THE DECCA PERIOD: PEGGY LEE'S COLLABORATIONS WITH BING CROSBY Background When people think about a female artist who often duetted with Bing Crosby, the singer who almost always comes to mind is Rosemary Clooney. There are several good reasons for the association, including the fact that they did various radio shows together in the 1950s and early 1960s. But, before there was a Clooney, there were two other songstresses who preceded her, also earning a position as top female collaborators of his. The first was Connee Boswell, who worked with Bing in his radio shows during the early 1940s. The second was Peggy Lee, who worked in a similar capacity through a large portion of Bing's radio shows from the late 1940s. (A couple of other female singers could also be mentioned, but neither made as many radio appearances with Bing as these three.) In Peggy's case, there were about 50 radio episodes with Bing, including a few guest radio appearances in the 1950s, when both of them were Decca artists. It must have been this radio-based connection (and the friendly relationship which resulted from the connection) that led to Peggy's involvement in two of Bing's film-oriented album projects. Selections From Irving Berlin's White Christmas (A Film Connection) This 1954 album features Peggy Lee singing two numbers that were performed by Rosemary Clooney in the film Irving Berlin's White Christmas: the ballad "Love, You Didn't Right By Me" and the comedy number "Sisters." Clooney could not participate in this Decca album because she was contracted to rival label Columbia. (The fact partially worked in her favor, because at Columbia she had a whole White Christmas album all to herself.) In the case of "Sisters" (a tale of sibling rivalry), the film features Rosemary in a duet with Trudy Stevens, while her Columbia album brought for the part Rosemary's real life sister, Betty (also a singer). Meanwhile, at Decca, Peggy was suddenly struck with a case of double personality: she sang both sister roles, thus alternating between showing protectiveness and contentiousness toward herself. In addition to those two solo numbers, Peggy is also heard in two of the album's ensemble numbers, which also feature Bing, Danny Kaye, and Trudy Stevens. As for the release of the original LP album, it cameo out in quite a few countries. A side-by-side look at the various front covers makes for curious viewing; they are similar but not identical. Three are seen above: the original American issue (on Decca), the equivalent from Spain (on Columbia), and the British contribution (on Brunswick). Of course, this album has also been released on CD. Selections From The Paramount Picture Road To Bali (Another Film Connection) This 1953 album features Peggy Lee singing two numbers that were performed by actress-singer Dorothy Lamour in one of the Bing Crosby-Bob Hope road movies, the film Road to Bali. Lamour was the protagonist of the Road movies. Though reportedly available for recording at Decca, it has been claimed that she was never asked. One of the numbers sung by Lee in the album is the ballad "Moon Flowers." The other number is the comedy song "Merry-go-runaround," which is actually a trio: throughout, Bing and Bob remain in competition for the lady's affections. As for the album itself (pictured above), it is a 10" LP. Besides the United States, it was also released in a few other countries, including Spain and the United Kingdom. It was never expanded to 12" LP, however, and it can not be found on CD or LP in its original form. (The Peggy Lee songs can be found, on the other hand, in her own CDs.) The Duets (A Radio Connection) While at Decca, Peggy and Bing also recorded duets that had no ties to his film work. The rarest of these duets, called "The Possibility Is There," was recorded in 1955. It originally came out only in British Bing albums, one of which is pictured above. (But no, Peggy does not play the bitch in this duo.) Like all other Bing-Peggy pairings on Decca, "The Possibility's There" eventually made it to a Peggy Lee CD, although it took quite a while for that to happen. There were three additional Decca pairings, all of them recorded earlier, in 1952: "The Moon Came Up with a Great Idea Last Night," "Watermelon Weather" and "Little Jack Frost Get Lost." Each one has its own ties to the man's radio shows. Incidentally, Peggy's performances on Bing's show are of high quality -- i.e., as good as the studio recordings. Quantitatively, they are also plentiful enough to merit their own separate discussion, and maybe we will check them out at some point in this thread. For now, though, subsequent posts shall continue covering her work at Decca Records. Featured Clip Audio clips of just about any of the aforementioned songs could be picked to be featured here, in this post on Peggy's collaborations with Bing. Faced with so many possible picks, I have made the only sensible choice: none! Instead (and bearing in mind that we have been discussing Peggy's recruitment on Bing albums from movies in which she was not involved), here is a cameo from a Bing movie on which Peggy was involved, as his duet partner. This number was also separately recorded by each singer, for the labels to which they were contracted in 1950. "Life Is So Peculiar." Indeed!
