Vocal-Easy Listening Artists
Genre: Vocal-Easy Listening
Decades: 7936
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Barbra Streisand's status as one of the most successful singers of her generation is all the more remarkable not only because her popularity has been achieved in the face of a dominant musical trend -- rock & roll -- which she did not follow; but also because, despite an amazing singing voice that has enthralled practically anyone who has heard... [+] Read More
Barbra Streisand's status as one of the most successful singers of her generation is all the more remarkable not only because her popularity has been achieved in the face of a dominant musical trend -- rock & roll -- which she did not follow; but also because, despite an amazing singing voice that has enthralled practically anyone who has heard it, she has always used singing as a mere stepping stone to other careers, as a stage and film actress and as a film director.
Streisand struggled briefly as an actress and nightclub singer in New York in the early '60s before landing her first part in a Broadway show, I Can Get It for You Wholesale, in 1962. The cast album for that show and a subsequent appearance on a studio revival of Pins and Needles were her first recordings. Signed to Columbia Records, she released her first album, The Barbra Streisand Album, in 1963. It became a Top Ten, gold-selling record, turning Streisand into one of the best-selling recording artists of the early '60s.
But despite three successful albums by early 1964, Streisand turned her back on potentially lucrative concert bookings in favor of a starring role in the Broadway show Funny Girl, in which she appeared for more than two years. "People" from that show became her first Top Ten single, and the People album her first chart-topping LP. She turned to television in 1965 with My Name Is Barbra, the first of five network specials. In 1967, Streisand went to Hollywood to film Funny Girl, for which she would win an Academy Award. But by 1970, with her second and third films flops and her recording career flagging in the face of rock, she seemed consigned to Las Vegas before turning 30. Instead, she returned to hit-making with a Top Ten cover of Laura Nyro's "Stoney End" and a successful non-singing performance in the comedy The Owl and the Pussycat.
In the 1970s, Streisand successfully married her musical and film acting interests, first in The Way We Were, a hit film with a theme song that became her first number one single; and then with A Star Is Born, which featured her second number one single, "Evergreen," a song she co-wrote. From that point on, every album she released sold at least a million copies. In the late '70s, she found recording success in collaboration: her duet with Neil Diamond, "You Don't Bring Me Flowers," hit number one; as did "No More Tears (Enough Is Enough)," a dance record sung with Donna Summer. She had her biggest selling album in 1980 with Guilty, which was written and produced by Barry Gibb of the Bee Gees and contained the number one hit "Woman in Love." In 1983, Streisand's first directorial effort, Yentl, became a successful film with a Top Ten soundtrack album. In 1985, The Broadway Album returned her to the top of the charts. 1991 saw the release of Just for the Record..., a boxed set retrospective, and her second film as a director, The Prince of Tides. Streisand returned to the concert stage in 1994, resulting in the Top Ten, million-selling album The Concert. In 1996, she directed her third film, The Mirror Has Two Faces; and in 1999 she released A Love Like Ours.
The 2000 album Timeless: Live in Concert was recorded at her Las Vegas show on New Year's Eve 1999 and released on both CD and DVD. A year later, the new holiday album Christmas Memories arrived, then a sequel to The Broadway Album, The Movie Album, appeared in 2003. In 2005, a deluxe, CD/DVD reissue of the original Guilty was followed a month later by Guilty Pleasures, a new album that reunited Streisand with Barry Gibb. ~ William Ruhlmann, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 1984
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Though she was the epitomy of the vocal cool movement of the 1950s, June Christy was a warm, chipper vocalist able to stretch out her impressive voice on bouncy swing tunes and set herself apart from other vocalists with her deceptively simple enunciation. From her time in Stan Kenton's Orchestra, she inherited a focus on brassy swing from... [+] Read More
Though she was the epitomy of the vocal cool movement of the 1950s, June Christy was a warm, chipper vocalist able to stretch out her impressive voice on bouncy swing tunes and set herself apart from other vocalists with her deceptively simple enunciation. From her time in Stan Kenton's Orchestra, she inherited a focus on brassy swing from arranger friends like Pete Rugolo. Rugolo would become a consistent companion far into her solo days too, arranging most of her LPs and balancing her gymnastic vocal abilities with a series of attentive charts.
Born Shirley Luster in Springfield, Illinois, she began singing early on and appeared with a local society band during high school. She moved to Chicago in the early '40s, changed her name to Sharon Leslie, and sang with a group led by Boyd Raeburn. In 1945, after hearing that Anita O'Day had just left Stan Kenton's Orchestra, she auditioned for the role and got it early that year. Despite an early resemblance (physically and vocally) to O'Day, the singer -- renamed June Christy -- soon found her own style: a warm, chipper voice that stretched out beautifully and enlivened Kenton's crossover novelties ("Shoo Fly Pie and Apple Pan Dowdy," the million-selling "Tampico") as well as the leader's intricately arranged standards ("How High the Moon"). As she became more and more popular within the Kenton band, arranger Pete Rugolo began writing charts with her style especially in mind. After the Kenton orchestra broke up in 1948, Christy worked the nightclub circuit for awhile before reuniting with Kenton for his 1950 Innovations in Modern Music Orchestra, a very modern forty-piece group that toured America. She had already debuted as a solo act the year before, recording for Capitol with a group led by her husband, Kenton tenor-saxophonist Bob Cooper.
Christy's debut LP for Capitol, 1954's Something Cool, was recorded with Rugolo at the head of the orchestra. The album launched the vocal cool movement and hit the Top 20 album charts in America, as did a follow-up, The Misty Miss Christy. Her 1955 Duet LP paired her voice with Kenton's piano, while most of her Capitol LPs featured her with various Kenton personnel and Rugolo (or Bob Cooper) at the head of the orchestra. She reprised her earlier big-band days with 1959's June Christy Recalls Those Kenton Days, and recorded a raft of concept LPs before retiring in 1965. Christy returned to the studio only once, for 1977's Impromptu on Musicraft. ~ John Bush, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 8064
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One of the last and most popular in a long line of traditional male vocalists who emerged before the rock-dominated 1960s, Johnny Mathis concentrated on romantic readings of jazz and pop standards for the ever-shrinking adult contemporary audience of the '60s and '70s. Though he debuted with a flurry of singles-chart activity, Mathis later made... [+] Read More
One of the last and most popular in a long line of traditional male vocalists who emerged before the rock-dominated 1960s, Johnny Mathis concentrated on romantic readings of jazz and pop standards for the ever-shrinking adult contemporary audience of the '60s and '70s. Though he debuted with a flurry of singles-chart activity, Mathis later made it big in the album market, where a dozen of his LPs hit gold or platinum and over 60 made the charts. While he concentrated on theme-oriented albums of show tunes and traditional favorites during the '60s, he began incorporating soft rock by the '70s and remained a popular concert attraction well into the '90s.
Unsurprisingly, given his emphasis on long sustained notes and heavy vibrato, Johnny Mathis studied with an opera coach prior to his teenage years, and was almost lured into the profession; his other inspirations were the smoother crossover jazz vocalists of the 1940s -- Nat "King" Cole, Billy Eckstine, and Lena Horne. Mathis was an exceptional high school athlete in San Francisco, but was wooed away from a college track scholarship and a potential spot on the Olympic squad by the chance to sing. He was signed to a management contract by club owner Helen Noga, who introduced the singer to George Avakian, jazz producer for Columbia Records. Avakian signed him and used orchestras conducted by Teo Macero, Gil Evans, and John Lewis to record Mathis' self-titled debut album in 1957. Despite the name talent and choice of standards, it was mostly ignored upon release.
Columbia A&R executive Mitch Miller -- known for his desperately pop-slanted Sing Along albums and TV show -- decided the only recourse was switching Mathis to Miller's brand of pop balladry, and the formula worked like a charm; the LP Wonderful, Wonderful didn't include but was named after a Top 20 hit later in 1957, which was followed by the number five "It's Not for Me to Say" and his first number one, "Chances Are." From that point on, Johnny Mathis concentrated strictly on lush ballads for adult contemporary listeners.
Though he charted consistently, massive hit singles were rare for Johnny Mathis during the late '50s and '60s -- half of his career Top Ten output had occurred in 1957 alone -- so he chose to focus instead on the burgeoning album market, much like Frank Sinatra, his main rival during the late '50s as the most popular traditional male vocalist. Mathis moved away from show tunes and traditional pop into soft rock during the '70s, and found his second number one single, "Too Much, Too Little, Too Late," in 1978. Recorded as a duet with Deniece Williams, the single prompted Mathis to begin trying duets with a variety of partners (including Dionne Warwick, Natalie Cole, Gladys Knight, and Nana Mouskouri), though none of the singles enjoyed the success of the original. Mathis continued to release and sell albums throughout the '90s -- his fifth decade of recording for Columbia -- among them 1998's Because You Loved Me: Songs of Diane Warren and 2000's Johnny Mathis on Broadway. ~ John Bush, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 384
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A sultry, smoky-voiced master of understatement, Julie London enjoyed considerable popularity during the cool era of the 1950s. London never had the range of Ella Fitzgerald or Sarah Vaughan, but often used restraint, softness, and subtlety to maximum advantage. An actress as well as a singer, London played with heavyweights like Gregory Peck... [+] Read More
A sultry, smoky-voiced master of understatement, Julie London enjoyed considerable popularity during the cool era of the 1950s. London never had the range of Ella Fitzgerald or Sarah Vaughan, but often used restraint, softness, and subtlety to maximum advantage. An actress as well as a singer, London played with heavyweights like Gregory Peck and Rock Hudson in various films, and was married to Jack Webb of Dragnet fame for seven years before marrying songwriter Bobby Troup ("Route 66"). London performed her biggest hit, "Cry Me a River," in the Jayne Mansfield film The Girl Can't Help It. After recording her last album, Yummy, Yummy, Yummy, in 1969, she continued to act -- playing a nurse on the NBC medical drama Emergency from 1974-1978. Despite her "sex symbol" image -- London was known for her sexy LP covers, which make them collector's items -- she was surprisingly shy, and left show biz altogether in the late '70s. In the mid-'90s London suffered a stroke, which led to a half-decade of poor health and ultimately contributed to her death on October 18, 2000. ~ Alex Henderson, All Music Guide [-] Hide
Genre: Vocal-Easy Listening
Decades: 8128
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Vocalist Rosemary Clooney's rise to fame in the '50s came on the strength of songs that in many instances were without question novelty tunes; she's not a vocal improviser like Carmen McRae, Betty Carter, or Sarah Vaughan. She is an excellent lyric interpreter, has fine timing, phrases skillfully and intelligently, and performs with the dramatic... [+] Read More
Vocalist Rosemary Clooney's rise to fame in the '50s came on the strength of songs that in many instances were without question novelty tunes; she's not a vocal improviser like Carmen McRae, Betty Carter, or Sarah Vaughan. She is an excellent lyric interpreter, has fine timing, phrases skillfully and intelligently, and performs with the dramatic quality evident among all great singers. Her background and foundation are jazz, even if her technique doesn't always adhere to rigid jazz scrutiny. She joined the Columbia roster in 1950 and made several hits for them, among them "You're Just in Love," "Beautiful Brown Eyes," "Half As Much," "Hey There," the number one hit "Come on-A My House," and "If Teardrops Were Pennies." Clooney had 13 Top 40 hits in the early '50s, among them duets with Guy Mitchell and Marlene Dietrich. The rock revolution and a decision to spend more time with her family resulted in Clooney going into semi-retirement. She returned in the late '70s, singing with renewed power and confidence while making swing-influenced dates and combo sessions for Concord. She's maintained that relationship through the '80s and '90s, doing standards, repertory albums, and demonstrating a resiliency and energy that validates her position among the fine jazz-based vocalists in American music. ~ Ron Wynn & Bill Dahl, All Music Guide [-] Hide
Genre: Vocal-Easy Listening
Decades: 960
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Doris Day has packed four careers into one lifetime, two each in music and movies. The pity is that all most people remember are her movies from Teacher's Pet (1957) onward, as the quintessential all-American girl, the perpetually virginal screen heroine, cast opposite such icons of masculinity as Clark Gable and, rather ironically, Rock Hudson.... [+] Read More
Doris Day has packed four careers into one lifetime, two each in music and movies. The pity is that all most people remember are her movies from Teacher's Pet (1957) onward, as the quintessential all-American girl, the perpetually virginal screen heroine, cast opposite such icons of masculinity as Clark Gable and, rather ironically, Rock Hudson. She also transposed this following to television at the end of the 1960s with a situation comedy that lasted into the early '70s. If most people remember her as a singer, it's usually for such pop hits as "Secret Love" and her Oscar-winning "Que Sera, Sera (Whatever Will Be, Will Be)," which became her signature tune.
But before all of that, from 1939 until the end of the 1940s, Doris Day was one of the hottest, sultriest swing band vocalists in music. That body of work -- which contains at least one unabashed classic early-'40s recording, "Sentimental Journey" -- is one of the most impressive in the fields of swing and popular jazz, and deserves to be heard far more than it is. Moreover, before those late-'50s comedies, Day had a film career that included adaptations of Broadway musicals (The Pajama Game), classic thrillers (The Man Who Knew Too Much), and searing social drama (Storm Warning).
She was born Doris Mary Anne von Kappelhoff on April 3, 1924, in Evanston, OH, a suburb of Cincinnati. Her father was a music teacher, choir master, and church organist. Her mother loved popular music, especially (surprisingly) country music.
Her parents divorced when she was 12, and Doris lived with her mother and older brother in College Hill, OH. From age six, she had taken dancing lessons, and that was the career she ultimately intended to pursue. In 1937, when she was 13, she and a young male partner won a 500 dollar prize in an amateur dance contest. The family decided to pursue stardom for their young child in Hollywood.
