Thanks again to Seax for another suggestion – an opportunity to hear and appreciate some music I’d never heard before.
Some more experimenting with video editing and special effects. Well within the limits of the Windows 10 Video Editor. It just about does the job, but is a little flaky on my somewhat cheap laptop.
Mon Homme (“My Man”) by Mistinguett … From 1938. I believe there are many cuts of this track, this one I found most pleasing to my ears.
It’s in French, so sorry for everybody who doesn’t understand the lyrics – like I said before about the song which had been culturally appropriated by identity politicians – just enjoy the art, and stop taking yourself so seriously.
“Mon Homme” (French pronunciation: [mɔ.n‿ɔm]) is a popular song also known by its English translation, “My Man”. The song was originally composed by Maurice Yvain with French lyrics by Jacques-Charles (Jacques Mardochée Charles) and Albert Willemetz.
Mon Homme was copyrighted in France by Maurice Yvain, Albert Willemetz and Jacques-Charles (Jacques Mardochée Charles) in 1920 and was introduced to Parisian audiences in the revue “Paris qui Jazz” at the Casino de Paris. The song was performed by revue star Mistinguett and her stage partner American dancer Harry Pilcer.
“My Girl” is a soul music song recorded by the Temptations for the Gordy (Motown) record label. Written and produced by the Miracles members Smokey Robinson and Ronald White, the song became the Temptations’ first U.S. number-one single, and is today their signature song. Robinson’s inspiration for writing this song was his wife, Miracles member Claudette Rogers Robinson. The song was included on the Temptations 1965 album The Temptations Sing Smokey. In 2018, it was selected for preservation in the National Recording Registry by the Library of Congress as being “culturally, historically, or artistically significant.
This time I decided to do my own video. Originally a Temptations song – Maybe I’ll post their version later.
I made the video myself – One of my first attempts at video editing, using the built in software in Windows 10 “Video Editor” – it’s OK, but I did have some issues (don’t use too many effects on one clip). Often other videos aren’t that well made – So I thought I’d try my hand at making my own. You can be the judge of whether I made a good job or not !
I like the idea of using the creative tools that are to hand for free, rather than forking out cash that I don’t have. And simple is good these days.
For me I like the upbeat sound, and the modern’ish take on vintage music. The lyrics are a bit trashy, but that only adds to the appeal IMO (sorry puritanists and snowflakes).
“Candyman” is a song recorded by American singer Christina Aguilera for the second disc of her fifth studio album, Back to Basics (2006). She co-wrote the song with its producer Linda Perry. “Candyman” was planned to be released as the second single from Back to Basics; however, RCA Records decided to release “Hurt” instead. Subsequently, the track was released in February 2007 as the third single from the album.
Christina Aguilera co-wrote “Candyman” with its producer Linda Perry. Jim McMillen played the trombone, while Ray Herrmann and Glen Berger performed the saxophone, and Chris Tedesco played the trumpet. Perry also played the piano, mellotron, bass, and served as the musical director. Nathan Wetherington played the drums. According to Aguilera and Perry, the song was a tribute to The Andrews Sisters’ 1941 song “Boogie Woogie Bugle Boy”
Another double musical whammy, straight from the Don Charisma playlist. Otis wrote the song, and later became a much bigger hit for Aretha.
Let me know in the comments which one you like best.
“Respect” is a song written and originally released by American recording artist Otis Redding in 1965. The song became a 1967 hit and signature song for soul singer Aretha Franklin. The music in the two versions is significantly different, and through a few changes in the lyrics, the stories told by the songs have a different flavor. Redding’s version is a plea from a desperate man, who will give his woman anything she wants. He won’t care if she does him wrong, as long as he gets his due respect when he brings money home. However, Franklin’s version is a declaration from a strong, confident woman, who knows that she has everything her man wants. She never does him wrong, and demands his “respect”. Franklin’s version adds the “R-E-S-P-E-C-T” chorus and the backup singers’ refrain of “Sock it to me, sock it to me, sock it to me…”.
Otis and Carla duet, fun, lighthearted sweet soul music.
Otis Redding recorded “Tramp” as a duet with Carla Thomas for Stax Records. The song was first included on the joint album by Redding and Thomas, King & Queen (1967). Described as “playful” by Dahl, it was released as a single only months after Fulson’s. Credited to “Otis and Carla”, the duo’s version outsold Fulson’s original and peaked at number two on Billboard’s R&B and number 26 on the Hot 100 charts.
Otis’ probably definitive and best known record. RIP Otis Redding, this was his last record.
“(Sittin’ On) The Dock of the Bay” is a song co-written by soul singer Otis Redding and guitarist Steve Cropper. It was recorded by Redding twice in 1967, including once just days before his death in a plane crash. The song was released on Stax Records’ Volt label in 1968, becoming the first posthumous single to top the charts in the US. It reached number 3 on the UK Singles Chart.
Redding started writing the lyrics to the song in August 1967, while sitting on a rented houseboat in Sausalito, California. He completed the song with the help of Cropper, who was a Stax producer and the guitarist for Booker T. & the M.G.’s. The song features whistling and sounds of waves crashing on a shore.
