Click on title to link to YouTube's film clip of Jimmie Rodgers performing "Waiting For A Train".
DVD Review
Times Ain’t What They Used To Be: Early American Rural&Popular Music From Rare Original Film Masters (1928-1935), various artists, Shanachie Entertainment, 2000.
Okay, I will admit that I have gone off the deep-end, at least a little, in my seemingly endless search for the roots of the American musical songbook. I have gone down the musical road to Cajun country, I have gone to the hills of Appalachia and the Piedmont of North Carolina, and I have catalogued cowboy songs, railroad songs, every kind of blues, and even the some selections from Tin Pan Alley. But reviewing the present DVD seems on the outer edge even to me.
The producers of this series of film vignettes from the 1920s and 1930s have apparently gone deep into the vaults to get down, way down, into the depths of musical Americana. Tops here are a couple of yodeling Jimmie Rodgers tunes, Jules Allen doing up “Home On The Range”, The Duke Davis Band playing (accompanied by a huge banjo) “Ida” and the Fiddler’s Convention playing “Turkey In The Straw”. Did I say Americana? Yes, indeed. Also included are anonymous clips of square dancers, singing cowboys (real and fake), banjo strumming black men and a number of other things that practically defy categorization.
"T Is For Texas"
T for texas, T for Tennessee
T for texas, T for Tennessee
T for Thelma, the gal made a wreck out of me
If you don't want me mama, you sure don't have to stall
If you don't want me mama, you sure don't have to stall
I can get more women, than a passenger train can haul
I'm gonna buy me a pistol, just as long as I'm tall
I'm gonna buy me a pistol, just as long as I'm tall
I'm gonna shoot poor Thelma, just to see her jump and fall
And if that's your mama, you'd better tie her to your side
If that's your mama, better tie her to your side
Cause if she flags my train, I'm sure gonna let her ride
I'm gonna buy me a shotgun, with a great long shiny barrel
I'm gonna buy me a shotgun, with a great long shiny barrel
I'm gonna shoot that rounder, that stole away my gal
I'd rather drink muddy water, and sleep in a hollow log
I'd rather drink muddy water, and sleep in a hollow log
Than to be in atlanta treated like a dirty hog
Well it's T for texas, T for Tennessee
T for texas, T for Tennessee
T for Thelma, the gal who made a wreck out of me
Showing posts with label Tin Pan Alley. Show all posts
Showing posts with label Tin Pan Alley. Show all posts
Saturday, August 22, 2009
Wednesday, July 29, 2009
***The American Songbook Pantheon- The Music Of Irving Berlin.
Click On Title To Link To An Irving Berlin Lyrics Website.
CD Review
Irving Berlin: A Hundred Years, Irving Berlin compositions as performed by various artists, Columbia Record Company, 1988
I have been running through the legends of folk music, the blues, rock and assorted other genres over the past period. Not intentionally, at least I do not think that this was my intention at the start, I have reviewed a number of musicians, composers and recording artists who have been influential in the preservation of American roots music. You know, names like Pete Seeger, The Lomaxes, Bob Dylan, Woody Guthrie, Willie Dixon, Sam Phillips and, probably, a dozen more who have sung, recorded produced or preserved parts of what is termed “the American Songbook”. These names, however, are hardly all-inclusive, as this review will try to make clear. The American Songbook is a “big tent” operation that extends back to the times of Stephan Foster in the 19th century, if not before, and is brought up to date by the likes of Mr. Seeger and Mr. Dylan. Along the way, including a significant part of the 20th century, Irving Berlin did more than his fair share of helping to fill that book.
We could go on and on about who should be or not be, beyond the names mentioned above, included in the American Songbook pantheon. However, there is no question, whether you tastes run to Tin Pin Alley tunes or not that Irving Berlin is up on that first level. This little compilation by Columbia Records put out some years ago both honors him on his 100th birthday and can serve as a primer for those unfamiliar with Mr. Berlin’s work. Although if you have been the least bit conscious, or are very, very young, you already ‘know’ many of these songs, if not their author.