Her hopes for a career in dance were shattered on the trip out West in an automobile accident that severely injured her right leg. Her recuperation, over the Cincinnati tavern owned by an uncle, gave the young teenager access to a jukebox that played the hits of the day; and by the time she was 14, she had developed a taste for swing stars such as Benny Goodman and the Dorsey Brothers, among numerous other bands. She also started singing along with Ella Fitzgerald's records and tried to develop her own style.
Music became a new aspiration, and the timely intervention of voice coach Grace Raine helped her develop the approach to song that was to characterize her career. Raine arranged for Doris to appear on the Cincinnati radio station WLW on an amateur showcase -- the song that she sang was Howard Dietz and Arthur Schwartz's "Day After Day," from 1932, which earned her a featured spot on the station.
She was still known as Doris Kappelhoff when she got a job singing at a local club, but when a chance for radio broadcasts from the club was brought up. She ultimately took the name Doris Day, owing to the popularity of "Day After Day," and while the gig didn't last, the name did. In 1939, however, she was told of the opening for a vocalist in the band of Bob Crosby, Bing's brother and a star band leader in his own right. Day auditioned and got the job at age 17. She stayed with Crosby's band for three months before she was approached by band leader Les Brown.
This was 1940, and the musical world was dominated by the big bands, jazz-influenced swing outfits that gave singers like Sinatra (who was just getting rolling himself as a star vocalist) extraordinary opportunities to interpret the songs of the day. Tin Pan Alley still ruled the airwaves (though country and, to a lesser degree, blues were making inroads), and there was no shortage of great songs.
In the middle of all that was this little 17-year-old girl, who could impart a feeling of world-weary sensuality or sensual innocence to a song, shading her voice in textures almost too delicate to analyze. And Doris Day became a budding star, in an era in which Bing Crosby and Frank Sinatra -- not to mention Ella Fitzgerald -- were just a few of the vocalists competing for public attention.
While singing with Bob Crosby's band, she first worked with many of the sidemen -- Bob Haggart, William Stegmeyer, Billy Butterfield, and Zeke Zarchy -- who would later work on her own recording sessions. It was with Les Brown's band, however, that the public first got to hear her voice and know her name, initially on the radio and then on Brown's recordings. From 1940 until 1946, with a two-year break for an unhappy marriage, Day was a star vocalist, most notably on hits like "Sentimental Journey" and "My Dreams Are Getting Better All the Time," both of which were monster hits for the band. "Sentimental Journey" also became especially popular among American soldiers stationed overseas during World War II. By the end of the war and her time with Les Brown, when she was barely into her 20s, Day was considered one of the top band vocalists in the world.
Apart from having a beautiful voice and command of its every shading, Day's success was based on her approach to songs and audiences. When she sang, she sounded as though she were singing not to a crowd or a mass "audience," but to each individual listener. People resonated to her records and her performances personally, and coupled with the considerable merits of her voice and the quality of Brown's band, it made her a huge favorite with almost anyone who heard her.
Her tenure with the band was interrupted by another unsuccessful marriage, and when it ended, Day -- with a young son named Terry from her first marriage to provide for -- was ready to return to Cincinnati and forget about music. So the story goes, her agent persuaded her to attend a party in Hollywood where she impressed songwriters Jule Styne and Sammy Cahn with an impromptu performance of "Embraceable You." They were writing the score for a Warner Bros. movie called Romance on the High Seas, which had been planned for several leading ladies, all of whom fell out for one reason or another. Sammy Cahn got Day and her agent down to the studio, and she auditioned before director Michael Curtiz, who ordered a screen test for her. Day's screen test was run for the studio executives alongside two actresses whom they'd previously asked to audition, and she won the role.
The movie was a hit, and Day became a star, not in the perky, virginal persona that people remember today, but as a top-flight singer and actress. After that, Day's two careers went along in tandem, as she starred in movies and often turned their songs into hits. She also appeared in non-musical films, and revealed herself a superb dramatic actress in the groundbreaking topical dramatic thriller Storm Warning (1950), in which she played the victimized wife of a boorish, murderous Ku Klux Klan member (Steve Cochran); but she could also play perky tomboyish parts in movies like On Moonlight Bay (1951).
Day resumed her recording career in 1947, and even amid the growing number of ballads in her output, her early solo sides remained very jazzy, and are among her best sides. Her music softened somewhat as the 1940s wore on, although she did record some superb jazz-style sides for the 1950 movie Young Man With a Horn.
Her most visible sides from the 1950s onward were pop songs. She had huge hits with "Secret Love," a song derived from the movie Calamity Jane (1953), and "Que Sera Sera (Whatever Will Be, Will Be)," which she'd sung in the Alfred Hitchcock thriller The Man Who Knew Too Much (1956), in which she co-starred with James Stewart. During the 1950s, Doris Day was the most popular and one of the highest paid singers in America; and the sudden burst of popularity of her movies, beginning with Teacher's Pet (1958), only added to her overall impact on the country's popular culture, though the movies ultimately eclipsed the music career. In the midst of her pop-music/movie career, Day recorded an entire album of jazz with Andre Previn as her accompanist, entitled Duet. Its impact was muted by the popularity of her movies which, by the early '60s, turned her into a cultural icon, her wholesome innocence the perfect non-threatening match for Marilyn Monroe's innocent sexuality.
The growth of rock music as the dominant force in popular music in the mid-'60s left Day on the musical sidelines; ironically, her son Terry Melcher became one of the most successful rock producers of the period, most notably in association with the Byrds' early work and Paul Revere & the Raiders.
Day's personal and professional life took a bad turn in the wake of the death of her third husband, Marty Melcher, in 1968. Melcher had managed her business affairs for 17 years, and she learned after his death that he had lost or embezzled her entire career's earnings. Day was left broke, and the ensuing stresses led her to a nervous breakdown.
Her recovery came in 1968, when she began work on her CBS network situation comedy. Melcher had committed her to doing the show immediately prior to his death, without her consent, but the program was a success and Day was restored to solvency during the series' four-year run. A year after the program ended, she was awarded a $22 million dollar judgment against her former attorney for his role in Melcher's handling of her finances. Since the cancellation of the CBS series in 1973, she has been less visible, although she did a cable television series, Doris Day and Friends, in the mid-'80s. ~ Bruce Eder, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 8064
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Tony Bennett's career has enjoyed three distinct phases, each of them very successful. In the early '50s, he scored a series of major hits that made him one of the most popular recording artists of the time. In the early '60s, he mounted a comeback as more of an adult-album seller. And from the mid-'80s on, he achieved renewed popularity with... [+] Read More
Tony Bennett's career has enjoyed three distinct phases, each of them very successful. In the early '50s, he scored a series of major hits that made him one of the most popular recording artists of the time. In the early '60s, he mounted a comeback as more of an adult-album seller. And from the mid-'80s on, he achieved renewed popularity with generations of listeners who hadn't been born when he first appeared. This, however, defines Bennett more in terms of marketing than music. He himself probably would say that, in each phase of his career, he has remained largely constant to his goals of singing the best available songs the best way he knows how. Popular taste may have caused his level of recognition to increase or decrease, but he continued to sing popular standards in a warm, husky tenor, varying his timing and phrasing with a jazz fan's sense of spontaneity to bring out the melodies and lyrics of the songs effectively. By the start of the 21st century, Bennett seemed like the last of a breed, but he remained as popular as ever.
Bennett grew up in the Astoria section of the borough of Queens in New York City under the name Anthony Dominick Benedetto. His father, a grocer, died when he was about ten after a lingering illness that had forced his mother to become a seamstress to support the family of five. By then, he was already starting to attract notice as a singer, performing beside Mayor Fiorello La Guardia at the opening of the Triborough Bridge in 1936. By his teens, Bennett had set his sights on becoming a professional singer. After briefly attending the High School of Industrial Arts (now known as the High School of Art and Design), where he gained training as a painter, he dropped out of school at 16 to earn money to help support his family, meanwhile also performing at amateur shows. Upon his 18th birthday in 1944, he was drafted into the army, and he saw combat in Europe during World War II. Mustered out in 1946, he went back to trying to make it in music, and he attended the American Theater Wing on the GI Bill. By the end of the 1940s, he had acquired a manager and was working regularly around New York. He got a break when Bob Hope saw him performing with Pearl Bailey in Greenwich Village and put him into his stage show, also suggesting a name change to Tony Bennett. In 1950, Columbia Records A&R director Mitch Miller heard his demonstration recording of "Boulevard of Broken Dreams" and signed him to the label.
Bennett's first hit, "Because of You," topped the charts in September 1951, succeeded at number one by his cover of Hank Williams' "Cold, Cold Heart." Following another five chart entries over the next two years, he returned to number one in November 1953 with "Rags to Riches." Its follow-up, "Stranger in Paradise" from the Broadway musical Kismet, was another chart-topper, and in 1954 Bennett also reached the Top Ten with Williams' "There'll Be No Teardrops Tonight" and "Cinnamon Sinner." The rise of rock & roll in the mid-'50s made it more difficult for Bennett to score big hits, but he continued to place singles in the charts regularly through 1960, and even returned to the Top Ten with "In the Middle of an Island" in 1957. Meanwhile, he was developing a nightclub act that leaned more heavily on standards and was exploring album projects that allowed him to indulge his interest in jazz; notably 1957's The Beat of My Heart, on which he was accompanied mainly by jazz percussionists, and 1959's In Person With Count Basie and His Orchestra. By the early '60s, although he had faded as a singles artist, he had built a successful career making personal appearances and recording albums of well-known songs in the manner of Frank Sinatra.
In 1962, Bennett introduced "I Left My Heart in San Francisco," a ballad written by two unknown songwriters, George Cory and Douglass Cross, who had pitched it to his pianist, Ralph Sharon. Released as a single by Columbia, the song took time to catch on, and although it peaked only in the Top 20, it remained on one or the other of the national charts for almost nine months. It became Bennett's signature song and pushed his career to a higher level. The I Left My Heart in San Francisco album reached the Top Five and went gold, and the single won Bennett Grammy Awards for Record of the Year and Best Solo Vocal Performance, Male. Bennett's next studio album, 1963's I Wanna Be Around, also made the Top Five, and its title track was another Top 20 hit, as was Bennett's next single, "The Good Life," also featured on the album. For the next three years, Bennett's albums consistently placed in the Top 100, along with a series of charting singles that included the Top 40 hits "Who Can I Turn To (When Nobody Needs Me)" (from the Broadway musical The Roar of the Greasepaint, the Smell of the Crowd) and "If I Ruled the World" (from the Broadway musical Pickwick).
By the late '60s, Bennett's record sales had cooled off as major-record labels like Columbia turned their attention to the lucrative rock market. Just as Mitch Miller had encouraged Bennett to record novelty songs over his objections in the 1950s, Clive Davis, head of Columbia parent CBS Records, encouraged him to record contemporary pop/rock material. He acquiesced on albums such as Tony Sings the Great Hits of Today!, but his sales did not improve. In 1972, he left Columbia for MGM Records, but by the mid-'70s he was without a label affiliation, and he decided to found his own record company, Improv, to record the way he wanted to. He made several albums for Improv, including a duet record with jazz pianist Bill Evans, but the label foundered in 1977.
By the late '70s, however, Bennett did not need hit records to sustain his career, and he worked regularly in concert halls around the world. By the mid-'80s, there was a growing appreciation of traditional pop music, as performers such as Linda Ronstadt recorded albums of standards. In 1986, Bennett re-signed to Columbia Records and released The Art of Excellence, his first chart album in 14 years. Now managed by his son Danny, Bennett shrewdly found ways to attract the attention of the MTV generation without changing his basic style of singing songs from the Great American Songbook while wearing a tuxedo. By the early '90s, he was as popular as he had ever been. The albums Perfectly Frank (1992, a tribute to Frank Sinatra) and Steppin' Out (1993, a tribute to Fred Astaire) went gold and won Bennett back-to-back Grammys for Best Traditional Pop Vocal Performance. But his comeback was sealed by 1994's MTV Unplugged, featuring guest stars Elvis Costello and k.d. lang, which went platinum and won the Grammy for Album of the Year. Bennett became a Grammy perennial, also taking home Best Traditional Pop Vocal Performance awards for Here's to the Ladies (1995) and On Holiday: A Tribute to Billie Holiday (1997). In 2001, he released Playin' With My Friends: Bennett Sings the Blues, an album of duets. One year later, he expanded the concept to a full disc, recording A Wonderful World co-billed with k.d. lang. The Art of Romance followed in 2004. ~ William Ruhlmann, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 3968
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Easily the most solid and long-lasting vocalist of his era, Andy Williams' laid-back delivery and expansive voice has charmed audiences for decades, from his first appearance with a brother quartet into his seventh decade of performance as the head of his own dinner theater in Branson, MO. Born in Wall Lake, IA, Williams sang in his church choir... [+] Read More
Easily the most solid and long-lasting vocalist of his era, Andy Williams' laid-back delivery and expansive voice has charmed audiences for decades, from his first appearance with a brother quartet into his seventh decade of performance as the head of his own dinner theater in Branson, MO. Born in Wall Lake, IA, Williams sang in his church choir and later formed a quartet with his three brothers. The group performed on radio throughout the Midwest, then moved to Los Angeles to make it in show business. The Williams Brothers Quartet appeared on Bing Crosby's 1944 hit "Swinging On a Star" and appeared with comedienne Kay Thompson during the late '40s.
Andy Williams finally began his solo career in 1952, making several appearances on Steve Allen's Tonight Show before signing a contract with Archie Bleyer's Cadence Records in 1955. He hit the Top Ten in 1956 with his third single for the label, "Canadian Sunset." One year later, his soft-toned cover of the Charlie Gracie rockabilly nugget "Butterfly" hit number one (it's still his biggest hit). Additional Top Ten entries "Are You Sincere," "Lonely Street," and "The Village of St. Bernadette" followed before Williams moved to Columbia in 1961.