One of the best Aretha Franklin tracks ever made, another favourite of mine … 144 million views on YouTube, so I guess it’s quite popular with others too !
The second version is the “official” one (I think) … I couldn’t tell any difference in the audio between the two, and the first one, has some great photos of Aretha. So, I included both for you, you decide which one you want to listen to.
“I Say a Little Prayer” also returned to the Pop & R&B Top Ten in the fall of 1968 via a recording by Aretha Franklin taken from her 1968 album Aretha Now. Franklin and background vocalists The Sweet Inspirations were singing the song for fun while rehearsing the songs intended for the album when the viability of their recording “I Say a Little Prayer” became apparent, significantly re-invented from the format of the Dionne Warwick original via the prominence of Clayton Ivey’s piano work. Similar to the history of Warwick’s double-sided hit, the Aretha Franklin version was intended for the B-side of the July 1968 single release “The House That Jack Built” but began to accrue its own airplay that August. In October 1968 “I Say a Little Prayer” reached number ten on the Hot 100 and number three on the R&B singles chart. The same month the single was certified Gold by the RIAA. “Prayer” became Franklin’s ninth and last consecutive Hot 100 top 10 hit on the Atlantic label. Franklin’s “Prayer” has a special significance in her UK career, as with its September 1968 No. 4 peak it became Franklin’s biggest UK hit; subsequently Franklin has surpassed that track’s UK peak only with her No. 1 collaboration with George Michael, “I Knew You Were Waiting (For Me)”.
Another “Double Whammy” from Don Charisma – old and new versions, 1937 Andrews Sisters, and 2014 The Hot Sardines. The Andrews Sisters’ version was their first number one hit. I believe the original title is Yiddish, and there has also been German titled versions (see Wikipedia quote below).
In English it means – “To Me You’re Beautiful”
I’m not quite sure what the genre is called, roughly I’d say “Swing”, in both cases, but feel free to correct me if I’m wrong. Categorising music isn’t my strong suit.
2014 – The Hot Sardines – “Bei Mir Bist Du Schoen”
“Bei Mir Bistu Shein” (Yiddish: בײַ מיר ביסטו שיין, [ˌbaj ˈmir ˌbistu ˈʃejn], “To Me You’re Beautiful”) is a popular Yiddish song written by Jacob Jacobs (lyricist) and Sholom Secunda (composer) for a 1932 Yiddish language comedy musical, I Would If I Could (in Yiddish, Men Ken Lebn Nor Men Lost Nisht, “You could live, but they don’t let you”), which closed after one season (at the Parkway Theatre in Brooklyn, New York City). The score for the song transcribed the Yiddish title as “Bay Mir Bistu Sheyn”. The original Yiddish version of the song (in C minor) is a dialogue between two lovers. Five years after its 1932 composition, the song became a worldwide hit when recorded under a Germanized title as “Bei Mir Bist Du Schön” by The Andrews Sisters in November 1937.
Old and new … I was introduced to this tune, by “Shaft” in some sweaty dance club in the wee hours of the morning, after likely consuming too much alcohol. Might have been trying to attract girls, badly – should probably stick with what I’m good at, like someone once told me.
I’ve since discovered the Dean Martin version from 1954, which in some ways I like more.
The 1999 version is an upbeat clubby trashy EDM tune. The 1954 version is soothing and, more easy listening.
1954 – Dean Martin Version
1999 – Shaft Version
“¿Quién será?” is a bolero-mambo written by Mexican composer Luis Demetrio, who sold the rights to fellow songwriter Pablo Beltrán Ruiz. Beltrán recorded the song for the first time with his orchestra in 1953. Pedro Infante, for whom the song was written, recorded it in 1954.
Norman Gimbel took the song, removed the somewhat melancholy Spanish lyrics about a man wondering if he shall ever love again, and wrote brand-new English lyrics about a man praising his dancing partner’s ability to affect his heart with how she “sways” when they dance. This new song, titled “Sway”, has become a standard in both the pop and jazz repertoire. The first version to achieve considerable success in the United States was recorded by singer Dean Martin with the Dick Stabile orchestra in 1954.
Thanks to Seax for the suggestion (In response to Patti Page). I hadn’t heard The Andrew Sisters before … This tune was the one I liked best from a short outing on YouTube – from 1941 !
I’m not quite sure what the genre is called, roughly I’d say “Swing”, but feel free to correct me if I’m wrong.
“Boogie Woogie Bugle Boy” is a song which became a major hit for The Andrews Sisters and an iconic World War II tune that first appeared in the Abbott & Costello comedy film, Buck Privates. It reached number six on the U.S. pop singles chart in early 1941. The song is ranked No. 6 on Songs of the Century. Bette Midler’s 1972 recording of the song also reached the top ten on the U.S. Billboard Hot 100.
“Boogie Woogie Bugle Boy” was nominated for the Academy Award for Best Original Song but lost out to “The Last Time I Saw Paris”.
