he was two years old, he was four years old.

The original was recorded in 1961 with suitable gravitas by the Kingston Trio, right down to two melancholy but not downbeat whistle solos. It was written in ten minutes by Ervin Drake, who at 90 is still alive, with the trio’s frontman Bob Shane, the band’s last surviving member, in mind.

Sinatra heard the Kingston Trio record on the radio and liked it so much that he insisted on recording it, which he did on 22 April 1965 for his wistful September Of My Years album, with an arrangement by Gordon Jenkins. About to turn 50, the lyrics seemed appropriate for Sinatra (who, of course, was not yet finished with the game of romance; the following year he married the lovely, very young Mia Farrow). Sinatra’s version earned him a Grammy for best vocal performance, a title which he would defend the next year with Strangers In The Night. So much for the latter being a big comeback. The author and songwriter Arnold Shaw observed in It Was A Very Good Year a new maturity in Sinatra’s voice: “The silken baritone of 1943 is now like torn velvet.”

Where Bob Shane is gentle, and Sinatra is all sombre introspection, William Shatner’s bizarre remake from 1968 is absolute comedy gold. It’s not as demented as his Lucy In The Sky With Diamonds, nor does it have a primal scream as the end of Mr Tambourine Man, but it is bizarrely entertaining nonetheless. Weeee’d ride in limousines, or their chauffeurs would drive…when I…was…thirty-five. And then the crazy harps!

Also recorded by: Modern Folk Quartet (1963), Lonnie Donegan (1963), Shawn Phillips (1964), The Turtles (1965), The Barron Knights (1965), Wes Montgomery (1965), Gabor Szabo (1966), Herb Alpert & The Tijuana Brass (1966), Trudy Pitts (1967), Lou Rawls (1968), Ray Conniff & the Singers (1968), The Freedom Sounds feat Wayne Henderson (1969), Richie Havens (1973), Lee Hazlewood (1977), The Muppet Shiw (Statler and Waldorf, 1979), The Flaming Lips (1993), Homer Simpson (as It Was A Very Good Beer, 1993), Paul Young (1997), The Reverend Horton Heat (2000), Robbie Williams (in a troubling duet with Sinatra’s original vocals, 2001), Robert Charlebois (as C’était une très bonne année, 2003), Ray Charles with Willie Nelson (2004), Gordon Goodwin’s Big Phat Band (2006), Russell Watson (2007)

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Kaye Ballard – In Other Words.mp3
Frank Sinatra – Fly Me To The Moon.mp3
For the first few years of its life, Fly Me To The Moon was known as In Other Words. The song was a staple of cabaret singer Felicia Sanders’ repertoire, but she didn’t record the song until 1959. The first recording of the Bart Howard composition was by Kaye Ballard, a Broadway star and later TV actress, in 1954. Her version is quite lovely; one wonders what Judy Garland in her prime might have done with it. The song was first titled Fly Me To The Moon on Johnny Mathis 1956 version.

Sinatra didn’t get around to putting down his take until 1964, on his record with Count Basie (reprised, as it were, on the 1966 live album with the great bandleader). Arranged by Quincy Jones, it became the definitive version. Examine the list of performers who recorded the song in the decade between its first appearance and Sinatra’s 1964 recording, and marvel at the idea that it isn’t a version by Mathis, Cole, Brenda Lee, Vaughan, Tormé or Jack Jones that you first think of, but Sinatra’s, as though he had given everybody else a headstart.

Still fresh in the collective memory, it enjoyed a second life at the time of the 1969 lunar explorations. Astronaut Gene Cernan, in pictures broadcast on TV, played the song on board of Apollo 10, whereby Fly Me To The Moon became one of the first pieces of music to be played in outer space. It is not true, as Quincy Jones has claimed, that the crew of Apollo 11, which actually flew to the moon, played the song after the lunar landing; Buzz Aldrin has denied the tale. Four decades later, South Korean cosmonaut Yi So-yeon reported having sung the song in space during her Soyuz TMA-12 Flight in April 2008.

Also recorded by: Johnny Mathis (1956), Chris Connor (1957), Frances Wayne (1957), Nancy Wilson (1959), Gloria Lynne (1959), Dion and the Belmonts (1960), Nat ‘King’ Cole (1961), The Barry Sisters (1961), Brenda Lee (1962), Joe Harnell (1962), Sarah Vaughan (1962), Mel Tormé (1962), Jack Jones (1962), Connie Francis (as Portami con te, 1962), Roy Haynes (1962), Tony Martin (1962), Dartmouth Injunaires (1962), Enoch Light & The Light Brigade (1963), Tony Mottola (1963), Julie London (1963), Earl Grant (1963), Perry Como (1963), Alma Cogan (1963), Laurindo Almeida & the Bossa Nova Allstars (1963), Helen O’Connell (1963), Dick Hyman (1963), Rita Reys (1963), The Downbeats (1963), The Demensions (1963), Patti Page (1964), Xavier Cugat (1964), Grady Martin and The Slewfoot Five (1964), Joan Shaw (1964), Matt Monro (1965), Howard Roberts Quartet (1965), Tony Bennett (1965), Doris Day (1965), Heidi Brühl (as Schiess mich doch zum Mond, 1965), Cliff Richard (1965), LaVern Baker (1965), Chris Montez (1966), Trini Lopez (1966), Bobby Darin (1966), Dudley Moore Trio (1966), Tante Emma (as Fremde in der Nacht, 1967). Wes Montgomery (1968), Bobby Womack (1968), Nicoletta (1968), Leslie Uggams (1969), Tom Jones (1969), Mitty Collier (1969), Tony Bennett (1970), Oscar Peterson (1970), Mina (1972), Lyn Collins (1972), Frank Sinatra & Antonio Carlos Jobim (1994), Paula West (1999), Boston Brass (2000), Utada Hikaru (2000), Diana Krall (2002), Günther Neefs (2002), Julien Clerc with Véronique Sanson (as olons vers la lune, 2003), Tom Gaebel (as Schiess mich doch zum Mond, 2003), Agnetha Fältskog (2004), Dany Brillant (2004), Matt Dusk (2004), Westlife (2004), Nick the Nightfly & The Monte Carlo Nights Orchestra (2004), Steve Tyrell (2005), Bobby Taylor (2006), Michael Fucking Bolton (2006), Smokey Robinson (2006), Roger Cicero (as Schiess mich doch zum Mond, 2006), Ray Quinn (2007), Laura Fygi (as Volons vers la lune, 2008), Saw Loser (2008), Helmut Lotti (2008) a.o.

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More Originals