Despite another big hit in 1963, "Can't Get Used to Losing You," Williams failed to generate much action on the singles charts during the 1960s. Instead, his highly rated variety program on NBC-TV spurred interest in the ever-growing LP market for adult and middle-of-the-road audiences. The popular 1962 album Moon River & Other Great Movie Themes featured the song he's most identified with, and the following year's Days of Wine and Roses hit the top of the album charts. Nine more LPs hit the Top Ten for Andy Williams during the '60s, many organized around loose themes -- Broadway, ballads, and one album that featured members of his family. Though 1971's Love Story was a platinum success that sparked a Top Ten hit for the title song, his television show was canceled that year.
Andy Williams remained very popular during the '70s, especially for British audiences. His single "Solitaire" hit the Top Ten there in 1973, though it didn't even chart in America. Two of his subsequent albums also performed well, but only in Britain. He released relatively few LPs during the 1980s, but returned to the pop world in the early '90s when he founded his own theater/resort in the home-grown entertainment capital of Branson, MO. Williams continued to headline shows there during the rest of the decade and into the 2000s. ~ John Bush, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 1008
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Bing Crosby was, without doubt, the most popular and influential media star of the first half of the 20th century. The undisputed best-selling artist until well into the rock era (with over half a billion records in circulation), the most popular radio star of all time, and the biggest box-office draw of the 1940s, Crosby dominated the... [+] Read More
Bing Crosby was, without doubt, the most popular and influential media star of the first half of the 20th century. The undisputed best-selling artist until well into the rock era (with over half a billion records in circulation), the most popular radio star of all time, and the biggest box-office draw of the 1940s, Crosby dominated the entertainment world from the Depression until the mid-'50s, and proved just as influential as he was popular. Unlike the many vocal artists before him, Crosby grew up with radio, and his intimate bedside manner was a style perfectly suited to emphasize the strengths of a medium transmitted directly into the home. He was also helped by the emerging microphone technology: scientists had perfected the electrically amplified recording process scant months before Crosby debuted on record, and in contrast to earlier vocalists, who were forced to strain their voices into the upper register to make an impression on mechanically recorded tracks, Crosby's warm, manly baritone crooned contentedly without a thought of excess.
Not to be forgotten in charting Bing Crosby's influence is the music itself. His song knowledge and sense of laid-back swing was learned from early jazz music, far less formal than the European-influenced classical and popular music used for inspiration by the vocalists of the 1910s and '20s. Jazz was by no means his main concentration, though, especially after the 1930s; Crosby instead blended contemporary pop hits with the best songs from a wide range of material (occasionally recording theme-oriented songs written by non-specialists as well, such as Cole Porter's notoriously un-Western "Don't Fence Me In"). His wide repertoire covered show tunes, film music, country & western songs, patriotic standards, religious hymns, holiday favorites, and ethnic ballads (most notably Irish and Hawaiian). The breadth of material wasn't threatening to audiences because Crosby put his own indelible stamp on each song he recorded, appealing to many different audiences while still not endangering his own fan base. Bing Crosby was among the first to actually read songs, making them his own by interpreting the lyrics and emphasizing words or phrases to emphasize what he thought best.
His influence and importance in terms of vocal ability and knowledge of American popular music are immense, but what made Bing Crosby more than anything else was his persona -- whether it was an artificial creation or something utterly natural to his own personality. Crosby represented the American everyman -- strong and stern to a point yet easygoing and affable, tolerant of other viewpoints but quick to defend God and the American way -- during the hard times of the Depression and World War II, when Americans most needed a symbol of what their country was all about.
Bing Crosby was born Harry Lillis Crosby in Tacoma, WA, on May 3, 1903. (Bingo was a childhood nickname from one of his favorite comic strips.) The fourth of seven children in a poverty-level family who loved to sing, he was briefly sent to vocal lessons early on by his mother, until he grew tired of the training. An early admirer of Al Jolson, Crosby saw his hero perform in 1917. Crosby sang in a high-school jazz band, and when he began attending nearby Gonzaga College (he had grown up practically in the middle of the campus), he ordered a drum set through the mail and practiced on the set. Introduced to a local bandleader named Al Rinker, he was invited to join Rinker's group, the Musicaladers, singing and playing drums with the group throughout college.
Though the Musicaladers broke up soon after his graduation in 1925, Bing Crosby was ready to stick with the music business. Crosby had made quite a bit of money during the band's career, and he and Rinker -- who was the brother of Mildred Bailey -- were confident they could make it in California. They packed up their belongings and headed out for Los Angeles, finding good money working in vaudeville until they were hired by Paul Whiteman, leader of the most popular jazz band in the country (and known as the "King of Jazz" in an era when black pioneers were mostly ignored since they were unmarketable). For a few songs during Whiteman's shows, Rinker and Crosby sang as the Rhythm Boys with Harry Barris (a pianist, arranger, vocal effects artist, and songwriter later renowned for "I Surrender Dear" and "Wrap Your Troubles in Dreams"). With their clever songwriting and stage routines, the trio soon became one of the Paul Whiteman Orchestra's most popular attractions, and Crosby took a vocal on one of Whiteman's biggest hits of 1927-1928, "Ol' Man River." Besides appearing on record with Whiteman's orchestra, the Rhythm Boys also recorded on their own, though an opportunity for Crosby to enlarge his part in the 1930 film King of Jazz with a solo song went unrealized, as he sat in the clink for a drunk-driving altercation.
When Whiteman again hit the road in 1930, the Rhythm Boys stayed behind on the West Coast. After Crosby hired his big brother Everett as a manager, he began recording consistently as a solo act with Brunswick Records in early 1931, and by year's end had chalked up several of the year's biggest hits, including "Out of Nowhere," "Just One More Chance," "I Found a Million-Dollar Baby," and "At Your Command." He appeared in three films that year, and in September began a popular CBS radio series. Its success was similarly unprecedented; in less than a year, the show was among the nation's most popular and earned Crosby a starring role in 1932's The Big Broadcast, which brought radio stars like Burns & Allen to the screen. By the midpoint of the decade, Crosby was among the top ten most popular film stars. His musical success had, if anything, gained momentum during the same time, producing some of the biggest hits of 1932-1934: "Please," "Brother, Can You Spare a Dime?," "You're Getting to Be a Habit With Me," "Little Dutch Mill," "Love in Bloom," and "June in January."
"June in January," itself the biggest hit at that point in Crosby's young career, signaled a turn in his career. Brunswick executive Jack Kapp had just struck out on his own with an American subsidiary of the British Decca Records, and Crosby was lured over with the promise of higher royalty rates. Though his initial releases on Decca were recordings from his films of the year -- "June in January" was taken from Here Is My Heart -- Crosby began stretching out with religious material (such as "Silent Night, Holy Night," which became one of his biggest sellers, estimated at up to ten million). Late in 1935, he signed a contract for a radio show with NBC called Kraft Music Hall, an association that lasted into the mid-'40s. After his first musical director, Jimmy Dorsey, left, Crosby's songwriter friend Johnny Burke recommended John Scott Trotter (previously with the Hal Kemp Orchestra) as a replacement. Trotter quickly cinched the job when his arrangements for the 1936 film Pennies from Heaven produced the biggest hit of the year in its title song. (He would continue as Bing's orchestra arranger and bandleader into the mid-'50s.)
After the biggest hit of 1936, Bing Crosby followed up with -- what else? -- the biggest of 1937, just months later. "Sweet Leilani," from the similarly Hawaiian film Waikiki Wedding, showed Bing the direction his career could take over the course of the 1940s and '50s. Though he had recorded several cowboy songs earlier in the 1930s as well as the occasional song of inspiration, Crosby began covering everything under the sun, the popular hits of every genre of contemporary music. These weren't castoffs, either; many of his 1940s country & western covers were hits, such as "New San Antonio Rose," "You Are My Sunshine," "Deep in the Heart of Texas," "Pistol-Packin' Mama," "San Fernando Valley," and "Chattanoogie Shoe Shine Boy."
With the advent of American involvement in World War II, Bing Crosby entered the peak of his career. Arriving in 1940 was the first of his popular "Road" movies with old friend Bob Hope and Dorothy Lamour, along with three of the biggest hits of the year ("Sierra Sue," "Trade Winds," "Only Forever"). Crosby and Hope had first met in 1932, when the two both performed at the Capitol Theater in New York. They reunited later in the '30s to open a racetrack, and after reprising some old vaudeville routines, a Paramount Pictures producer decided to find a vehicle for the pair and came up with The Road to Singapore.
More popular success followed in 1941 with the introduction of the biggest hit of Papa Bing's career, "White Christmas." Written by Irving Berlin for 1942's Holiday Inn (a film that featured a Berlin song for each major holiday of the year), the single was debuted on Bing's radio show on Christmas Day, 1941. Recorded the following May and released in October, "White Christmas" stayed at number one for the rest of 1942. Reissued near Christmas for each of the next 20 years, it became the best-selling single of all time, with totals of over 30 million copies. It was a favorite for soldiers on the various USO tours Crosby attended during the war years, as was another holiday song, "I'll Be Home for Christmas." Crosby's popular success continued after the end of the war, and he remained the top box-office draw until 1948 (his fifth consecutive year at number one).
As with all the jazz-oriented stars of the first half of the 20th century, Crosby's chart popularity was obviously affected by the rise of rock & roll in the mid-'50s. Though 1948's "Now Is the Hour" proved his last number one hit, the lack of chart success proved to be a boon: Crosby now had the time to concentrate on album-oriented projects and collaborations with other vocalists and name bands, definitely a more enjoyable venture than singing pop hits of the day on his radio show, ad nauseam. Inspired by the '50s adult-oriented album concepts of Frank Sinatra (who had no doubt been inspired by Bing in no small way), Crosby began to record his most well-received records in ages, as Bing Sings Whilst Bregman Swings (1956) and Bing With a Beat (1957) returned him to the hot jazz he had loved and performed back in the 1930s. His recording and film schedule began to slow in the 1960s, though he recorded several LPs for United Artists during the mid-'70s (one with Fred Astaire) and returned to active performance during 1976-1977. While golfing in Spain on October 14, 1977, Bing Crosby collapsed and died of a heart attack. ~ John Bush, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 4032
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Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her... [+] Read More
Peggy Lee's alluring tone, distinctive delivery, breadth of material, and ability to write many of her own songs made her one of the most captivating artists of the vocal era, from her breakthrough on the Benny Goodman hit "Why Don't You Do Right" to her many solo successes, singles including "Mañana," "Lover" and "Fever" that showed her bewitching vocal power, a balance between sultry swing and impeccable musicianship.
Born Norma Egstrom in Jamestown, North Dakota, she suffered the death of her mother at the age of four and endured a difficult stepmother after her father remarried. Given her sense of swing by listening to Count Basie on the radio, she taught herself to sing and made her radio debut at the age of 14. She made the jump to Fargo (where she was christened Peggy Lee), then to Minneapolis and St. Louis to sing with a regional band. Lee twice journeyed to Hollywood to make her fortune, but returned unsuccessful from both trips.
She finally got her big break in 1941, when a vocal group she worked with began appearing at a club in Chicago. While there, she was heard by Benny Goodman, whose regular vocalist Helen Forrest was about to leave his band. Lee recorded with Goodman just a few days later, debuting with the popular "Elmer's Tune" despite a good deal of nerves. That same year, several songs became commercial successes including "I Got It Bad (And That Ain't Good)" and "Winter Weather." In 1943, "Why Don't You Do Right" became her first major hit, but she left the Goodman band (and the music industry altogether) later that year after marrying Goodman's guitarist, Dave Barbour.
After just over a year of domestic life, Peggy Lee returned to music, first as part of an all-star jazz album. Then, in late 1945, Capitol signed her to a solo contract and she hit the charts with her first shot, "Waitin' for the Train to Come In." Lee continued to score during the late '40s, with over two dozen chart entries before the end of the decade, including "It's a Good Day," "Mañana (Is Soon Enough for Me)" -- the most popular song of 1948 -- and "I Don't Know Enough About You." Many of her singles were done in conjunction with Barbour, her frequent writing and recording partner.
After moving to Decca in 1952, Peggy Lee scored with the single "Lover" and an LP, Songs From Pete Kelly's Blues recorded with Ella Fitzgerald (both singers also made appearances in the film). She spent only five years at Decca however, before moving back to Capitol. There, she distinguished herself through recording a wide variety of material, including songs -- and occasionally, entire LPs -- influenced by the blues, Latin and cabaret as well as pop. Lee also used many different settings, like an orchestra conducted by none other than Frank Sinatra for 1957's The Man I Love, the George Shearing Quintet for 1959's live appearance Beauty and the Beat, Quincey Jones as arranger and conductor for 1961's If You Go, and arrangements by Benny Carter on 1963's Mink Jazz. Barbour's problems with alcoholism ended their marriage, though they remained good friends until his death in 1965.