A Berlin biography is beyond the scope of this little review but needless to say this son of immigrants caught at least a portion of what America meant to both immigrant and native alike at a time when assimilation into American society, its manners and mores was a more pressing issue than today. Berlin’s hey days were in the 1930’s and 1940’s and he is forever tied in memory to such Great Depression/World War II Broadway music as “Putting On The Ritz”, “Cheek To Cheek”, “How Deep Is The Ocean”, “’I've Got My Love To Keep Me Warm” and a slew of other classics included here. And done by the likes of Fred Astaire, Judy Garland, Billie Holiday, Etherl Merman, Ethel Waters and a host of others, all famous in their time for singing whatever Mr. Berlin put before them, gladly. This is the music your parents or grandparents hummed back in the days. On this compilation it seems that Columbia has gone out of its way, way out of its way to get the best renditions by the most definitive artists to present these tunes.
Irving Berlin is also, whether the fact is well-known now or not, closely associated with popular American patriotic songs like “God Bless America”. He is also associated with novelty songs like “White Christmas”, “Easter Parade”, “Alexander’s Ragtime Band” and “Let’s Have Another Cup Of Coffee”. Now some of this is not to my taste and, perhaps, not to yours. Some of the patriotic stuff is way overblown. And a few tunes have not aged well. Those are separate, more political questions, that can be more properly addressed elsewhere. But hear me out. The next time some asks Irving who? Or I don’t know his work? Just start humming “White Christmas”, or the like. Berlin may not be my top candidate for Number One composer in the American Songbook but he belongs in the select company of that pantheon.
CD Review
Irving Berlin: A Hundred Years, Irving Berlin compositions as performed by various artists, Columbia Record Company, 1988
I have been running through the legends of folk music, the blues, rock and assorted other genres over the past period. Not intentionally, at least I do not think that this was my intention at the start, I have reviewed a number of musicians, composers and recording artists who have been influential in the preservation of American roots music. You know, names like Pete Seeger, The Lomaxes, Bob Dylan, Woody Guthrie, Willie Dixon, Sam Phillips and, probably, a dozen more who have sung, recorded produced or preserved parts of what is termed “the American Songbook”. These names, however, are hardly all-inclusive, as this review will try to make clear. The American Songbook is a “big tent” operation that extends back to the times of Stephan Foster in the 19th century, if not before, and is brought up to date by the likes of Mr. Seeger and Mr. Dylan. Along the way, including a significant part of the 20th century, Irving Berlin did more than his fair share of helping to fill that book.
We could go on and on about who should be or not be, beyond the names mentioned above, included in the American Songbook pantheon. However, there is no question, whether you tastes run to Tin Pin Alley tunes or not that Irving Berlin is up on that first level. This little compilation by Columbia Records put out some years ago both honors him on his 100th birthday and can serve as a primer for those unfamiliar with Mr. Berlin’s work. Although if you have been the least bit conscious, or are very, very young, you already ‘know’ many of these songs, if not their author.
A Berlin biography is beyond the scope of this little review but needless to say this son of immigrants caught at least a portion of what America meant to both immigrant and native alike at a time when assimilation into American society, its manners and mores was a more pressing issue than today. Berlin’s hey days were in the 1930’s and 1940’s and he is forever tied in memory to such Great Depression/World War II Broadway music as “Putting On The Ritz”, “Cheek To Cheek”, “How Deep Is The Ocean”, “’I've Got My Love To Keep Me Warm” and a slew of other classics included here. And done by the likes of Fred Astaire, Judy Garland, Billie Holiday, Etherl Merman, Ethel Waters and a host of others, all famous in their time for singing whatever Mr. Berlin put before them, gladly. This is the music your parents or grandparents hummed back in the days. On this compilation it seems that Columbia has gone out of its way, way out of its way to get the best renditions by the most definitive artists to present these tunes.