The song is closely based on an earlier Raye-Prince hit, “Beat Me Daddy, Eight to the Bar,” which is about a virtuoso boogie-woogie piano player.
Feminist anthem?, or at least that’s what Google told me. Whatever, I guess, I still really like the song, without seeing the need to culturally appropriate good music to attempt to further an identity politics cause. For me largely it’s about talent, not identity.
Jean Knight has charisma and talent, it’s a cool catchy tune, and I like it. Just enjoy the music and the lady’s art.
The Studio Version
The Kinda Live Version
“Mr. Big Stuff” is a song by American singer Jean Knight. The song was recorded in 1970 at Malaco Studio in Jackson, Mississippi at the same session as “Groove Me” by King Floyd. Knight’s single was released by Stax Records because of the persistence of Stax publisher Tim Whitsett, and “Groove Me” by King Floyd, which Whitsett strongly urged Malaco to release, also became a hit. Both songs are defined by two bar, off-beat bass lines and tight arrangements by Wardell Quezergue.
Released on Knight’s 1971 debut album of the same title, it became a huge crossover hit. The song spent five weeks at no. 1 on the Billboard Soul Singles chart and peaked at no. 2 on the Billboard Hot 100 Singles chart, behind “How Can You Mend a Broken Heart” by The Bee Gees. Billboard ranked it as the No. 18 song for 1971. The song went double platinum and the no. 1 Soul Single of the year.
“Heat Wave” is a 1963 song written by the Holland–Dozier–Holland songwriting team. It was first made popular by the Motown vocal group Martha and the Vandellas. Released as a 45 rpm single on July 9, 1963, on the Motown subsidiary Gordy label, it hit number 1 on the Billboard Hot R&B chart—where it stayed for four weeks—and peaking at number 4 on the Billboard Hot 100.
“Hard to Handle” is a 1968 song written by American soul star Otis Redding along with Al Bell and Allen Jones. Originally recorded by Redding, it was released in 1968 as the B-side to “Amen” (shortly after the singer’s sudden death in 1967). The song also appears on the 1968 album The Immortal Otis Redding. Redding’s version reached #38 on the Billboard R&B charts and #51 on the pop charts.
A reader of the blog reminded me of this song – Another oldie but classic. Motown, aka these days, Universal Music
“Nightshift” is a 1985 song by the Commodores and the title track from their eleventh album of the same name. The song was written by lead singer Walter Orange in collaboration with Dennis Lambert and Franne Golde, as a loving tribute to soul/R&B singers Jackie Wilson and Marvin Gaye, both of whom died in 1984. The song was released as the album’s first single on January 31, 1985 by Motown Records in the United States.
Another oldie but classic. Motown, aka these days, Universal Music
“Easy” is a song by Commodores for the Motown label, from their fifth studio album, Commodores. Group member Lionel Richie wrote “Easy” with the intention of it becoming another crossover hit for the group given the success of a previous single, “Just to Be Close to You”, which spent two weeks at number one on the US Billboard Hot Soul Singles chart (now known as the Hot R&B/Hip-Hop Songs chart) and peaked at number seven on the Billboard Hot 100 in 1976
Or more correctly – “Get Up (I Feel Like Being a) Sex Machine”. Another oldie but classic. Video has been cleverly cut to match the audio, props to the video maker !
“Get Up (I Feel Like Being a) Sex Machine” is a song recorded by James Brown with Bobby Byrd on backing vocals. Released as a two-part single in 1970, it was a no. 2 R&B hit and reached no. 15 on the Billboard Hot 100.
Another oldie but classic. I think it’s an official release by Motown aka Universal Music
“Papa Was a Rollin’ Stone” is a song performed by Motown recording act the Undisputed Truth. It was written by Norman Whitfield and Barrett Strong in 1971, and released as a single in May 1972. It peaked at number 63 on the Pop Charts and number 24 on the R&B Charts. The song was included on the Undisputed Truth’s album Law of the Land (1973).
Later that year, Whitfield, who also produced the song, took “Papa Was a Rollin’ Stone” and remade it as a 12-minute record for the Temptations, which was a number-one hit on the Billboard Hot 100 and won three Grammy Awards in 1973. While the original Undisputed Truth version of the song has been largely forgotten, the Temptations’ version of the song has been an enduring and influential soul classic. It was ranked number 169 on Rolling Stone’s list of the 500 Greatest Songs of All Time, one of the group’s three songs on the list. In retrospect, the Temptations’ Otis Williams considers “Papa” to be the last real classic the group recorded (it would be the Temptations’ last number one hit and would win them their second and final Grammy Award in a competitive category).
Another oldie but classic’ie, and one of my favourites. From an era where people were actually creative, and actually made really good music. Rather than bland reboots, rehashes, remixes and remakes (sorry, rant over).
This was the best video I could find, video and audio wise.
“Dancing in the Street” is a song written by Marvin Gaye, William “Mickey” Stevenson and Ivy Jo Hunter. (Wikipedia)
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