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.
I think this is another tune that stuck in my head after a TV advert – I think for Morrisons supermarkets in the UK in 2000s … Simple, uplifting, pop music …
“Shine” is the second single taken from Take That’s comeback album, Beautiful World (2006). It became Take That’s sixth consecutive number one single and their tenth number one overall, making them one of only seven acts in the history of the UK charts to have more than nine number one hits. The song is about former Take That member Robbie Williams’ battle with depression.
What a guitar riff … Classic Clapton/Cream. “Psychedelic Rock”
“Sunshine of Your Love” is a 1967 song by the British rock band Cream. With elements of hard rock, psychedelia, and pop, it is one of Cream’s best known and most popular songs. Cream bassist and vocalist Jack Bruce based it on a distinctive bass riff he developed after attending a Jimi Hendrix concert. Guitarist Eric Clapton and lyricist Pete Brown later contributed to the song. Recording engineer Tom Dowd suggested the rhythm arrangement in which drummer Ginger Baker plays a distinctive tom-tom drum rhythm, although Baker claimed it was his idea.
The song was included on Cream’s second album Disraeli Gears in November 1967, which was a best seller. Atco Records, the group’s American label, was initially unsure of the song’s potential. After recommendations by other label-affiliated artists, it released an edited single version in December 1967. The song became Cream’s first and highest charting American single and one of the most popular singles of 1968. In September 1968, it became a modest chart hit after being released in the UK.
And now for something completely different (I’d never heard this before, nothing wrong with trying something new) … A reader of my blog’s request :
“(Wish I Could Fly Like) Superman” is a song written by Ray Davies that was first released on the Kinks’ 1979 album, Low Budget. The song, inspired by Superman: The Movie, employs a disco beat and lyrics that describe the singer’s wish to be like the fictional character Superman. The song’s disco style was created as a response to Arista Records founder Clive Davis’s request for “a club-friendly record,” despite Ray Davies’ hatred of disco.
The song was released as the lead single from Low Budget, becoming a moderate hit in North America. It has since appeared on numerous compilation and live albums.
“My Sharona” is the debut single by the Knack. The song was written by Berton Averre and Doug Fieger, and released in 1979 from their album Get the Knack. It reached number one on the Billboard Hot 100 singles chart where it remained for 6 weeks, and was number one on Billboard’s 1979 Top Pop Singles year-end chart.
It was certified gold by the Recording Industry Association of America, representing half a million copies sold, and was Capitol Records’ fastest gold status debut single since the Beatles’ “I Want to Hold Your Hand” in 1964.
Moving on Up is the seventh overall single from British band M People, and the second single from their second album, Elegant Slumming (1993). Written by Mike Pickering and Paul Heard and produced by M People, it was released on 13 September 1993.
The song peaked at number two on the UK Singles Chart, and was the biggest selling M People single. The song also became a Top 40 hit on the US Billboard Hot 100, and number one on the Billboard dance chart.
Already said, I like Heather Small’s vocals … so another favourite …
“Search for the Hero” is the third single (remixed) from Bizarre Fruit (1994), the multi-platinum selling album from M People. The song was written by Mike Pickering and Paul Heard and produced by M People. It was released on 12 June 1995. The song peaked at number nine on the UK Singles Chart.
On my playlist … fact – only music concert I ever went to was M People in Cardiff … My friend one tickets on the radio, and I provided the transport. I didn’t know I liked them until listening to them live, Heather Small is an amazing vocalist, so I was blown away by her “charisma”.
“One Night in Heaven” is the sixth overall single from British band M People and the first single from their second album Elegant Slumming (1993). Written by Mike Pickering and Paul Heard. Produced by M People. It was released on 14 June 1993. The song peaked at number six on the UK Singles Chart. In Iceland, “One Night in Heaven” reached number five.
“Lifted” is a song written by British duo Lighthouse Family, for their debut album Ocean Drive (1996). The song was produced by Mike Peden. It was released as the lead single on May 1995 and reached the top 70 in the United Kingdom. In February 1996 the song was re-released, reaching a new peak of number four in the United Kingdom and reaching the top 40 in Austria, Iceland and Ireland, as well as on the Canadian RPM Adult Contemporary chart
Another oldie but classic, by Antoine “Fats” Domino Jr. .
Two versions, second is live – a good live performance.
“Blue Monday” is a song originally, written by Dave Bartholomew, first recorded in 1953 by Smiley Lewis and issued as a single, in January 1954, on Imperial Records (catalog # 5268). The single, with a slow-rocking beat, features an instrumental electric guitar solo by Lewis.
It was later popularized in a recording by Fats Domino in 1956, also on Imperial (catalog # 5417), on which the songwriting credit was shared between him and Bartholomew. Most later versions have credited Bartholomew and Domino as co-writers. The baritone saxophone solo is by Herbert Hardesty.
Classic Bob Marley. Couldn’t decide which version I prefer, so I posted both (second one is 12″ extended about 12 minutes). …. But, on balance I prefer the second version.
“No Woman, No Cry” is a reggae song by Bob Marley and the Wailers. The song first became known in 1974 from the studio album Natty Dread. This studio version used a drum machine. The live version from the 1975 album Live! was released as a single and is the best known version; it was included on the greatest hits compilation Legend, and was recorded at the Lyceum Theatre in London on July 17, 1975 as part of his Natty Dread Tour.
You must be logged in to post a comment.