Peggy Lee was an early advocate of rock and made a quick transition into rock-oriented material. Given her depth and open mind for great songs no matter the source, it wasn't much of a surprise that she sounded quite comfortable covering the more song-oriented end of late-'60s rock, including great choices by Jimmy Webb, Buffy Sainte-Marie, Burt Bacharach, Randy Newman, Goffin & King and John Sebastian. She nearly brushed the Top Ten in 1969 with Leiber & Stoller's "Is That All There Is?" She continued recording contemporary material until 1972's Norma Deloris Egstrom From Jamestown, North Dakota brought her back to her roots. It was her last LP for Capitol, however. Lee recorded single LPs for Atlantic, A&M, Polydor UK and DRG before effectively retiring at the beginning of the 1980s. She returned in 1988 with two LPs for Music Masters that revisited her earlier successes. Her last album, Moments Like This, was recorded in 1992 for Chesky. Her voice was effectively silenced after a 1998 stroke, and she died of a heart attack at her Bel Air home in early 2002. ~ John Bush, All Music Guide
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Decades: 4064
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Frank Sinatra was arguably the most important popular music figure of the 20th century, his only real rivals for the title being Bing Crosby, Elvis Presley, and the Beatles. In a professional career that lasted 60 years, he demonstrated a remarkable ability to maintain his appeal and pursue his musical goals despite often countervailing trends.... [+] Read More
Frank Sinatra was arguably the most important popular music figure of the 20th century, his only real rivals for the title being Bing Crosby, Elvis Presley, and the Beatles. In a professional career that lasted 60 years, he demonstrated a remarkable ability to maintain his appeal and pursue his musical goals despite often countervailing trends. He came to the fore during the swing era of the 1930s and '40s, helped to define the "sing era" of the '40s and '50s, and continued to attract listeners during the rock era that began in the mid-'50s. He scored his first number one hit in 1940 and was still making million-selling recordings in 1994. This popularity was a mark of his success at singing and promoting the American popular song as it was written, particularly in the 1920s, '30s, and '40s. He was able to take the work of great theater composers of that period, such as Jerome Kern, Irving Berlin, George Gershwin, Cole Porter, and Richard Rodgers, and reinterpret their songs for later audiences in a way that led to their rediscovery and their permanent enshrinement as classics. On records and in live performances, on film, radio, and television, he consistently sang standards in a way that demonstrated their perennial appeal.
The son of a fireman, Sinatra dropped out of high school in his senior year to pursue a career in music. In September 1935, he appeared as part of the vocal group the Hoboken Four on Major Bowes' Original Amateur Hour. The group won the radio show contest and toured with Bowes. Sinatra then took a job as a singing waiter and MC at the Rustic Cabin in Englewood, NJ. He was still singing there in the spring of 1939, when he was heard over the radio by trumpeter Harry James, who had recently organized his own big band after leaving Benny Goodman. James hired Sinatra, and the new singer made his first recordings on July 13, 1939. At the end of the year, Sinatra accepted an offer from the far more successful bandleader Tommy Dorsey, jumping to his new berth in January 1940. Over the next two and a half years, he was featured on 16 Top Ten hits recorded by Dorsey, among them the chart-topper "I'll Never Smile Again," later inducted into the Grammy Hall of Fame. During this period, he also performed on various radio shows with Dorsey and appeared with the band in the films Las Vegas Nights (1941) and Ship Ahoy (1942).
In January 1942, he tested the waters for a solo career by recording a four-song session arranged and conducted by Axel Stordahl that included Cole Porter's "Night and Day," which became his first chart entry under his own name in March 1942. Soon after, he gave Dorsey notice. Sinatra left the Dorsey band in September 1942. The recording ban called by the American Federation of Musicians, which had begun the previous month, initially prevented him from making records, but he appeared on a 15-minute radio series, Songs By Sinatra, from October through the end of the year and also did a few live dates. His big breakthrough came due to his engagement as a support act to Benny Goodman at the Paramount Theatre in New York, which began on New Year's Eve. It made him a popular phenomenon, the first real teen idol, with school girls swooning in the aisles. RCA Victor, which had been doling out stockpiled Dorsey recordings during the strike, scored with "There Are Such Things," which had a Sinatra vocal; it hit number one in January 1943, as did "In the Blue of the Evening," another Dorsey record featuring Sinatra, in August, while a third Dorsey/Sinatra release, "It's Always You," hit the Top Five later in the year, and a fourth, "I'll Be Seeing You," reached the Top Ten in 1944. Columbia, which controlled the Harry James recordings, reissued the four-year-old "All or Nothing at All," re-billed as being by Frank Sinatra with Harry James & His Orchestra, and it hit number one in September. Meanwhile, the label had signed Sinatra as a solo artist, and in a temporary loophole to the recording ban, put him in the studio to record a cappella, backed only by a vocal chorus. This resulted in four Top Ten hits in 1943, among them "People Will Say We're in Love" from Richard Rodgers and Oscar Hammerstein II's musical Oklahoma!, and a fifth in early 1944 ("I Couldn't Sleep a Wink Last Night") before protests from the musicians union ended a cappella recording.
In February 1943, Sinatra was hired by the popular radio series Your Hit Parade, on which he performed through the end of 1944. Adding to his radio duties, he appeared from June through October on Broadway Bandbox and in the fall again took up the Songs by Sinatra show, which ran through December. In January, it was expanded to a half-hour as The Frank Sinatra Show, which ran for a year and a half. In April 1943, he made his first credited appearance in a motion picture, singing "Night and Day" in Reveille With Beverly. This was followed by Higher and Higher, released in December, in which he had a small acting role, playing himself, and by Step Lively, released in July 1944, which gave him a larger part. MGM was sufficiently impressed by these performances to put him under contract. The recording ban was lifted in November 1944, and Sinatra returned to making records, beginning with a cover of Irving Berlin's "White Christmas" that was in the Top Ten before the end of the year. Among his eight recordings to peak in the Top Ten in 1945 were Jule Styne and Sammy Cahn's "Saturday Night (Is the Loneliest Night of the Week)," Johnny Mercer's "Dream," Styne and Cahn's "I Should Care," and "If I Loved You" and "You'll Never Walk Alone" from the Rodgers & Hammerstein musical Carousel. Sinatra insisted that Styne and Cahn be hired to write the songs for his first MGM musical, Anchors Aweigh, and over the course of his career, the singer recorded more songs by Cahn (a lyricist who worked with several composers) than by any other songwriter. Anchors Aweigh, in which Sinatra was paired with Gene Kelly, was released in July 1945 and went on to become the most successful film of the year.
Sinatra returned to radio in September with a new show bearing an old name, Songs by Sinatra. It ran weekly for the next two seasons, concluding in June 1947. Among his eight Top Ten hits in 1946 were two that hit number one ("Oh! What It Seemed to Be" and Styne and Cahn's "Five Minutes More"), as well as "They Say It's Wonderful" and "The Girl That I Marry" from Irving Berlin's musical Annie Get Your Gun, Jerome Kern's "All Through the Day," and Kurt Weill's "September Song." He also topped the album charts with the collection The Voice of Frank Sinatra. His only film appearance for the year came in Till the Clouds Roll By, a biography of the recently deceased Kern, in which he sang "Ol' Man River."
By 1947, Sinatra's early success had crested, though he continued to work steadily in several media. On radio, he returned to the cast of Your Hit Parade in September 1947, appearing on the series for the next two seasons, then had his own 15-minute show, Light-Up Time, during 1949-1950. On film, he appeared in five more movies through the end of the decade, including both big-budget MGM musicals like On the Town and minor efforts such as The Kissing Bandit. He scored eight Top Ten hits in 1947-1949, including "Mam'selle," which hit number one in May 1947, and "Some Enchanted Evening," from the Rodgers & Hammerstein musical South Pacific. He also hit the Top Ten of the album charts with 1947's Songs by Sinatra and 1948's Christmas Songs by Sinatra. Sinatra's career was in decline by the start of the '50s, but he was far from inactive. He entered the fall of 1950 with both a new radio show and his first venture into television. On radio, there was Meet Frank Sinatra, which found the singer acting as a disc jockey; it ran through the end of the season. On TV, there was The Frank Sinatra Show, a musical-variety series; it lasted until April 1952. His film work had nearly subsided, though in March 1952 came the drama Meet Danny Wilson, which tested his acting abilities and gave him the opportunity to sing such songs as Harold Arlen and Johnny Mercer's "That Old Black Magic," "I've Got a Crush on You" by George and Ira Gershwin, and "How Deep Is the Ocean?" by Irving Berlin.
At Columbia Records, Sinatra came into increasing conflict with musical director Mitch Miller, who was finding success for his singers by using novelty material and gimmicky arrangements. Sinatra resisted this approach, and though he managed to score four more Top Ten hits during 1950-1951 -- among them an unlikely reading of the folk standard "Goodnight Irene" -- he and Columbia parted ways. Thus, ten years after launching his solo career, he ended 1952 without a record, film, radio, or television contract. Then he turned it all around. The first step was recording. Sinatra agreed to a long-term, boilerplate contract with Capitol Records, which had been co-founded by Johnny Mercer a decade earlier and had a roster full of faded '40s performers. In June 1953, he scored his first Top Ten hit in a year and a half with "I'm Walking Behind You." Then in August, he returned to film, playing a non-singing, featured role in the World War II drama From Here to Eternity, a performance that earned respect for his acting abilities, to the extent that he won the Academy Award for Best Supporting Actor for the part on March 25, 1954. In the fall of 1953, Sinatra began two new radio series: Rocky Fortune, a drama on which he played a detective, ran from October to March 1954; and The Frank Sinatra Show was a 15-minute, twice-a-week music series that ran for two seasons, concluding in July 1955. Meanwhile, Sinatra had begun working with arranger/conductor Nelson Riddle, a pairing that produced notable chart entries in February 1954 on both the singles and albums charts. "Young-at-Heart," which just missed hitting number one, was the singer's biggest single since 1947, and the song went on to become a standard. (The title was used for a 1955 movie in which Sinatra starred.) Then there was the 10" LP Songs for Young Lovers, the first of Sinatra's "concept" albums, on which he and Riddle revisited classic songs by Cole Porter, the Gershwins, and Rodgers and Hart in contemporary arrangements with vocal interpretations that conveyed the wit and grace of the lyrics. The album lodged in the Top Five. In July, Sinatra had another Top Ten single with Styne and Cahn's "Three Coins in the Fountain," and in September Swing Easy! matched the success of its predecessor on the LP chart. By the middle of the '50s, Sinatra had reclaimed his place as a star singer and actor; in fact, he had taken a more prominent place than he had had in the heady days of the mid-'40s. In 1955, he hit number one with the single "Learnin' the Blues" and the 12" LP In the Wee Small Hours, a ballad collection later inducted into the Grammy Hall of Fame.
On September 15, 1955, he appeared in a television production of Our Town and sang "Love and Marriage" (specially written by Sammy Cahn and his new partner James Van Heusen), which became a Top Five hit. Early in 1956, he was back in the Top Ten with Cahn and Van Heusen's "(Love Is) The Tender Trap," the theme song from his new film, The Tender Trap. As part of his thematic concepts for his albums of the '50s, Sinatra alternated between records devoted to slow arrangements (In the Wee Small Hours) and those given over to dance charts (Swing Easy). By the late winter of 1956, the schedule called for another dance album, and Songs for Swingin' Lovers!, released in March, filled the bill, stopping just short of number one and going gold. The rise of rock & roll and Elvis Presley began to make the singles charts the almost-exclusive province of teen idols, but Sinatra's "Hey! Jealous Lover" (by Sammy Cahn, Kay Twomey, and Bee Walker), released in October, gave him another Top Five hit in 1957. Meanwhile, he ruled the LP charts. The Capitol singles compilation This Is Sinatra!, released in November, hit the Top Ten and went gold. Sinatra began 1957 by releasing Close to You, a ballad album with accompaniment by a string quartet, in February. It hit the Top Five, followed in May by A Swingin' Affair!, which went to number one, and another ballad album, Where Are You?, a Top Five hit after release in September. He was also represented in the LP charts in November by the soundtrack to his film Pal Joey (based on a Rodgers & Hart musical), which hit the Top Five, and by the seasonal collection A Jolly Christmas From Frank Sinatra, which eventually was certified platinum. The Joker Is Wild, another of his 1957 films, featured the Cahn-Van Heusen song "All the Way," which became a Top Five single. In October, he returned to prime time television with another series called The Frank Sinatra Show, but it lasted only one season, and subsequently he restricted his TV appearances largely to specials (of which he made many).
In February 1958, Sinatra reached the Top Ten with "Witchcraft," his last single to perform that well for the next eight years. That month, Capitol released Come Fly with Me, a travel-themed rhythm album, which hit number one. The year's ballad album, Frank Sinatra Sings for Only the Lonely, released in September, also topped the charts, and it went gold. In between, Capitol released the compilation This Is Sinatra, Vol. 2, which hit the Top Ten. 1959 followed a similar pattern. Come Dance With Me! appeared in January and became a gold-selling Top Ten hit. It also won Sinatra Grammy Awards for Album of the Year and for vocal performance. Look to Your Heart, a compilation, was released in the spring and reached the Top Ten. And No One Cares, the year's ballad collection, appeared in the summer and just missed topping the charts. Sinatra gradually did less singing in his movies of the '50s, which is why they are given less attention here. But in March 1960, he appeared in a movie version of Cole Porter's musical Can-Can, and the resulting soundtrack album hit the Top Ten. Meanwhile, Sinatra was beginning to think about the approaching end of his Capitol Records contract and to enter the studio less frequently for the company. His next regular album was a year in coming, and when it did, Nice 'n' Easy was a mid-tempo collection, breaking his pattern of alternating fast and slow albums. The wait may have caused pent-up demand; the album spent many weeks at number one and went gold. Although Sinatra had not yet completed his recording commitment to Capitol, he began in December 1960 to make recordings for his own label, which he called Reprise Records. As a result, record stores were deluged with five new Sinatra albums in 1961: in January, Capitol had Sinatra's Swingin' Session!!!; in April, Reprise was launched with the release of Ring-a-Ding Ding!; in July, Reprise followed with Sinatra Swings the same week that Capitol released Come Swing with Me!; and in October, Reprise had I Remember Tommy..., an album of songs Sinatra had sung with the Tommy Dorsey band. There was also the March compilation All the Way on Capitol, making for six releases in one year. Remarkably, they all reached the Top Ten. Meanwhile, Reprise's first single, "The Second Time Around," a song written by Cahn and Van Heusen for Bing Crosby, won Sinatra the Grammy for Record of the Year. By 1962, the market was glutted. Capitol released its last new Sinatra album, Point of No Return, as well as a compilation, and Reprise put out three new LPs, but only Reprise's Sinatra & Strings reached the Top Ten. In 1963, however, all three Reprise releases, Sinatra-Basie, The Concert Sinatra, and the gold-selling Sinatra's Sinatra, made the Top Ten. The onset of the Beatles in 1964 began to do to the LP charts what Elvis Presley had done to the singles charts in 1956, but Sinatra continued to reach the Top Ten with his albums of the mid-'60s, albeit not as consistently. Days of Wine and Roses, Moon River, and Other Academy Award Winners hit that ranking in May 1964, as did Sinatra '65 in August 1965. That same month, Sinatra mounted a commercial comeback by emphasizing his own advancing age. Nearing 50, he released September of My Years, a ballad collection keyed to the passage of time. After "It Was a Very Good Year" was drawn from the album as a single and rose into the Top 40, the LP took off for the Top Five and went gold. It was named 1965 Album of the Year at the Grammy Awards, and Sinatra also picked up a trophy for best vocal performance for "It Was a Very Good Year."
