Cuttin' Capers by Doris Day

I'd like to devote this post to one song that's been rattling around my head lately: "Cuttin' Capers" by Doris Day. It's the title track from a 1959 album by her, and I think it's worthy of study in terms of what made Doris Day such a great singer.

First of all, to cut a caper means to "leap or frisk about" or to frolic. (I'm sure most people could figure this out by looking at the image on the album's cover and thinking about the lyrics, but I like to confirm.)

Now this notion of cutting capers seems peculiar to Doris. A decade earlier she recorded "Canadian Capers (Cuttin' Capers)", a nifty number in which she name-checks different band leaders as she skates through the lyrics, with a vocal group called The Sportsmen backing her up. A very playful number that encapsulates the optimism that is so central to her persona.

In 1959 Doris Day was at the height of her fame as a film actress. Her album sales were flagging, however. Her last best-seller was 1956's Day by Day. Apparently she and her managers had miscalculated on the follow-up Day by Night: according to the all music site the "chaste approach (on this album) may have been out of step with for the album market of the late '50s." So Doris decided to steer clear of the dreamy ballads and go up-tempo with Cuttin'Capers.

Apparently this album didn't hit the mark commercially- perhaps a continuing signal that Doris Day's brand of wholesomeness was out of step with the zeitgeist - but I find it tremendously appealing and filled with confident and creative singing.

Before I deconstruct the performance, let me give you some background on the song "Cuttin' Capers". The lyrics were composed by Joe Lubin, who had a year earlier written "Teacher's Pet" for the Doris Day/Clark Gable movie film of the same name. Lubin also worked with Little Richard on "Tutti Frutti". The music was by a man named Adam Ross (also known as Irving Roth). He had just written "That Jane from Maine" for a movie by the same name starring Doris, Jack Lemon, and Ernie Kovacs .

So we're not talking Rodgers & Hart here. These two men were basically given the charge: "We need a theme song for this album. Make it light and uptempo. Be sure it says 'You are in for some fun!'"

I think they succeeded brilliantly. Before we head to the recording, though, let's consider the conductor, Frank De Vol. His style is unmistakable if you have recordings with classic pop singers from the 1950s. De Vol's signature was to throw in an instrument that pops out from the strings and adds a touch of whimsy to the mood of the song. This style definitely feels dated and gimmicky- much more than Billy May's, another busy uptempo conductor from the time. (His horns were grounded in Dixieland.)

So on November 29, 1958 Doris Day records "Cuttin' Capers" with De Vol, one of four numbers she put in the can with him that day. It will be the track that establishes the theme, and she starts robustly.
(Click here to listen to the song as you follow my discussion.)

Hey, look at me! (high horn trill)

Can't you see? (lower trill)

I'm in love, I'm in love, I'm in love! (Declarations are run together)

Hey! 

(This is shouted out, separated from the next phrase; a variation of what just preceded it and a clever way of vocally saying "Wake up! Listen! I'm daft!")

Look at me!

I'm cuttin' capers

I'm on a spree, see (I suspect she added the "see". She slides into it like a horn. Sweet!)

I'm cuttin' capers

I'll do that town

the way that a clown does

gonna laugh, gonna sing, gonna have a wonderful fling (slight pause after each phrase)

So here I go

I'm cuttin' capers

On with that show, oh

I'm cuttin' capers

I felt this way 

the moment you kissed me

I'm in love

 (repeated 5 times!--slows down slightly with last one, making a lilting and playful sound for the initial consonant in "love")

Doris then returns to the top. When she arrives at the "I'm in love" again, it's time to put a bow on it and bring the proceedings to a snappy ending. Here's how she does it.

I'm in love

I'm in love

I'm in love

I'm in love (These are delivered rapidly. Then she vamps.)

I'm in love (Emphasis on first word.)

So in love

(Pause. De Vol comes in with a filigree.)

I'm in love! 

It's an infectious 2 minutes and 41 minutes, well-plotted by the singer and the conductor. Sometimes I just listen and surrender to the song's happiness. Other times I get analytical and listen for patterns and repetitions, or think about how much of it was improvised that day in the studio and how much was planned in advance.

Whatever the case may be, it just illustrates why Doris Day is such a classic stylist. Recently Terry Gross scored an interview with Doris on the occasion of her 88th birthday. How wonderful to hear her voice again! Terry Gross opens by complimenting her singing, and her response is delightful. Check it out - you'll learn a lot about her!

Nellie McKay: The Complete Musical Package

Nellie McKay (pronounced Ma-kye) has all the trapping of what's regularly called "a gay icon". She has a high-pitched voice that on certain notes is eerily reminiscent of Blossom Dearie and immediately puts you in mind of Betty Boop. Her appearance is often decidedly retro.

She writes eccentric lyrics, as in a song about answering the door when you're sloshed because your cat died ("Ding Dong") or the following about performing at a gay club.

"Galleon"

Saturday night in the men's ensemble dressing room
Watchin' the fight in the men's ensemble lair
You may escape the cage
But then you have to share a stage, and tell 'em I'll be there
(It's Saturday night)

And now back to our new high school
And they got me wrong
Yeah, they got me wrong again

And although you're all talentless fools
Can't we get along
Can't we get along, my friends

I got to be free
I got to for me
And if you can't see, well, that's enough
That's all that I need to see you're all insecure, pedicured f**cks
(It's Saturday night)

(It's Saturday night)
And now's the time to vindicate
Tomorrow's just a matinee
And then we settle scores
(It's Saturday night)

She has dueted with Cyndi Lauper.