Irving Berlin is also, whether the fact is well-known now or not, closely associated with popular American patriotic songs like “God Bless America”. He is also associated with novelty songs like “White Christmas”, “Easter Parade”, “Alexander’s Ragtime Band” and “Let’s Have Another Cup Of Coffee”. Now some of this is not to my taste and, perhaps, not to yours. Some of the patriotic stuff is way overblown. And a few tunes have not aged well. Those are separate, more political questions, that can be more properly addressed elsewhere. But hear me out. The next time some asks Irving who? Or I don’t know his work? Just start humming “White Christmas”, or the like. Berlin may not be my top candidate for Number One composer in the American Songbook but he belongs in the select company of that pantheon.
Thursday, July 16, 2009
*A Musical Change Of Pace- Tin Pan Alley-Cole Porter
Click On Title To Link To YouTube's Film Clip Of Cole Porter's "Anything Goes".
Night And Day, Indeed
CD Review
Night And Day: The Cole Porter Songbook, various artists, Polydor, 1990
Billie Holiday. That is the name, voice and magic that I conjure up when I hear the name Cole Porter and his tasty and tasteful lyrics that evoke a simpler time, a time of my parents’ generation rather than my own. The generation that went through the last depression, the Great Depression of the 1930’s and then fought World War II successfully. Billie, thus, is something a thread that carries these tunes to my generation, the generation of the 1960’s. In fact, I believe the first time I recognized Cole Porter songs (although I probably hear then as background music on the radio in the old days) was on Billie’s “Night And Day” album of Porter tunes.
Here though, other voices, perhaps more representative of Porter’s work such as his Broadway show tunes, are featured. Like the slyly salacious “Love For Sale”. Or the agitated longing of “I’ve Got You Under My Skin”. How about the peppy “Anything Goes”. Or “It’s De-Lovely”. Or the very lyric-driven “Let’s Fall In Love”. And, of course, the dreamy title track “Night And Day”. So if you want to know what your parents (or grandparents) listened to while they were spoonin’ here is your stop.
"Love For Sale"
When the only sound on the empty street
is the heavy tread of the heavy feet
that belong to a lonesome cop
I open shop
The moon so long has been gazing down
on the warward ways of this wayward town
my smile becomes a smirk, I go to work
Love for sale
appetizing young love for sale
love thats fresh and still unspoiled
love thats only slightly soiled
love for sale
who will buy
who would like to sample my supply
who's prepared to pay the price
for a trip to paradise
love for sale
let the poets pipe of love
in their childish ways
I know every type of love
better far than they
if you want the thrill of love
I have been through the mill of love
old love
new love
every love but true love
love for sale
appetizing young love for sale
if you want to buy my wares follow me and clime the stairs
love for sale
Night And Day, Indeed
CD Review
Night And Day: The Cole Porter Songbook, various artists, Polydor, 1990
Billie Holiday. That is the name, voice and magic that I conjure up when I hear the name Cole Porter and his tasty and tasteful lyrics that evoke a simpler time, a time of my parents’ generation rather than my own. The generation that went through the last depression, the Great Depression of the 1930’s and then fought World War II successfully. Billie, thus, is something a thread that carries these tunes to my generation, the generation of the 1960’s. In fact, I believe the first time I recognized Cole Porter songs (although I probably hear then as background music on the radio in the old days) was on Billie’s “Night And Day” album of Porter tunes.
Here though, other voices, perhaps more representative of Porter’s work such as his Broadway show tunes, are featured. Like the slyly salacious “Love For Sale”. Or the agitated longing of “I’ve Got You Under My Skin”. How about the peppy “Anything Goes”. Or “It’s De-Lovely”. Or the very lyric-driven “Let’s Fall In Love”. And, of course, the dreamy title track “Night And Day”. So if you want to know what your parents (or grandparents) listened to while they were spoonin’ here is your stop.