In November 1965, Sinatra starred in a retrospective TV special, A Man and His Music, and released a corresponding double-LP, which reached the Top Ten and went gold. It won the 1966 Grammy for Album of the Year. Sinatra returned to number one on the singles charts for the first time in 11 years with the million-selling "Strangers in the Night" in July 1966; the song won him Grammys for Record of the Year and best vocal performance. A follow-up album named after the single topped the LP charts and went platinum. Before the end of the year, Sinatra had released two more Top Ten, gold-selling albums, Sinatra at the Sands and That's Life, the latter anchored by the title song, a Top Five single. In April 1967, Sinatra was back at number one on the singles charts with the million-selling "Somethin' Stupid," a duet with his daughter Nancy. By the late '60s, even Sinatra had trouble resisting the succeeding waves of youth-oriented rock music that topped the charts. But Frank Sinatra's Greatest Hits!, a compilation of his '60s singles successes released in August 1968, was a million-seller, and Cycles, an album of songs by contemporary writers like Joni Mitchell and Jimmy Webb, released that fall, went gold. In March 1969, Sinatra released "My Way," with a lyric specially crafted for him by Paul Anka. It quickly became a signature song for him. The single reached the Top 40, and an album of the same name hit the Top Ten and went gold. In the spring of 1971, at the age of 55, Sinatra announced his retirement. But he remained retired only until the fall of 1973, when he returned to action with a new gold-selling album and a TV special both called Ol' Blue Eyes Is Back. In this late phase of his career, Sinatra cut back on records, movies, and television in favor of live performing, particularly in Las Vegas, but also in concert halls, arenas, and stadiums around the world. He refrained from making any new studio albums for six years, then returned in March 1980 with a three-LP set, Trilogy: Past, Present, Future. The most memorable track from the gold-selling set turned out to be "Theme From New York, New York," the title song from the 1977 movie, which Sinatra's recording belatedly turned into a standard. By the early '90s, the CD era had inaugurated a wave of box set reissues, and the 1990 Christmas season found Capitol and Reprise marking Sinatra's 75th birthday by competing with the three-disc The Capitol Years and the four-disc The Reprise Collection. Both went gold, as did Reprise's one-disc highlights version, Sinatra Reprise -- The Very Good Years. Sinatra himself, meanwhile, while continuing to tour, had not made a new recording since his 1984 LP L.A. Is My Lady. In 1993, he re-signed to Capitol Records and recorded Duets, on which he re-recorded his old favorites, joined by other popular singers ranging from Tony Bennett to Bono of U2 (none of whom actually performed in the studio with him). It became his biggest-selling album, with sales over 3,000,000 copies, and was followed in 1994 by Duets II, which won the 1995 Grammy Award for Traditional Pop Performance.
Sinatra finally retired from performing in his 80th year in 1995. He later died of a heart attack at 82. Anyone will be astonished at the sheer extent of Sinatra's success as a recording artist over 50 years, due to the changes in popular taste during that period. His popularity as a singer and his productivity has resulted in an overwhelming discography. Its major portions break down into the Columbia years (1943-1952), the Capitol years (1953-1962), and the Reprise years (1960-1981), but airchecks, film and television soundtracks, and other miscellaneous recordings swell it massively. As a movie star and as a celebrity of mixed reputation, Sinatra is so much of a 20th century icon that it is easy to overlook his real musical talents, which are the actual source of his renown. As an artist, he worked to interpret America's greatest songs and to preserve them for later generations. On his recordings, his success is apparent. ~ William Ruhlmann, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 480
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Singer/actress Judy Garland had a varied career that began in vaudeville and extended into movies, records, radio, television, and personal appearances. She is best remembered as the big-voiced star of a series of movie musicals, particularly The Wizard of Oz, in which she sang her signature song, "Over the Rainbow." But unlike most other film... [+] Read More
Singer/actress Judy Garland had a varied career that began in vaudeville and extended into movies, records, radio, television, and personal appearances. She is best remembered as the big-voiced star of a series of movie musicals, particularly The Wizard of Oz, in which she sang her signature song, "Over the Rainbow." But unlike most other film stars of her era, she also maintained a career as a recording artist, and after her movie-making days were largely over, she was able to transfer her stardom to performing and recording, culminating in her Grammy-winning number one album Judy at Carnegie Hall.
The third daughter of former vaudevillians running a theater in Grand Rapids, MN, Garland made her stage debut singing "Jingle Bells" during the holiday season when she was two years old. Soon after, she joined the singing group formed by her two sisters. Early on, her surprisingly mature voice caused her to dominate the group. Her family moved to California in the fall of 1926, where the sisters found occasional work on-stage and on radio, even appearing in several film shorts in 1929 and 1930. In the summer of 1934, they toured in the Midwest, where George Jessel suggested they change their name from the Gumm Sisters to the Garland Sisters; eventually, each sister also picked a new first name, with Garland choosing hers for the Hoagy Carmichael/Sammy Lerner song "Judy."
The Garland Sisters broke up in the summer of 1935 upon the marriage of Garland's oldest sister, Mary Jane. Soon after, Garland successfully auditioned for the MGM film studio, and she was signed to a contract that fall. Within weeks, she made her network radio debut on The Shell Chateau Hour. The movie studio did not have immediate plans for her, but her career did advance in another area. She had made test recordings on two occasions in 1935 for Decca Records; finally, in June 1936 the label recorded her singing "Stompin' at the Savoy" and released it the following month as her debut single, although she was not yet signed to a term contract with the label.
Garland made her feature film debut in the musical Pigskin Parade, on loan to the 20th Century Fox studio, in November 1936. She finally made an impression at MGM when she sang a version of "You Made Me Love You" with special material written by Roger Edens that transformed it into a tribute to film star Clark Gable, at Gable's birthday party on February 1, 1937. The performance was re-created in Broadway Melody of 1938, released in August. After attending a preview, Decca president Jack Kapp finally decided to sign Garland to a recording contract, and the label soon released her studio versions of "Everybody Sing" and "Dear Mr. Gable: You Made Me Love You" from the film.
Garland made four more films (Thoroughbreds Don't Cry, Everybody Sing, Listen, Darling, and Love Finds Andy Hardy) and a couple more singles through 1938, but she didn't achieve major stardom until the release of The Wizard of Oz in August 1939. Glenn Miller had jumped the gun on the film by recording "Over the Rainbow," and the song was already a hit before the movie was released. But Garland's recording for Decca also became popular, and her success was sealed by the release of Babes in Arms shortly after The Wizard of Oz. At the 1939 Academy Awards in February 1940, she was presented with a miniature Oscar for her outstanding performance as a screen juvenile. In March, Decca released her first album, Judy Garland Souvenir Album, a three-disc, six-song set combining the "Dear Mr. Gable: You Made Me Love You" single with her current singles "In Between" (from Love Finds Andy Hardy) and "Figaro" (from Babes in Arms).
Garland appeared in three films in 1940, Andy Hardy Meets Debutante, Strike Up the Band, and Little Nellie Kelly, and she scored a Top Ten hit with her recording of "I'm Nobody's Baby," featured in the first of them. Her December recording session for songs from Little Nellie Kelly was conducted by David Rose, whom she married on July 28, 1941. She appeared in another three movies that year, Ziegfeld Girl, Life Begins for Andy Hardy, and Babes on Broadway. Her only film released in 1942 was For Me and My Gal, also starring Gene Kelly, who paired with her on a recording of the title song that became a Top Ten hit. In 1943, she starred in Presenting Lily Mars and Girl Crazy, and made a guest appearance in Thousands Cheer. She also made her concert debut during the year, appearing on July 1 with the Philadelphia Orchestra under André Kostelanetz at an open-air performance at the Robin Hood Dell in Philadelphia reported to have attracted 30,000 listeners, and toured service camps in support of the war effort.
Garland's film work became less frequent after 1943, tending to average a single major release each year. Meet Me in St. Louis, her next movie, was released in December 1944, directed by Vincente Minnelli, whom she married on June 15, 1945, just after her divorce from David Rose. Her recording of "The Trolley Song" from the score became a Top Ten hit, as did her album of songs from the film. She followed with another Minnelli-directed film, The Clock, in May 1945, her first non-singing dramatic role. In June, she joined Bing Crosby on a recording of the novelty "Yah-Ta-Ta Yah-Ta-Ta (Talk, Talk, Talk)," her first Top Ten hit with a song not featured in one of her films. Lyricist Johnny Mercer got the jump on all competitors in scoring a hit with his song "On the Atchison, Topeka and the Santa Fe" (written with composer Harry Warren) from Garland's upcoming film, The Harvey Girls, taking it to number one in July. But Garland's version, released in September, was also a Top Ten hit. The film appeared in January 1946.
Garland gave birth to a daughter, Liza Minnelli, on March 12, 1946, and cut back on her work schedule, though she made guest appearances in two other 1946 films, Ziegfeld Follies and Till the Clouds Roll By. The latter, a biography of Jerome Kern, marked the birth of MGM Records and with it the soundtrack album, its aural equivalent reaching the Top Ten. Although Garland remained nominally signed to Decca, the rest of her record releases through 1950 were MGM soundtrack recordings.
Garland returned to filmmaking full-time with The Pirate, released in June 1948, followed quickly by Easter Parade, co-starring Fred Astaire, in July, and then by a guest appearance in Words and Music in December. The last, a biography of Richard Rodgers and Lorenz Hart, produced a number one soundtrack album. At this point, Garland's relationship with MGM began to unravel. Decades of diet pills to control her weight, amphetamines to give her energy, and barbiturates to help her sleep -- reportedly given to her by her mother early on and later by the studio -- had resulted in addiction and emotional instability inconsistent with the grueling demands of making lavish movie musicals. At the same time, the studio, losing audiences to television and facing a severing of its relationship with the Loews' theater chain, was more dependent on big-budget films and more constrained financially. Cast in a second Fred Astaire film, The Barkleys of Broadway, Garland was fired from the production and suspended by the studio for her erratic behavior. She was then reinstated and made In the Good Old Summertime, released in the summer of 1949. By then, she had been fired from Annie Get Your Gun and suspended a second time. She was again reinstated and made Summer Stock, which was released in the summer of 1950 and produced a Top Ten soundtrack album. But when she was fired from Royal Wedding and suspended a third time, on July 17, 1950, she made a halfhearted suicide attempt that got into the papers and substantially changed her image from the ingenuous child of The Wizard of Oz to a tragic Hollywood casualty. In September, MGM formally canceled her contract. She divorced Minnelli on March 22, 1951.
Garland turned from the movies to the concert stage, accepting an offer from the London Palladium to appear for four weeks starting on April 9, 1951. It was the beginning of a major comeback. Returning to the U.S., she re-opened the Palace Theatre in New York as a live venue for what was scheduled to be a four-week engagement on October 16, 1951; it stretched to 19 weeks, finally ending on February 24, 1952, at a reported gross of $750,000. As a result, she was given a special Tony Award "for an important contribution to the revival of vaudeville." On June 2, 1952, she married her manager, Sid Luft. She gave birth to Lorna Luft on November 21, 1952.
Garland and Luft formed a production company and signed with Warner Bros. Pictures to produce a remake of A Star Is Born. It opened in October 1954, resulting in an Academy Award nomination for Garland. The soundtrack album, released by Columbia Records, was a Top Ten hit. Garland gave birth to a son, Joey Luft, on March 29, 1955. She toured the West Coast in July, and in September starred in a live, 90-minute television special tied in to her debut Capitol Records album, Miss Show Business, which reached the Top Ten. The show brought her an Emmy nomination for Best Female Singer. There was another 30-minute TV special in April 1956, a four-week engagement at a Las Vegas hotel in July and August, and a two-month return to the Palace in September, during which Capitol released the chart LP Judy. She did another three weeks in Las Vegas in May 1957 and that month released her third Capitol LP, Alone, which again was a chart item. She toured the U.S. through October, then spent a month at the Dominion Theatre in London. She continued to perform all over the U.S. in 1958 and 1959, and to record for Capitol (Judy in Love and the concert album Judy Garland at the Grove in 1958, The Letter in 1959). In November 1959, she was hospitalized for hepatitis and advised to give up performing, but she returned to action with a performance at the London Palladium in August 1960, followed by more European dates through December and a new Capitol album, Judy! That's Entertainment!, in October. She had a cameo in the film Pepe, released in December. There were more European shows in January and February 1961. Then, on April 23, 1961, she appeared at Carnegie Hall in New York, and the show was recorded for a double-LP set. Judy at Carnegie Hall was number one by September and a gold record within a year; it won Grammy Awards for Album of the Year and Best Solo Vocal Performance, Female.