I suppose if you're cynical, you'd say that she's courted her demographic.

But there's another demographic she appeals to: anyone who loves jazz singing and smart lyrics. Witness a late night TV appearance on YouTube, and you instantly understand why fans of Dave Frishberg or Bob Dorough would take to her immediately.

NPR, on its "Project Song" series, explores the creative process for songwriters, and Nellie McKay's session with host Bob Boilen is a wonder to behold. Try carving out the time to enjoy it.

Anyway, it's clear that she is a phenomenon, like Melody Gardot. Blonde and lovely like her and a jazz singing/songwriting prodigy. Any song she writes is sure to include clever language play, often choosng just the write word for its meaning and musicality.

"David"

Just pour me a drink
Cuz I need a lie
I don't wanna think
I just wanna die

[chorus]
David don't you hear me at all
David don't you hear through the wall
Waitin' here not makin' a sound
David come around

[bridge]
Chaos pervades the world outside
Days offer spades of hurled outcries
Gone is the fair and five and dime
But he is there
He's so fine

Listen to her play
Has somethin' to say
Even has a rap
Clap clap clap
But click there goes the lid
Sorry 'bout the fib
I ain't got a grip on nothin'

Nellie McKay is a very funny person, but in her music she explores her darker moods. It ain't easy loving musical styles from yesteryear, wearing antique fashions, and playing multiple instruments (piano, ukuele, cello) at a young age. It's a recipe for an outsider.

"Real Life"

Cause if I had a real life
I could break the rules
And maybe feel life
Instead of foolish
As if I had a real life
Not a cruel and choking false reality

Nellie is a vegan and a political activist. This gal will not be pigeon-holed! Take this song about war.

"Toto Dies"

Yeah I'll have my coffee black
Hey look we're bombing Iraq
I guess that's the only way
Oh did I tell you we got Fifi spayed?
And when they get to work they hear drums
The boom fills all the empty space
They file papers lada-dee-dum
Trimming their shoebox with lace

Oh-ee-oh but there's somethin' a growin'
Oh-ee-oh through the bustle and hiss
Oh-ee-oh fuck the lawns that need mowin'
Oh-ee-oh there is somethin' amiss
Oh-ee-oh oh-ee-oh oh-ee-oh
Oh-ee-oh-ee-oh-ee-oh

Like most vegans, in addition to becoming one for environmental reasons, she chose to be one because she loves animals. Consider the following song.

"The Dog Song"

My life was tragic and sad
Yeah I was the archetypal loser
I was a pageant gone bad
Then there was you on time
And wagging your tail
In the cutest mime
And you was in jail
I said woof, be mine
And you gave a wail
And then I was no longer alone
And I was no more a boozer
We'll make the happiest home
And I said lord I'm happy
'cause I'm just a walkin' my dog
Singin' my song
Strollin' along
It's just me and my dog
Catchin' some sun
We can't go wrong
'cause I don't care 'bout your hatin' and your doubt
And I don't care what the politicians spout
If you need a companion
Well just go right to the pound
And find yourself a hound
And make that doggie proud
'cause that's what it's all about
That's what it's all about
That's what it's all abow-wow-wow-wout
That's what it's all about

Given this background, it's not surprising that Nellie's road led to Doris Day. Her latest release (Normal As Blueberry Pie: A Tribute to Doris Day) is the reason that I've fallen in love with her music.

First of all, this CD does not dip into the familiar suspects for a Doris Day tribute. No "Que Sera Sera" or "It's Magic" here. Instead Nellie chooses Doris Day vocal renderings that speak to her and inspire her. So, once again, a listener is treated to the well-worn standards like "Sentimental Journey", "The Very Thought of You", and "Mean to Me". Her take on these songs is refreshing: sprinkling organ, synthesizer, and tympani certainly helps. Witness the use of her ukulele on Antonio Carlos Jobim's "Meditation".

What's terrific is that she broadens the tribute to take in great songs I've never heard before. There's Bacharach and David's "Send Me No Flowers"; Rodgers and Hammerstein's "Wonderful Guy"; Johnny Mercer's "Dig It"; and "Black Hills of Dakota" (hauntingly delivered with just a drums).

Then there's Nellie's take on some lesser-known Gershwin ("Do, Do, Do") and "Crazy Rhythm" (which sounds like Gershwin, but isn't). I've been playing this CD repeatedly in the car, and I can testify that my 7-year old has taken to these songs!

You really should buy this CD rather than download it. The booklet's design is such fun to look at. It harkens to the 1950s, and features Nellie in a variety of couture from the period. Get this gal a guest appearance on Mad Men! Also included are quotes from prominent writers and thinkers on animals and vegetarianism. Plus there's the most delightful dog.

You'll also be reaching for the booklet regularly to figure out what instruments you're hearing in a song. Her musical skill and creativity is truly breathtaking.

I hope you'll take the time to navigate my links and fall in love with Nellie--and with the great Doris Day.