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.”
Thanks to Chip Colcord who played “You Tell Lies” off of my 2011 album, Fire and Fall Back, on the most recent episode of his syndicated radio show, Out of the Woods.
“I’ll See You in My Dreams” (1924)
Lyrics: Gus Kahn Music: Isham Jones
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
So early on, the tradition was: cut the verse.
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!”
News songs added to the repetoire this week:
We’re pleased to tell you of a new duo: Richie Kaye (guitar/voice) and Ernesto Camilo Vega (clarinet/saxophone/flute).
Over the next few weeks, we’ll release a series of videos of mostly new and original music, plus a few surprises from the back catalog. All melody, strong grooves, richly expressive.
Stay tuned for the release of our first video this Friday, November 11, 2016!
Before 1967 in America, high culture met low culture and they liked each other very much.
This scene from Meet Me in Las Vegas (1956), with Sammy Davis, Jr., singing over, is an excellent example of skilled talent transforming what is base and common into the aesthetic and ethereal. Popular and cultured, at the same time.
Go for quality, as high as you can reach it and then go even further. This is the work of the Artist, not simply the mere regurgitation of everyday life. An inspiration, watching this.
Click on this link to watch a short video in the Warner archive:
Richie Kaye Music and AudioTheater Services LLC