In December 1961, she returned to films with a dramatic role in Judgment at Nuremberg that earned her an Academy Award nomination for Best Supporting Actress. She starred in her first television special in six years in February 1962, earning Emmy nominations for Program of the Year and Outstanding Program Achievement in the Field of Variety. Her next album, The Garland Touch, released in July, reached the Top 20. In September, she returned to performing in Las Vegas, spending six weeks at the Sahara, with additional dates through February 1963. November saw the release of Gay Purr-ee, an animated musical film for which she provided one of the character voices. In January 1963, she starred in the dramatic film A Child Is Waiting. There was another television special in March that brought an Emmy nomination for Outstanding Program Achievement in the Field of Music. Its success led CBS to offer her her own weekly variety series. In May, she portrayed a troubled singing star in I Could Go on Singing, her final film appearance. The soundtrack album reached the Top 40.
The Judy Garland Show premiered on Sunday, September 29, 1963, programmed directly opposite NBC's Western drama Bonanza, the second-highest rated show on television. As such, it never had a chance to become a success, but it ran for 26 weeks, through March 30, 1964, and earned an Emmy nomination for Outstanding Performance in a Variety or Musical Program or Series. Capitol released Just for Openers, an album of performances drawn from the series, on the day of the final broadcast.
In May 1964, Garland undertook a tour of the Far East marred by illness. In November, she returned to the London Palladium, performing with her 18-year-old daughter, Liza Minnelli. The performance was filmed and recorded. A special was broadcast on British television in December, and a double album, "Live" at the London Palladium, was released on Capitol in August 1965, spending several months in the charts. Garland toured the U.S. during 1965. She married actor Mark Herron on November 14, 1965, just after her divorce from Sid Luft became final. (She divorced Herron on April 11, 1967.) She was less active in 1966, restricting herself to a few live and television appearances. But she worked extensively in 1967, including a month-long return to the Palace that summer which produced a new live album on a new label, Judy Garland at Home at the Palace -- Opening Night, in the charts for ABC Records in September. There were a handful of dates in the U.S. in 1968, the last of them being a performance on July 20 at JFK Stadium in Philadelphia. On December 30, she opened a five-week engagement at the Talk of the Town nightclub in London. She married her fifth husband, nightclub manager Mickey Deans, on March 15, 1969. In March, she embarked on a trio of Scandinavian dates, the last of which was at the Falkoner Center in Copenhagen on March 25. Three months later, she died of an accidental overdose of barbiturates.
In the decades following her death, Judy Garland's troubled personal life, which contrasted so starkly with the exuberance and innocence of her film roles, has been the grist for numerous books and other accounts, to the point that her career is sometimes viewed more as an object lesson in Hollywood excess than as the remarkable string of multimedia accomplishments it was. But even the salacious and exploitative material is dependent on her star power and vocal pyrotechnics to have any appeal. Garland herself, who was so attracted to the backstage Hollywood story of A Star Is Born, performing it both on radio and later on film, certainly understood the attraction of a tragic image and may have used it deliberately. Nevertheless, the core of her significance as an artist remains her amazing voice and emotional commitment to her songs.
Garland's extensive work as a singer, including her appearances in films and on radio and television, in addition to live performances and studio recordings, makes her discography lengthy and chaotic. In the '90s, her soundtrack recordings saw reissue through Rhino Records, while MCA undertook a box set of her '30s and '40s Decca studio recordings (The Complete Decca Masters [Plus]) and Capitol compiled its own box of her '50s and '60s material, (The One & Only). Beyond these lies a vast and ever-increasing sea of quasi-legal releases that consumers should approach with caution. ~ William Ruhlmann, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 4064
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One of the most popular vocalists between the end of World War II and the rise of rock & roll in the mid-'50s, Perry Como perfected the post-big band approach to pop music by lending his own irresistible laidback singing -- influenced by Bing Crosby and Russ Columbo -- to the popular hits of the day on radio, TV, and LP. Both his early... [+] Read More
One of the most popular vocalists between the end of World War II and the rise of rock & roll in the mid-'50s, Perry Como perfected the post-big band approach to pop music by lending his own irresistible laidback singing -- influenced by Bing Crosby and Russ Columbo -- to the popular hits of the day on radio, TV, and LP. Both his early traditional crooning style plus his later relaxed manner and focus on novelty material were heavily indebted to Bing Crosby, though Como's appeal during the early '50s was virtually unrivalled. Born in 1912 in Canonsburg, Pennsylvania, Como was working as a singing barber in his hometown when he began touring with local bandleader Freddie Carlone at the age of 21. By the mid-'30s, he got his big break with Ted Weems & His Orchestra, who headed a popular radio show named Beat the Band. After the orchestra broke up in 1942, Como hosted a regional CBS radio show later called Supper Club. The show's success gained him a contract with RCA Victor Records by 1943, and he also began working in Hollywood with Something for the Boys.
Perry Como's real big break came with the 1945 film A Song to Remember. His rendition of "Till the End of Time" spent ten weeks at the top of the charts and became the biggest hit of the year. Como's dreamy baritone worked especially well on ballads, such as the additional 1945-47 number one hits "Prisoner of Love," "Surrender" and "Chi-Baba, Chi-Baba (My Bambino Go to Sleep)." Hired by NBC for another radio show in 1948, Como crossed over to the emerging medium of television that same year with the Chesterfield Supper Club. The show quickly took off, and eventually earned him four Emmy Awards. In the mid-'50s, Como began to indulge in light novelty fare, the titles often comprising nonsense words -- "Bibbidi-Bobbidi-Doo," "Hoop-Dee-Doo," "Pa-Paya Mama" and "Hot Diggity (Dog Ziggity Boom)." Though he often disliked the songs, they frequently became huge hits and made his reputation as one of the singers who defined the style of music later known as middle-of-the-road pop.
Como's breezy songs had worked well at the beginning of the decade, but his appeal began to wane towards the end of the 1950s, with the emergence of rock & roll and the wave of teen idols. His last number one hit, "Catch a Falling Star," came in 1958. Como was much less visible during the 1960s, but returned in 1970 with his first live show in over two decades, and a world tour followed; a single ("It's Impossible") even made the Top Ten in late 1970. Como continued to record LPs and occasional television specials while making scattered appearances during the 1970s and '80s. On May 12, 2001 Perry Como died in his sleep at his home in Florida. ~ John Bush, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 1984
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Enjoying great success in music, film, television and the stage, Dean Martin was less an entertainer than an icon, the eternal essence of cool. A member of the legendary Rat Pack, he lived and died the high life of booze, broads and bright lights, always projecting a sense of utter detachment and serenity; along with Frank Sinatra, Sammy Davis,... [+] Read More
Enjoying great success in music, film, television and the stage, Dean Martin was less an entertainer than an icon, the eternal essence of cool. A member of the legendary Rat Pack, he lived and died the high life of booze, broads and bright lights, always projecting a sense of utter detachment and serenity; along with Frank Sinatra, Sammy Davis, Jr. and the other chosen few who breathed the same rarefied air, Martin -- highball and cigarette always firmly in hand -- embodied the glorious excess of a world long gone, a world without rules or consequences. Throughout it all, he remained just outside the radar of understanding, the most distant star in the firmament; as his biographer Nick Tosches once noted, Martin was what the Italians called a menefreghista -- "one who simply does not give a f***."
Dino Paul Crocetti was born on June 7, 1917 in Steubenville, Ohio; the son of an immigrant barber, he spoke only Italian until the age of five, and at school was the target of much ridicule for his broken English. He ultimately quit school at the age of 16, going to work in the steel mills; as a boxer named Kid Crochet, he also fought a handful of amateur bouts, and later delivered bootleg liquor. After landing a job as a croupier in a local speakeasy, he made his first connections with the underworld, bringing him into contact with club owners all over the Midwest; initially rechristening himself Dean Martini, he had a nose job and set out to become a crooner, modeling himself after his acknowledged idol, Bing Crosby. Hired by bandleader Sammy Watkins, he dropped the second "i" from his stage name and eventually enjoyed minor success on the New York club circuit, winning over audiences with his loose, mellow vocal style.
Despite his good looks and easygoing charm, Martin's early years as an entertainer were largely unsuccessful. In 1946 -- the year he issued his first single, "Which Way Did My Heart Go?" -- he first met another struggling performer, a comic named Jerry Lewis; later that year, while Lewis was playing Atlantic City's 500 Club, another act abruptly quit the show, and the comedian suggested Martin to fill the void. Initially, the two performed separately, but one night they threw out their routines and teamed on-stage, a Mutt-and-Jeff combo whose wildly improvisational comedy quickly made them a star attraction along the Boardwalk. Within months, Martin and Lewis' salaries rocketed from $350 to $5000 a week, and by the end of the 1940s they were the most popular comedy duo in the nation. In 1949, they made their film debut in My Friend Irma, and their supporting work proved so popular with audiences that their roles were significantly expanded for the sequel, the following year's My Friend Irma Goes West.
With 1951's At War with the Army, Martin and Lewis earned their first star billing. The picture established the basic formula of all of their subsequent movie work, with Martin the suave straight man forced to suffer the bizarre antics of the manic fool Lewis. Critics often loathed the duo, but audiences couldn't get enough -- in all, they headlined 13 comedies for Paramount, among them 1952's Jumping Jacks, 1953's Scared Stiff and 1955's Artists and Models, a superior effort directed by Frank Tashlin. For 1956's Hollywood or Bust, Tashlin was again in the director's seat, but the movie was the team's last; after Martin and Lewis' relationship soured to the point where they were no longer even speaking to one another, they announced their breakup following the conclusion of their July 25, 1956 performance at the Copacabana, which celebrated to the day the tenth anniversary of their first show.
While most onlookers predicted continued superstardom for Lewis, the general consensus was that Martin would falter as a solo act; after all, outside of the 1953 smash "That's Amore," his solo singing career had never quite hit its stride, and in light of the continued ascendancy of rock & roll, his future looked dim. After suffering a failure with Ten Thousand Bedrooms, Martin's next move was to appear in the 1958 drama The Young Lions, starring alongside Montgomery Clift and Marlon Brando; that same year he also hosted The Dean Martin Show, the first of his color specials for NBC television. Both projects were successful, as were his live appearances at the Sands Hotel in Las Vegas; in particular, The Young Lions proved him a highly capable dramatic actor. Combined with another hit single, "Volare," Martin was everywhere that year, and with the continued success of his many TV specials, he effectively conquered movies, music, television and the stage all at the same time -- a claim no other entertainer, not even Sinatra, could make.
Even at the peak of his fame, however, Martin remained strangely contemptuous of stardom; for a man whose presence in the public eye was almost constant, he was utterly elusive, beyond the realm of mortal understanding. As his celebrity and power grew, he slipped even further away: in early 1959, his movie with Sinatra, Some Came Running, hit theaters, and with it came the dawning of the Rat Pack. Together, Sinatra and Martin -- in tandem with their acolytes Sammy Davis, Jr., Peter Lawford, Joey Bishop and Shirley MacLaine -- set new standards of celebrity hipsterdom, becoming avatars of the good life; flexing their muscle not only in show business but also in politics -- their ties to John F. Kennedy, Lawford's brother-in-law and an honorary Rat Packer code-named "Chicky Baby," are now legend -- they were the new American gods, and Las Vegas was their Mount Olympus.
Martin -- who continued to impress critics in films like the 1959 Howard Hawks classic Rio Bravo -- was Sinatra's right-hand man, the drunkest and most enigmatic member of the Rat Pack (so named in homage to the Holmby Hills Rat Pack, a bygone drinking circle that had once gathered around Humphrey Bogart); his allegiance to Sinatra was total, and Martin even left his longtime label Capitol to record for and financially back Sinatra's own Reprise imprint. In 1960, the Rat Pack starred in Ocean's Eleven, filming in Las Vegas during the day and then taking over the Sands each night; two years later, they reconvened for Sergeants 3. However, in late 1963 -- while filming the third Rat Pack opus, Robin and the Seven Hoods -- the news came that Kennedy had been assassinated; in effect, as America struggled to pick up the pieces, the Rat Pack's reign was over. With Vietnam and the civil rights movement looming on the horizon, there was no longer room for the boozy, happy-go-lucky lifestyle of before -- the fun was truly over.
Yet somehow Martin forged on; in 1964, at the peak of Beatlemania, he knocked the Fab Four out of the top spot on the charts with his single "Everybody Loves Somebody," and that same year starred in Billy Wilder's acrid Kiss Me, Stupid, a film which crystallized his persona as the lecherous but lovable lush. In 1965, after years of overtures from NBC, Martin finally agreed to host his own weekly variety series; The Dean Martin Show was an enormous hit, running for nine seasons before later spawning a number of hit Celebrity Roast specials during the 1970s. In films, he also remained successful, starring in a series of spy spoofs as secret agent Matt Helm. However, by the late '70s, Martin's health began to fail, and his career was primarily confined to casino club stages; in 1987, his son Dean Paul died in an airplane crash, a blow from which he never recovered. After bailing out of a 1988 reunion tour with Sinatra and Davis, Martin spent his final years in solitude; he died on Christmas Day, 1995. ~ Jason Ankeny, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 480
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The Ink Spots played a large role in pioneering the black vocal group-harmony genre, helping to pave the way for the doo wop explosion of the '50s. The quavering high tenor of Bill Kenny presaged hundreds of street-corner leads to come, and the sweet harmonies of Charlie Fuqua, Deek Watson, and bass Hoppy Jones (who died in 1944) backed him... [+] Read More
The Ink Spots played a large role in pioneering the black vocal group-harmony genre, helping to pave the way for the doo wop explosion of the '50s. The quavering high tenor of Bill Kenny presaged hundreds of street-corner leads to come, and the sweet harmonies of Charlie Fuqua, Deek Watson, and bass Hoppy Jones (who died in 1944) backed him flawlessly.
Kenny's impeccable diction and Jones's deep drawl were both prominent on the Ink Spots' first smash on Decca in 1939, the sentimental "If I Didn't Care." From then through 1951, the group was seldom absent from the pop charts, topping the lists with "We Three (My Echo, My Shadow, and Me)" (1940), "I'm Making Believe" and "Into Each Life Some Rain Must Fall" (both in 1944), and "The Gypsy" and "To Each His Own" (both in 1946).