"Love For Sale"
When the only sound on the empty street
is the heavy tread of the heavy feet
that belong to a lonesome cop
I open shop
The moon so long has been gazing down
on the warward ways of this wayward town
my smile becomes a smirk, I go to work
Love for sale
appetizing young love for sale
love thats fresh and still unspoiled
love thats only slightly soiled
love for sale
who will buy
who would like to sample my supply
who's prepared to pay the price
for a trip to paradise
love for sale
let the poets pipe of love
in their childish ways
I know every type of love
better far than they
if you want the thrill of love
I have been through the mill of love
old love
new love
every love but true love
love for sale
appetizing young love for sale
if you want to buy my wares follow me and clime the stairs
love for sale
*A Musical Change Of Pace- Tin Pan Alley-George Gershwin
Click On Title To Link To YouTube's Film Clip Of Billie Holiday Doing George Gershwin's "Summertime".
CD REVIEWS
The Great Songs Of George Gershwin, various artist, Columbia Legacy, 1998
George Gershwin's short but productive career has always been associated in my mind with the Broadway musical. Much more so than that another composer from that same period of the 1930's-1940's whom I recently reviewed in this space, Cole Porter. They both worked this milieu but I always think more of New York (or Paris) cabarets and cafés with Porter's work and the theater with Gershwin (and I will tag along his brother, Ira, here as well). Perhaps, it's because George Gershwin's name is most associated historically with the classic Broadway black musical "Porgy and Bess". In any case this little CD is filled with songs by many well-known singers who won their spurs in Broadway productions of his work, or wished they had.
So here we have Billie Holiday doing her trademark "Summertime" from that "Porgy and Bess" mentioned above. The virtuoso pianist Teddy Wilson doing "Embraceable You". The underrated Mildred Bailey on " They Can't Take That Away From You". The recently departed Mel Torme doing "Isn't It A Pity" and the still legendary Tony Bennett on "Fascinatin' Rhythm" (from Lady, Be Good). If your thing is Gershwin show tunes you have definitely come to the right address.
George Gershwin
Summertime lyrics
Summertime,
And the livin' is easy
Fish are jumpin'
And the cotton is high
Oh, Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry
One of these mornings
You're going to rise up singing
Then you'll spread your wings
And you'll take to the sky
But until that morning
There's a'nothing can harm you
With your daddy and mammy standing by
Summertime,
And the livin' is easy
Fish are jumpin'
And the cotton is high
Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry
CD REVIEWS
The Great Songs Of George Gershwin, various artist, Columbia Legacy, 1998
George Gershwin's short but productive career has always been associated in my mind with the Broadway musical. Much more so than that another composer from that same period of the 1930's-1940's whom I recently reviewed in this space, Cole Porter. They both worked this milieu but I always think more of New York (or Paris) cabarets and cafés with Porter's work and the theater with Gershwin (and I will tag along his brother, Ira, here as well). Perhaps, it's because George Gershwin's name is most associated historically with the classic Broadway black musical "Porgy and Bess". In any case this little CD is filled with songs by many well-known singers who won their spurs in Broadway productions of his work, or wished they had.
So here we have Billie Holiday doing her trademark "Summertime" from that "Porgy and Bess" mentioned above. The virtuoso pianist Teddy Wilson doing "Embraceable You". The underrated Mildred Bailey on " They Can't Take That Away From You". The recently departed Mel Torme doing "Isn't It A Pity" and the still legendary Tony Bennett on "Fascinatin' Rhythm" (from Lady, Be Good). If your thing is Gershwin show tunes you have definitely come to the right address.
George Gershwin
Summertime lyrics
Summertime,
And the livin' is easy
Fish are jumpin'
And the cotton is high
Oh, Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry
One of these mornings
You're going to rise up singing
Then you'll spread your wings
And you'll take to the sky
But until that morning
There's a'nothing can harm you
With your daddy and mammy standing by
Summertime,
And the livin' is easy
Fish are jumpin'
And the cotton is high
Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry
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