Monday, May 30, 2011
My journey to appreciating Bob Dylan was interesting. When I first began formulating my musical taste in the early '70s, I clung fast to singers with a real pop sensibility. I loved John Denver and Peter, Paul, and Mary. I always read who wrote the songs that I enjoyed, and I loved the Dylan songs that P, P, & M performed, but I simply could not get into Dylan's sound.
Plus there was the way that critics were declaring him a genius. I just thought a lot of his rhymes were nonsensical and that secretly Dylan must have been laughing at people for taking him so seriously.
Still, being my earnest self, I recall going to the library and reading up on Dylan--even taking notes on what were considered his major songs! Yep, a geek before the word had even been coined!
Anyway a complete change of heart came over with Dylan's Blood on the Tracks in 1974. Wow, did this album have distinctive songs, and his singing was intelligible and even arresting. The lyrics made sense--they told stories I could understand.
After this album, I was all set regarding Dylan. I've enjoyed his work ever since. Recently I watched a fantastic DVD on Blood on the Tracks. The critics (all British) provide a terrific context for understanding how this album fits in the Dylan canon. The stock footage of Dylan at this time is fantastic. Check it out!
And--oh yeah--Happy 70th, Bob!
Saturday, May 28, 2011
As a teacher, I like to start my day by commemorating "this day in history." I always share an anniversary with my students and then tie in some video. This week marked the 50th anniversary of JFK's address to Congress in which he challenged the American people to make it to the moon by the end of the decade.
Funny thing was, I was listening simultaneously to a collection of moon songs that Mel Torme recorded only a year previously to JFK's address. I have been grooving on this CD much more deeply since, and I'd like to share my enthusiasm for this project as well as for Frank Sinatra's 1965 effort on the same theme.
First to Mel Torme. I admire him so much as a singer. My word, how this guy put it together! Besides being as supple a song interpreter, he was also a terrific drummer in his own right. (He was good friends with Buddy Rich.) Mel loved to swing, and never is it more evident than in this effervescent collection.
Torme was a songwriter too (you know, "chesnuts roasting on an open fire"?), so the man appreciated clever wordplay. He kicks off this set with his own composition, "Swingin' on the Moon". All I can say is, dig these lyrics!
Are you tired of summer nights in Maine?
Do you yawn when they speak of sunny Spain?
Could you live without seeing old Rangoon?
Then come with me, and let's go swingin' on the moon
Have you had enough of London fog?
New York snow and California smog?
Would you say arrivederci to Rome in June?
Then fly with me and let's go swingin' on the moon
Let's have a honeymoon on the moon, honey
Far from the bustle of the crowd
And if your mother asks "why the moon, honey?"
Just tell her your feller has gone interstellar
Grab your hat and we'll head up in the blue
In a little rocket built for two
Baby we're goin' to blast off and before we're through
We'll leave the cares that we know
On terra firma below
While we go singin' and swingin' on the moon
Let's have a honeymoon on the moon, honey
Far from that noisy Earth below
And if your folks ask about our house, honey
Tell mater and pater we live in a crater
We're really going to enjoy a life of ease
Livin' on moonlight cocktails and green cheese
Mr. and Mrs. Space Commuter, if you please
And in a few years we might
produce our own satellite
while we go singin' and swingin' on the moon
As the song closes, Torme fades out by singing out every song title on the album to follow. Ah, the virtuosity! Then it's on to another song redolent of Mad Men and the spirit of that specific period of time. It's called "Moonlight Cocktail", and it's a dandy. Sit back and enjoy these lyrics. It's love 1960-style, baby! Roll out that cocktail wagon!
Couple of jiggers of moonlight
add a star
Pour in the blue of a June night
and one guitar
Mix in a couple of dreamers
And there you are
Lovers hail the moonlight cocktail
Now add a couple of flowers
A drop of dew
Stir for a couple of hours
Till dreams come true
As for the number the number of kisses
It's up to you
Cool it in the summer breeze
Serve it in the starlight underneath the trees
You'll discover tricks like these
Are sure to make your moonlight cocktail please
Follow the simple directions
And they will bring
Life of another complexion
where you'll be king
You'll awake in the morning
and start to sing
"Moonlight cocktails are the thing!"
The liner notes to this collection by Benny Green are precious. He rhapsodizes about the moon, citing sources as varied as Shelley, Byron, and Debussy. "The day that first rocket lands (on the moon)," writes Green, "these songs will become sociological curiosities. But I believe Torme's great skill in interpreting them will always commend them!"
Why, of course! But I can't agree on the songs. Much more than curiosities--as Will Friedwald recounts in Sinatra! The Song Is You, these songs have a rich pedigree. In his account of Sinatra's penultimate recording session with Nelson Riddle, 1965's Moonlight Sinatra, the author points out that many of the moon songs originated in Bing Crosby's catalog. ("Moonlight Becomes You", "I Wished on the Moon", "The Moon Got in My Eyes", and "The Moon Was Yellow")
On this 10-song set, Frank overlaps Mel four times. His additions to the theme are masterful: the album opens with his voice soaring as he renders the opening lines to "Moonlight Becomes You":
You're all dressed up to go dreaming
Now don't tell me I'm wrong
And what a night to go dreaming
Mind if I tag along?
Yep, you as a listener are gripped immediately as you tag along and nestle in the sumptuous Riddle arrangements and Frank's rich and warm baritone. I have sung along to the songs on this collection for years. It's a proverbial overlooked gem in the Sinatra oeuvre. A highlight includes lovely lyrics to Glenn Miller's "Moonlight Serenade". Such beauty!
It's depressing to read in Friedwald's account how the relationship between Riddle and Sinatra degenerated after this project. Nelson still had around twenty years left in his career after Moonlight Sinatra but, after following it with Strangers in the Night the next year, he was done with his most famous collaborator. Although he and Frank worked again intermittently, they never released another complete project.
You can sense Friedwald's disappointment. I share the sentiment. Don't miss this account in his fine book, an indispensable reference book for any Sinatra lover.
If you'd like to luxuriate in some of the finest pop and jazz singing from the last half century, you are hereby encouraged to purchase these two outstanding collections. I promise that you'll be as moonstruck as yours truly!