Watson eventually split to form his own group, the Brown Dots, and appeared in numerous low-budget film musicals, while Kenny attempted a solo career, notching a solo hit in 1951 with the uplifting "It Is No Secret." Countless groups masquerading as the Ink Spots have thrived across the nation since the '50s. ~ Bill Dahl, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 992
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There have been few jazz musicians as consistently controversial as Stan Kenton. Dismissed by purists of various genres while loved by many others, Kenton ranks up there with Chet Baker and Sun Ra as jazz's top cult figure. He led a succession of highly original bands that often emphasized emotion, power, and advanced harmonies over swing, and... [+] Read More
There have been few jazz musicians as consistently controversial as Stan Kenton. Dismissed by purists of various genres while loved by many others, Kenton ranks up there with Chet Baker and Sun Ra as jazz's top cult figure. He led a succession of highly original bands that often emphasized emotion, power, and advanced harmonies over swing, and this upset listeners who felt that all big bands should aim to sound like Count Basie. Kenton always had a different vision.
Kenton played in the 1930s in the dance bands of Vido Musso and Gus Arnheim, but he was born to be a leader. In 1941 he formed his first orchestra, which later was named after his theme song "Artistry in Rhythm." A decent Earl Hines-influenced pianist, Kenton was much more important in the early days as an arranger and inspiration for his loyal sidemen. Although there were no major names in his first band (bassist Howard Rumsey and trumpeter Chico Alvarez come the closest), Kenton spent the summer of 1941 playing regularly before a very appreciative audience at the Rendezvous Ballroom in Balboa Beach, CA. Influenced by Jimmie Lunceford (who, like Kenton, enjoyed high-note trumpeters and thick-toned tenors), the Stan Kenton Orchestra struggled a bit after its initial success. Its Decca recordings were not big sellers and a stint as Bob Hope's backup radio band was an unhappy experience; Les Brown permanently took Kenton's place.
By late 1943 with a Capitol contract, a popular record in "Eager Beaver," and growing recognition, the Stan Kenton Orchestra was gradually catching on. Its soloists during the war years included Art Pepper, briefly Stan Getz, altoist Boots Mussulli, and singer Anita O'Day. By 1945 the band had evolved quite a bit. Pete Rugolo became the chief arranger (extending Kenton's ideas), Bob Cooper and Vido Musso offered very different tenor styles, and June Christy was Kenton's new singer; her popular hits (including "Tampico" and "Across the Alley From the Alamo") made it possible for Kenton to finance his more ambitious projects. Calling his music "progressive jazz," Kenton sought to lead a concert orchestra as opposed to a dance band at a time when most big bands were starting to break up. By 1947 Kai Winding was greatly influencing the sound of Kenton's trombonists, the trumpet section included such screamers as Buddy Childers, Ray Wetzel, and Al Porcino, Jack Costanzo's bongos were bringing Latin rhythms into Kenton's sound, and a riotous version of "The Peanut Vendor" contrasted with the somber "Elegy for Alto." Kenton had succeeded in forming a radical and very original band that gained its own audience.
In 1949 Kenton took a year off. In 1950 he put together his most advanced band, the 39-piece Innovations in Modern Music Orchestra that included 16 strings, a woodwind section, and two French horns. Its music ranged from the unique and very dense modern classical charts of Bob Graettinger to works that somehow swung despite the weight. Such major players as Maynard Ferguson (whose high-note acrobatics set new standards), Shorty Rogers, Milt Bernhart, John Graas, Art Pepper, Bud Shank, Bob Cooper, Laurindo Almeida, Shelly Manne, and June Christy were part of this remarkable project, but from a commercial standpoint, it was really impossible. Kenton managed two tours during 1950-1951 but soon reverted to his usual 19-piece lineup. Then quite unexpectedly, Kenton went through a swinging period. The charts of such arrangers as Shorty Rogers, Gerry Mulligan, Lennie Niehaus, Marty Paich, Johnny Richards, and particularly Bill Holman and Bill Russo began to dominate the repertoire. Such talented players (in addition to the ones already named) as Lee Konitz, Conte Candoli, Sal Salvador, Stan Levey, Frank Rosolino, Richie Kamuca, Zoot Sims, Sam Noto, Bill Perkins, Charlie Mariano, Mel Lewis, Pete Candoli, Lucky Thompson, Carl Fontana, Pepper Adams, and Jack Sheldon made strong contributions. The music was never predictable and could get quite bombastic, but it managed to swing while still keeping the Kenton sound.
Kenton's last successful experiment was his mellophonium band of 1960-1963. Despite the difficulties in keeping the four mellophoniums (which formed their own separate section) in tune, this particular Kenton orchestra had its exciting moments. However from 1963 on, the flavor of the Kenton big band began to change. Rather than using talented soloists, Kenton emphasized relatively inexpensive youth at the cost of originality. While the arrangements (including those of Hank Levy) continued to be quite challenging, after Gabe Baltazar's "graduation" in 1965, there were few new important Kenton alumni (other than Peter Erskine and Tim Hagans). For many of the young players, touring with Kenton would be the high point of their careers rather than just an important early step. Kenton Plays Wagner (1964) was an important project, but by then the bandleader's attention was on jazz education. By conducting a countless number of clinics and making his charts available to college and high-school stage bands, Kenton insured that there would be many bands that sounded like his, and the inverse result was that his own young orchestra sounded like a professional college band! Kenton continued leading and touring with his big band up until his death in 1979.
Kenton recorded for Capitol for 25 years (1943-1968) and in the 1970s formed his Creative World label to reissue most of his Capitol output and record his current band. In recent times Capitol has begun reissuing Kenton's legacy on CD and there have been two impressive Mosaic box sets. ~ Scott Yanow, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 48
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Definitely the most talented and arguably the all-around best jazz vocal group of all time, the Boswell Sisters parlayed their New Orleans upbringing into a swinging delivery that featured not only impossibly close harmonies, but countless maneuvers of vocal gymnastics rarely equalled on record. Connee (sometimes Connie), Helvetia (Vet), and... [+] Read More
Definitely the most talented and arguably the all-around best jazz vocal group of all time, the Boswell Sisters parlayed their New Orleans upbringing into a swinging delivery that featured not only impossibly close harmonies, but countless maneuvers of vocal gymnastics rarely equalled on record. Connee (sometimes Connie), Helvetia (Vet), and Martha Boswell grew up singing together, soaking up Southern gospel and blues through close contact with the black community. They first performed at vaudeville houses around the New Orleans area, and began appearing on local radio by 1925. At first, they played strictly instrumentals, with Connee on cello, saxophone and guitar; Martha on piano; and Vet on violin, banjo, and guitar. The station began featuring them in a vocal setting as well, with Connee taking the lead on many songs (despite a childhood accident that had crippled her and left her in a wheelchair).
Word of their incredible vocal talents led to appearances in Chicago and New York, and the Boswell Sisters began recording in 1930 for Victor. By the following year, they'd moved to Brunswick and reached the Hit Parade with "When I Take My Sugar to Tea," taken from the Marx Brothers' film Monkey Business and featuring the Dorsey Brothers Orchestra in support. The trio continued to work with many of the best jazzmen in the field (including Eddie Lang, Joe Venuti, and Bunny Berigan), and appeared in the 1932 film extravaganza The Big Broadcast with Bing Crosby and Cab Calloway. The Boswell Sisters hit the top of the Hit Parade only once, in 1935, with "The Object of My Affection" from the film Times Square Lady. One year later however, both Martha and Vet retired from the group in favor of married life.
Connee had already made a few solo sides for Brunswick as early as 1932, and she continued her solo career in earnest after the Boswell Sisters parted. She hit number one twice during the late '30s, with the Bing Crosby duets "Bob White (Whatcha Gonna Swing Tonight?)" and "Alexander's Ragtime Band," and continued recording into the '60s. ~ John Bush, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 992
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An astonishing vocal group that grew into one of the longest-lasting oldies acts in American popular music, the Mills Brothers quickly moved from novelty wonders to pop successes and continued amazing audiences for decades. Originally billed as "Four Boys and a Guitar," the group's early records came complete with a note assuring listeners that... [+] Read More
An astonishing vocal group that grew into one of the longest-lasting oldies acts in American popular music, the Mills Brothers quickly moved from novelty wonders to pop successes and continued amazing audiences for decades. Originally billed as "Four Boys and a Guitar," the group's early records came complete with a note assuring listeners that the only musical instrument they were hearing was a guitar. The caution was understandable, since the Mills Brothers were so proficient at recreating trumpets, trombones, and saxophones with only their voices that early singles like "Tiger Rag" and "St. Louis Blues" sounded closer to a hot Dixieland combo than a vocal group. And even after the novelty wore off, the group's intricate harmonies continued charming audiences for decades.
The four brothers were all born in Piqua, Ohio -- John, Jr. in 1910, Herbert in 1912, Harry in 1913, and Donald in 1915. Their father owned a barber shop and founded a barbershop quartet as well, called the Four Kings of Harmony. His sons obviously learned their close harmonies first-hand, and began performing around the area. At one show, Harry Mills forgot his kazoo -- the group's usual accompaniment -- and ended up trying to emulate the instrument by cupping his hand over his mouth. The brothers were surprised to hear the sound of a trumpet proceeding from Harry's mouth, so they began to work the novelty into their act, with John taking tuba, Donald trombone, and Herbert a second trumpet. The act was perfect for vaudeville, and the Mills Brothers also began broadcasting over a Cincinnati radio station during the late '20s.
After moving to New York, the group became a sensation and hit it big during 1931 and early 1932 with the singles "Tiger Rag" and "Dinah" (the latter a duet with Bing Crosby). Dumb-founded listeners hardly believed the notice accompanying the records: "No musical instruments or mechanical devices used on this recording other than one guitar." Though the primitive audio of the era lent them a bit of latitude, the Mills Brothers indeed sounded exactly like they'd been backed by a small studio band. (It was, in essence, the flip side of early material by Duke Ellington's Orchestra, on which the plunger mutes of Bubber Miley and Tricky Sam Nanton resulted in horns sounding exactly like voices.)
The exposure continued during 1932, with appearances in the film The Big Broadcast and more hits including "St. Louis Blues" and "Bugle Call Rag." John, Jr.'s sudden death in 1936 was a huge blow to the group, but father John, Sr. took over as bass singer and Bernard Addison became the group's guitarist. Still, the novelty appeared to wear off by the late '30s; despite duets with Ella Fitzgerald ("Dedicated to You") and Louis Armstrong ("Darling Nelly Gray"), the Mills Brothers' records weren't performing as well as they had earlier in the decade. All that changed in 1943 with the release of "Paper Doll," a sweet, intimate ballad that became one of the biggest hits of the decade -- twelve weeks on the top of the charts, and six million records sold (plus sheet music). The group made appearances in several movies during the early '40s, and hit number one again in 1944 with "You'll Always Hurt the One You Love."
The influence of middle-of-the-road pop slowly crept into their material from the 1940s; by the end of the decade the Mills Brothers began recording with traditional orchestras (usually conducted by Sy Oliver, Hal McIntyre or Sonny Burke). In 1952, "The Glow Worm" became their last number one hit. The group soldiered on during the '50s, though John, Sr. semi-permanently retired from the group in 1956. A move from Decca to Dot brought a moderate 1958 hit, a cover of the Silhouettes' "Get a Job" that made explicit the considerable influence on doo-wop exerted by early Mills Brothers records. As a trio, Herbert, Harry and Donald continued performing on the oldies circuit until Harry's death in 1982, and Herbert's in 1988. The last surviving sibling, Donald, began performing with the third generation of the family -- his son, John II -- until his own death in 1999. ~ John Bush, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 1008
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Born into poverty in St. Louis, dancer and singer Josephine Baker progressed from vaudeville to New York theater to the Parisian cabaret scene and became the toast of Europe before the age of 21. Though her later career wasn't quite able to handle such an early peak, Baker spent much of her life working tirelessly against prejudice, during World... [+] Read More
Born into poverty in St. Louis, dancer and singer Josephine Baker progressed from vaudeville to New York theater to the Parisian cabaret scene and became the toast of Europe before the age of 21. Though her later career wasn't quite able to handle such an early peak, Baker spent much of her life working tirelessly against prejudice, during World War II in Europe and the civil-rights era in America. She's still one of the most famous expatriates in American history, perfectly epitomizing the hedonistic abandon of the Jazz Age in Paris.
Born Freda Carson on June 3, 1906, Baker spent a hardscrabble childhood in the slums of St. Louis. After a successful audition at a local vaudeville theater, she left home at the age of 13, waitressing most of the time and working on the stage whenever she could get there. By 1920, she was married and divorced and married again -- the second time to Willie Baker, from whom she took the name she used on stage. Baker finally caught her big break one year later while dancing in the chorus for Noble Sissle and Eubie Blake's all-black revue Shuffle Along. A frenetic dancer and relentless onstage clown, she quickly attracted notice and was tapped for a bigger part in another Sissle/Blake production, 1924's Chocolate Dandies. The show made her a star in New York and she became big in Harlem as well with performances at the Cotton Club and the Plantation Club, among others. In 1925, she moved to Paris with the American production La Revue Nègre. Baker's exotic dancing, uninhibited sexuality, and negligible attire -- which included a skirt of feathers -- suited the continent much more than America, and she became an overnight sensation. Soon, she'd opened her own club (Chez Josephine) and starred in her first movie, the naturally exotic 1927 film La Sirene des Tropiques.
During the early '30s, Josephine Baker made her first studio recordings, though her extroverted on-stage personality froze slightly with an audience of engineers. She starred in two more films, Zou Zou and Princess Tam-Tam, before returning to America in 1936 to star in Ziegfeld's Follies with Bob Hope and Fanny Brice. The act floundered, however, as Baker was subjected to a double dose of discrimination; cultural conservatives railed against the show's promiscuity, while many hotels and restaurants refused entrance to the star of the show. When Brice fell ill, temporarily halting the revue, Baker broke her contract and fled to Paris. There she became a naturalized French citizen after marrying the sugar magnate Jean Lion, though his status as a French Jew exposed the couple to additional discrimination when the Nazis invaded two years later.
