I See the Want To in Your Eyes (Conway Twitty, 1974)
Who’ll Chop Your Suey? (Cleo Brown, 1936)
It Won’t Be Long (The Beatles, 1963)
Detour Ahead (Billie Holiday, 1949)
Careless Love (Snooks Eaglin, 1958)
And a couple of new originals, as well, to be recorded this year.
WBCQ will play my slapstick version of Walter Donalson’s “Makin’ Whoopee,” recorded many years ago. I’d not released it before. I found it lingering on an old hard drive and, yes, it made me laugh. So pleased it will go out on the airwaves and my thanks to the management (you know who you are!).
If you never heard me do Jimmy Durante, Barry White and Judge Judy in the same clip, you’re in for a treat. Well, you’re in for something, anyhow.
For fans in Europe and Japan, listen in tomorrow (March 16, 2017) between 2300 and 2330 UTC on 7390 kHz. For those stateside, that translates to 5:00-5:30pm Eastern. If you don’t have a shortwave radio, you can listen here.
I’ll be in great company with lots of novelty songs you’ve not heard in decades. Grab an ice cold Cheerwine or a hot toddy if you’re still stuck in the northeast and be prepared to laugh.
I spent a good deal of time performing in Grand Central Terminal with Tony LaVorgna in the Music Under New York program. Yes, I’m a busker. It’s a marvelous building:
Cathedral ceilings and marble floors do wonderful things for a sax/clarinet. Not that I intend to go back to Noo Yawk. But I would love to have a drink in the Campbell Apartment when it reopens on May 1.
I always liked Reba McEntire’s voice and stage personality, but now I admire her. If you love and respect your audience, you want to please them. Today on TV:
Behar asked McEntire, “If you ever went on a political rant in the middle of your act, what would happen?”
“My fans would be shocked,” the two-time Grammy-winner said. “I take it this way: they have paid their hard-earned money to come in there and fill a seat — parking, getting something at the concession stand, go and eat before the concert — I am there to entertain them, to take their worries away from them, so when they walk out, they can kind of have a little lift in their step and go, ‘Aw, that was such a great break from all the problems I have to deal with during daily life.’ So I’m not going to give them my political views.”
A salute to those who perform in the NYC subway system. (I was one.) I read this article this morning and remembered.
The toughest gig in America: lugging your gear, often unsafe, freezing in winter, boiling in summer, no toilets(!), entertaining your heart out to get people to stay another few seconds, playing for tips.
Many first-rate talents working below ground for peanuts: the city pays them nothing. What are they worth to you, then? Put a $20 in the jar, but only if you have been entertained to your satisfaction. Don’t ever feel sorry for them — they are tough as nails. (This has been a public service message.)
I listened to several dozen versions of this perennial favorite, recently heard in the soundtrack of several movies, including Woody Allen’s, Sweet and Lowdown. But none it seemed played the verse, instead going straight to the chorus at the top of the song. Here’s an example:
Those few who sang the verse did so before 1930, it would appear. At some point, singers just dropped the verse. Curious, because it’s a wonderful verse, too. (Of course, it’s not as memorable as the hook and on radio of old, no time was wasted.)
These singers skipped the verse and went straight to the famous chorus.
Bing, Ella, Ezio Pinza, Pat Boone, Mr. Armstrong, Sue Raney, Doris Day, The Mills Brothers, Durante, Jolson, Frank Fontaine, Vaughn Monroe, The Platters (!)
Here’s who sang the verse (before 1930):
Red Nichols (instrumental, but the verse is played)
But other instrumental versions before 1930 are already lopping off the verse:
Even Isham Jones’s own recording of 1924!
And after 1930, almost no instrumental versions play the verse at the top: Jan Garber, for example.
The only recent recording in which the verse is at the top appears to be this:
The Mormon Tabernacle Choir
I shared an album with a friend today and would love to share with everyone.
(It appears that the rights holders themselves have put this recording on YouTube via CDBaby.)
Janice Mars was my great discovery of 2015, a performer of natural talent and superior skills who exemplified sophisticated Manhattan cabaret of the 1950s, recorded but once (which recording disappeared for nearly 50 years) and worked only sporadically thereafter. And yet, this is perhaps my most treasured recording of all — there is so much here to one can enjoy, think about and admire. I find something new with every listen.
Listening again today, I can only wonder why every label refused to pick up this fantastic album of hers — it had been self-produced. Miss Mars had been a cold-water flat neighbor, friend (and perhaps lover) of Marlon Brando when both were unemployed actors. In the late 50s, after his success, it is said that he put some money into her little after-hours gin joint where she performed and other theater singers drank after their shows let out.
When Miss Mars’s great-nephews, who’d heard family tales of a Brando connection, called Brando, they were startled to learn that he still had the tapes in his closet! Soon the tapes were on their way to Kansas, which Miss Mars’s great-nephews made into this wonderful CD.
If you’ve found us through the Spin-o-Rama show, thanks for listening! You will find “A New York City Subway Christmas” here.
“A delightful compilation of 12 well-loved Christmas songs performed in the happy swingin’ style of Richie Kaye’s Music & Mirth. As heard at the Holiday Fair in Grand Central Terminal in the bustling metropolis of New York City. You’ll love it!”
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