Archive for the ‘1942’ Category

‘When’

Thursday, January 25th, 2018

So we return after a long break to Journalism 101, our exploration of tunes that include in their titles the five W’s and one H of reporting: who, what, where, when, why, and how. Today’s subject is “when,” and the RealPlayer brings us an initial harvest of 761 tracks.

We’ll winnow that down, of course. We lose a few tracks with “whenever” in their titles, and a 1998 track from the band When In Rome goes by the wayside. So do several albums (except for some title tracks) including Glenn Yarbrough’s For Emily, Whenever I May Find Her, Trisha Yearwood’s The Song Remembers When, Rory Block’s When A Woman Gets The Blues, Snow Patrol’s When It’s All Over We Still Have to Clear Up, Traffic’s When The Eagle Flies, the Sutherland Brothers’ When The Night Comes Down, Carolina Story’s When The River Met The Sea, John Mellencamp’s Whenever We Wanted, and When Harry Met Sally by Harry Connick, Jr.

There’s plenty left, of course, and we’re going to do things a little differently today, picking one track from each of four decades of the 1900s, starting with the 1940s. (Just for the record, the earliest recorded track that popped up was “When a ’Gator Holler, Folks Say It’s A Sign Of Rain” recorded by Margaret Johnson with the Black & Blue Trio in 1926, while the most recent track offered by the RealPlayer was “When I Saw Your Face” from Soul Of A Woman, Sharon Jones’ final album with the Dap-Kings.

The mystically romantic “Where Or When” was introduced in the 1937 musical Babes In Arms, created by the team of Richard Rodgers and Lorenzo Hart and quickly became a popular standard. The website Second Hand Songs lists 225 versions of the tune, and it’s apparent that there are more versions uncounted, as we’re listening today to the 1942 cover of the song by Guy Lombardo & His Royal Canadians, which SHS does not cite. Lombardo’s version of “Where Or When” is a little stiff, perhaps, but the buttery smooth reeds still sound nice, as does the similarly smooth trombone solo. The Decca release went to No. 19 in 1943, according to David A. Jasen’s book A Century Of American Popular Music.

So we move into the 1950s and find a charming gem: “When You Dance” by the Turbans, a black doo-wop group from Philadelphia. Released on the Herald label in 1955, the record went to No. 33 on the Billboard Hot 100 and to No. 3 on the magazine’s R&B chart. Six years later, the Turbans re-recorded the song for a release on the Parkway label, but the record only bubbled under at No. 114. The original version showed up in 2005 on the stellar two-CD set The Only Doo-Wop Collection You’ll Ever Need on the Shout Factory label.

If ever a No. 18 hit can be called a forgotten record, it might be “Shake Me, Wake Me (When It’s Over)” by the Four Tops. The 1966 single has everything you might want in a Four Tops joint, from an arresting tale and a strong lead vocal to the work of Motown’s Funk Brothers. But I think it tends to get lost among the stellar singles the group released on either side: “I Can’t Help Myself” and “It’s The Same Old Song” charted in 1965, “Reach Out I’ll Be There” hit later in 1966, and 1967 brought “Standing In The Shadows Of Love” and “Bernadette.” Small wonder that “Shake Me, Wake Me,” as good as it is, stands in shadows itself. As I noted, it peaked in the Hot 100 at No. 18, and it went to No. 5 on the R&B chart.

The short-lived British band McGuinness Flint managed one appearance in the Billboard Hot 100 when “When I’m Dead And Gone” went to No. 47 in early 1971, and as I listen today to that track and to “Malt and Barley Blues,” a 1971 Capitol promo single, I wish I had a lot more from the band on the digital shelves. I have Lo and Behold, a 1972 album by the group’s successor band, Coulson, Dean, McGuinness and Flint, and that’s fine, but I suppose I’m going to have to shell out some cash for the original group’s 1970 album. The group’s tangled history is best left to Wikipedia. (Oddly enough, I also have on the digital shelves a cover of “When I’m Dead And Gone” by an American artist named Bob Summers that pretty much copies the original arrangement, slows the song down just a titch, and misses the magic entirely.)

‘Sleepy Time Lagoon’

Tuesday, July 29th, 2014

Here’s the No. 6 record for 1942, “Sleepy Time Lagoon” by Harry James & His Orchestra. It was No. 1 for four weeks in June and July that year.

And I’m off to that lagoon to see if I can doze off what’s been ailing me. I hope to be back tomorrow.

‘Lips As Bright As Flame . . .’

Wednesday, February 20th, 2013

As I mentioned yesterday, I’ve been listening to various versions of the tune “Tangerine,” a song that came to the attention of my generation via the 1975 version by the Salsoul Orchestra. Pulled from the orchestra’s first, self-titled album, a single of the tune went to No. 18 in early 1976.

The song came to mind earlier this week when I followed a link to that YouTube video provided by jb of The Hits Just Keep On Comin’. As I listened, I nodded in recognition, knowing that I most likely heard the single by the Salsoul Orchestra in early 1976, but I had an inkling that I’d heard the song before that, in a much slower tempo. So I went digging.

The song, as I also noted yesterday, was written by Johnny Mercer and Victor Schertzinger for a 1942 movie. In that movie, The Fleet’s In, the song was performed by the Jimmy Dorsey Orchestra with vocals by Bob Eberly and Helen O’Connell.

(I don’t care much for Eberly’s crooning, but among at least some singers, that was the style in vogue at the time. On the other hand, given the aesthetic of the times, I thought O’Connell nailed it. And although this arrangement didn’t give him much room to work with, Dorsey could play.)

Since then, “Tangerine” has been covered frequently. The listings at Second Hand Songs and at ASCAP show more than 140 performers and groups who have recorded the song. The listing at ASCAP isn’t searchable by year, but the earliest version of “Tangerine” listed at Second Hand Songs is the 1941 recording by Vaughn Monroe and His Orchestra; the most recent recording listed is the 2007 version by saxophonists Harry Allen and Joe Temperley with John Bunch, Greg Cohen and Jake Hanna on the album Cocktails for Two. Among the performers whose names I recognized were Ferrante & Teicher, Tony Bennett, Dave Brubeck , Harry Connick Jr., Al Caiola, Dr. John (who covered the tune on Mercernary, his 2006 album of songs by Johnny Mercer), Stéphane Grappelli, George Shearing, Lawrence Welk, Bobby Troup, Peter Nero and Toots Thielemans.

I’ve heard a few of those. I like Bennett’s version, but I don’t care for Connick’s. What I heard of Dr. John’s take on the tune (and Mercernary has gone on my want list) was good. Brubeck released numerous live versions of “Tangerine,” and I think the one I heard was from a 1958 performance in Copenhagen, Denmark. I wasn’t blown away, but that says more about me and my relationship with 1950s jazz than about anything else. I do like Grapelli’s 1971 version and, of course, I like the version I posted yesterday by Eliane Elias. And one of the best among the covers I found is the version that Frank Sinatra did for his 1962 album, Sinatra and Swingin’ Brass.

Still, I knew that none of those was the version of “Tangerine” that I’d heard first, and I kept scanning the lists at Second Hand Songs and ASCAP until I finally noticed a name that made sense. And that brought me back to the languid, tropical version of “Tangerine” that I first heard in 1965 or so when I listened to my copy of Whipped Cream & Other Delights by Herb Alpert & The Tijuana Brass.

Video by Herb Alpert & The Tijuana Brass replaced November 11, 2013.