Perhaps more eager than most to prevent the oppressive Nazi regime sweeping Europe, Baker joined the French Resistance at an early date and worked throughout World War II to help the Allies. Besides acting as a funnel to get important documents out of France several times, she worked as a sub-lieutenant in the French Air Force's Women's Auxiliary, volunteered for the Red Cross to assist Belgian refugees streaming into France, and undoubtedly boosted troop morale by performing across Northern Africa. After the war, Baker earned several commendations (including the Medal of Resistance and the Cross of the Legion of Honor) and married yet again, to a bandleader named Jo Bouillon. Her return to active entertainment was a bit of a struggle though, and she worked the cabaret circuit in Paris for several years before performing in Cuba and returning to America yet again. During the early '50s, Baker's fight to spread the gospel of civil rights made headlines when she performed to integrated audiences at a nightclub in Miami and cancelled an Atlanta performance after being refused admission to a hotel. She also drew attention making waves in the notoriously segregated entertainment mecca of Las Vegas before mounting a worldwide farewell tour during the early '50s.
Though she was back on stage by 1959, Josephine Baker spent much of the late '50s and early '60s raising her adopted children, an ethnically diverse clan of a dozen children she named the "rainbow tribe." (In fact, her continual returns to performance during the era were in part a response to the financial burdens of raising so many children.) She participated in the 1963 civil-rights march on Washington and gave a series of four concerts at Carnegie Hall to raise funds for the cause. After suffering a heart attack in 1964, however, her performance career practically ended, except for a brief comeback just before her death from a stroke in 1975. ~ John Bush, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 992
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The Andrews Sisters were the most successful female vocal group of the first half of the 20th century in the U.S. One source lists 113 singles chart entries by the trio between 1938-1951, an average of more than eight per year. They boasted an exuberant, close-harmony style well-suited to cheery novelty songs, and their intricate vocal... [+] Read More
The Andrews Sisters were the most successful female vocal group of the first half of the 20th century in the U.S. One source lists 113 singles chart entries by the trio between 1938-1951, an average of more than eight per year. They boasted an exuberant, close-harmony style well-suited to cheery novelty songs, and their intricate vocal arrangements and rhythmic ability mirrored the sound of the swing bands that constituted their chief competition in their heyday. But, in a sense, they had no competition. No other female vocal group, and very few male ones, came close to their success from the late '30s to the early '50s, an era when first big bands and then solo singers dominated popular music. Their reign is all the more remarkable given that they swam against the current of contemporary music trends while making it seem effortless. For the most part, the Andrews Sisters did not focus on romantic material, but rather sang upbeat songs, often borrowed from other cultures. Although they were well-established by the time the U.S. entered World War II, their optimistic tenor made them perfect boosters of the war effort, and in later years they remained closely identified with the war years, remembered as wearing military uniforms and singing their signature song, "Boogie Woogie Bugle Boy."
The Andrews Sisters -- LaVerne Andrews (born July 6, 1911; died May 8, 1967), Maxene Andrews (born January 3, 1916; died October 21, 1995), and Patty Andrews (born February 16, 1918) -- were each born in Mound, MN, the children of a Greek immigrant father and a Norwegian immigrant mother who ran a restaurant in Minneapolis. They turned to singing as children, entertaining on local radio and in amateur revues, with Patty taking the lead, Maxene singing high harmony, and LaVerne low. They were particularly inspired by the Boswell Sisters, who scored a number of hits in the early '30s. Their first professional engagement came in December 1932 at the Orpheum Theatre in Minneapolis. In November 1933, they joined a vaudeville troupe for six months, traveling around the Midwest. Afterwards, their parents closed the restaurant to devote themselves to their career, and they spent the years 1934-1937 touring with bands. In 1937, they went to New York as part of Leon Belasco's band and while there made their first recordings, albeit under Belasco's name, for Brunswick Records. After the Belasco band broke up that summer, they were signed to Decca Records on their own. Decca had recorded the Boswell Sisters successfully until they broke up in 1935, and the label was on the lookout for a similar group.
The Andrews Sisters' second Decca single, "Bei Mir Bist Du Schoen," an Anglicized version of a song from the Yiddish theater, became a massive hit. The song made its first appearance on Your Hit Parade on January 8, 1938, and rose to number one two weeks later. The hit established the trio, which began to get extensive radio and personal-appearance work. They returned to the hit parade in April 1939 with their recording of the novelty song "Hold Tight, Hold Tight." In 1940, signed to Universal Pictures, they made the first of a series of low-budget "B" movies, Argentine Nights. (Between 1940-1948, they appeared in 17 films, including lending their voices to two animated features for Disney.) That year, they scored a Top Ten hit on the Billboard chart with "Ferryboat Serenade (La Piccinina)." "I'll Be With You in Apple Blossom Time," their Top Ten hit of 1941, was featured in their film Buck Privates. Also during the year, they reached the Top 20 with "Boogie Woogie Bugle Boy."
With the U.S. entry into World War II, the Andrews Sisters began appearing frequently at military bases; they later traveled overseas to entertain the troops. Although their recording activity was slowed by the musicians' union strike that began in 1942, they had another Top Ten hit that year with "Strip Polka." When Decca settled with the union in 1943, they embarked on a series of hits, many of them with Bing Crosby. The million-selling "Pistol Packin' Mama," backed with "Vict'ry Polka," was a two-sided hit with Crosby in 1943-1944, then they topped the charts with their own "Shoo-Shoo Baby" in January 1944. Before the end of the year, they and Crosby had gone to number one with the double-sided hit "(There'll Be A) Hot Time in the Town of Berlin (When the Yanks Go Marching In)" and "Is You Is or Is You Ain't (Ma' Baby)," as well as Cole Porter's "Don't Fence Me In."
The Andrews Sisters premiered their own weekly network radio show, Eight-to-the-Bar Ranch, at the end of 1944 as the hits continued with the calypso song "Rum and Coca-Cola," which went to number one in February 1945, becoming the biggest hit of that year. The group's other Top Ten hits for 1945 were "Ac-Cent-Tchu-Ate the Positive" and "Along the Navajo Trail," both with Crosby, and "The Blond Sailor." 1946 found them in the Top Ten with the gold-selling "South America, Take It Away" (with Crosby), "Rumors Are Flying" (accompanied by guitarist Les Paul), and "Christmas Island" (backed by Guy Lombardo & His Royal Canadians). 1947 brought the Top Ten hits "Tallahassee" (with Crosby), "Near You," and "The Lady From 29 Palms." And in 1948, when they were ranked as the top recording artists of the year, the Andrews Sisters reached the Top Ten with "Civilization (Bongo, Bongo, Bongo)" (with Danny Kaye), "Toolie Oolie Doolie (The Yodel Polka)," "Underneath the Arches," and "You Call Everybody Darling."
The Andrews Sisters cooled as a recording act after 1948, as they began to focus on nightclub performing and Patty Andrews became more of a focus of the group as well as launching a concurrent solo recording career. Their next big hit was "I Can Dream, Can't I?," a gold single on which Patty sang lead with her sisters providing backup; it hit number one in January 1950. "I Wanna Be Loved," with the same sort of arrangement, also topped the charts in June. The trio's last Top Ten hit was "Sparrow in the Tree Top," another pairing with Bing Crosby, in 1951. They continued to record for Decca through the end of 1953, at which point Patty Andrews left the group for a solo career while Maxene and LaVerne Andrews continued to perform as the Andrews Sisters. In June 1956, the three reconciled. They recorded for Capitol Records (1956-1959) and Dot Records (1961-1967) without commercial impact. In the fall of 1966, LaVerne Andrews retired from performing due to illness and was replaced by Joyce de Young; she died of cancer the following spring. The Andrews Sisters made their final appearance as a trio in July 1968, after which Maxene Andrews took a job at Lake Tahoe Paradise College of Fine Arts. Patty Andrews returned to her solo career and in 1971 appeared in a musical revue called Victory Canteen in Los Angeles. The revue was then expanded into a book musical and Maxene Andrews was brought in for what became Over Here!. Meanwhile, Bette Midler revived "Boogie Woogie Bugle Boy" for a Top Ten hit in 1973, bringing two Andrews Sisters compilation albums (The Best of the Andrews Sisters on MCA and Boogie Woogie Bugle Girls on Paramount) into the charts. Over Here! opened on Broadway on March 6, 1974. Its cast album charted, as did another Andrews Sisters compilation (In the Mood on Paramount).
Maxene and Patty Andrews had a falling out with the producers of Over Here!, and with each other, leading to the show's premature closing on January 4, 1975, and the cancellation of a national tour. The two sisters remained estranged from then on, although they made occasional joint appearances and Patty visited the hospital when Maxene suffered a heart attack in 1982. Both sisters maintained solo careers into the 1990s. Maxene Andrews was on a vacation from her role in the off-Broadway musical Swingtime Canteen when she suffered another heart attack and died in the fall of 1995. ~ William Ruhlmann, All Music Guide
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Genre: Vocal-Easy Listening
Decades: 896
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Recognized throughout much of his career as "the world's greatest living entertainer," Sammy Davis, Jr. was a remarkably popular and versatile performer equally adept at acting, singing, dancing and impersonations -- in short, a variety artist in the classic tradition. A member of the famed Rat Pack, he was among the very first African-American... [+] Read More
Recognized throughout much of his career as "the world's greatest living entertainer," Sammy Davis, Jr. was a remarkably popular and versatile performer equally adept at acting, singing, dancing and impersonations -- in short, a variety artist in the classic tradition. A member of the famed Rat Pack, he was among the very first African-American talents to find favor with audiences on both sides of the color barrier, and remains a perennial icon of cool. Born in Harlem on December 8, 1925, Davis made his stage debut at the age of three performing with Holiday in Dixieland, a black vaudeville troupe featuring his father and helmed by his de facto uncle, Will Mastin; dubbed "Silent Sam, the Dancing Midget," he proved phenomenally popular with audiences and the act was soon renamed Will Mastin's Gang Featuring Little Sammy. At the age of seven Davis made his film debut in the legendary musical short Rufus Jones for President, and later received tap-dancing lessons courtesy of the great Bill "Bojangles" Robinson. In 1941, the Mastin Gang opened for Tommy Dorsey at Detroit's Michigan Theater; there Davis first met Dorsey vocalist Frank Sinatra -- the beginning of a lifelong friendship.
In 1943 Davis joined the U.S. Army, where he endured a constant battle with racism; upon his return from duty, the group was renamed the Will Mastin Trio. Three years later they opened for Mickey Rooney, who encouraged Davis to begin including his many impersonations in the Trio's act; where previously they had exclusively performed music, the addition of comedy brought new life to the group, and by the beginning of the next decade they were headlining venues including New York's Capitol club and Ciro's in Hollywood. In 1952, at the invitation of Sinatra, they also played the newly-integrated Copacabana. In 1954 Davis signed to Decca, topping the charts with his debut LP Starring Sammy Davis, Jr.; that same year he lost his left eye in a much-publicized auto accident, but upon returning to the stage in early 1955 was greeted with even greater enthusiasm than before on the strength of a series of hit singles including "Something's Gotta Give," "Love Me or Leave Me" and "That Old Black Magic." A year later Davis made his Broadway debut in the musical Mr. Wonderful, starring in the show for over 400 performances and launching a hit with the song "Too Close for Comfort."
In 1958 Davis resumed his film career after a quarter-century layoff with Anna Lucasta, followed a year later by his acclaimed turn in Porgy and Bess. Also in 1959 he became a charter member of the Rat Pack, a loose confederation of Sinatra associates (also including Dean Martin, Peter Lawford and Joey Bishop) which began regularly performing together at the Sands casino in Las Vegas. In 1960 they made Ocean's Eleven, the first in a series of hip and highly self-referential Rat Pack films; although Davis' inclusion in the group was perceived in many quarters as an egalitarian move, many black audiences felt he was simply a token -- the butt of subtly racist jokes -- and declared him a sell-out. His earlier conversion to Judaism had been met with considerable controversy within the African-American community as well; still, nothing compared to the public outcry over his 1960 marriage to Swedish actress May Britt, which even elicited death threats. Still, Davis remained a major star, appearing in the 1962 Rat Pack film Sergeants 3 and scoring a major hit with "What Kind of Fool Am I?" Two years later he returned to Broadway in the long-running Golden Boy, scoring a Tony nomination for his performance.
In 1964, the third Rat Pack film, Robin and the Seven Hoods, was released; two years later, in the wake of the publication of his autobiography Yes I Can, Davis was also among a number of musical luminaries, including Sinatra and Louis Armstrong, who co-starred in the jazz drama A Man Called Adam. In 1968 he and Lawford teamed as Salt and Pepper; the picture was a hit, and a sequel, One More Time, appeared in 1970. In between the two Davis delivered one of his most memorable screen performances in Bob Fosse's 1969 musical Sweet Charity; he also appeared in a number of television features, including The Pigeon, The Trackers and Poor Devil. In 1972 Davis topped the pop charts with "The Candy Man," from the film Willy Wonka and the Chocolate Factory; from 1975 to 1977, he hosted his own syndicated variety show, Sammy and Company, and in 1978 starred in the film Sammy Stops the World. However, in the late 1970s and through much of the 1980s Davis's profile diminished, and he was primarily confined to the casino circuit, with a 1988 comeback tour he mounted with Sinatra and Martin largely unsuccessful. His appearance in the 1989 film Tap was much acclaimed, but it was to be his last screen performance -- a lifelong smoker, Davis died of cancer on May 16, 1990. ~ Jason Ankeny, All Music Guide
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