To me, both of these arguments (competition between labels, popularity or prestige as a concert artist) are valid and logical. Regrettably, I know of no extant comments from any Decca executive (on this matter). Hence we can only draw tentative conclusions about the label's motivation, or about the exact strategy at play. The one argument that I believe to be conclusive is this one: Decca/MCA would have not released any of those post-contract albums if this had been an artist who had lost currency or popularity. Sadly (once again), the answers to all of your questions have to be in the negative: no knowledge. At least, nothing conclusive. (On the specific point of the photos taken in concert at Basin Street East, and used by Decca as cover art, I'm saving a longer answer for a later post. That post will deal with yet another Decca album, a compilation, that uses not just one but multiple shots from the same concert, and which was the first to use any of the shots.) The one piece of information of which I am about 80% certain is that Peggy was not consulted for the Sea Shells artwork: she is known to have hated, at least in later years, that photo of herself. So, unless she changed her mind at a later time, it seems unlikely that she would have given her approval for that photo, back in the late 1950s. A few years ago, one observant fan of this kind of music argued that, around the time when Decca released Sea Shells, someone at the label (an album cover art director, a producer) was making a concerted effort at picturing songbirds in such a way that they looked like, well, songbirds. Let me illustrate: Both of these albums were released in 1958. The argument would be that the chosen photo of each woman (each human songbird) was picked because, against the backdrops of choice, these ladies looked like birds: a dove in one case, a raven in the other (or, if not a raven, a blue cockatoo, or whatever those blue birds are). I neither subscribe nor refute the fan's argument; I just wish that he had mentioned more 1958 Decca songbird covers to strengthen his claim. Just two covers does not a trend make. In any case, this is curious food for thought (bird food for thought), isn't it? I agree with "likely not" ... but, as a certain song goes, "nothing is impossible, I have found." The one thing that I am surmising is that she did not object to these releases. In the extant literature, there are no signs of contentiousness or bad blood between label and artist. On the contrary: for years on end, she continued to speak favorably about her relationship with Decca. Since many of these post-contract Decca albums included songs that Lee had not only recorded but also written herself, I further imagine that she would have been glad to see them finally released, or even re-released. Songwriting was something that she highly valued ... But, had she objected to the albums, I would like to think that the A&R men with whom she had worked at Decca would have endeavored to cease production, after the first or second of the string of albums came out. Capitol was perhaps the one with the greatest reason to complain, and yet I have come across no indication of any objections on that label's part. Perhaps they didn't care all that much. Or perhaps I haven't looked hard enough. It is worth noting that a fair number of Peggy's Capitol albums from these years made the charts, and thus sold; meanwhile (and if memory is not failing me), none of the post-contract Decca albums made the charts.
Quick reactions to the mention of some of these songs ... "You've Got To See Mama Every Night" Although this is an old, 1920s tune that has been sung by many bona fide blues singers, and which was popularized by the likes of Mamie Smith and Sophie Tucker, the versions that I enjoy the most are two updates, one by Kay Starr (1940s) and this other one by Peggy Lee (1950s). Peggy's way with the line "you brought three girls for company" gets me every time. That line is actually one of the most interesting bits to check from version to version, because some of these vocalists sing entirely different words. Sophie is among those whose man bring to her house not other girls but ... his wife and family for company! Poor Sophie and poor Peggy. I'm not sure which of their men is worse. But naughty Sophie and naughty Peggy, too. (Kay plays it more smartly bit less interestingly. When it comes to the line under discussion, she goes for a third, non-incriminating but blander option.) I actually had not given any thought whatsoever to how racy this line may be, until you brought it up. I mean, before I read your post, my innocent self imagined that the three "girls" were coming into the house just to visit, talk, drink, and maybe flirt, making the home-staying gal jealous in the process, and leaving after a few hours. But now I'm picturing them as staying over night, and everybody getting into a full-out orgy. You have corrupted me. "Take a Little Time to Smile" Peggy had actually written this number back in the 1940s, for George Pal's Tom Thumb movie, but that flick was postponed until its final production and release in 1958. The song's positive outview makes all the more sense when you realize that it was originally intended for that film version of a children's tale. "Joey, Joey, Joey" Whenever I listen to that song, its arrangement intrigues me. Especially the brief instrumental intro. In my mind, it evokes the imagery of a magnificent birds-view (aerial) scenery, seen as it emerges out of clouds or fog. Or, alternatively, a dream, filled with fog. I have wondered if the line "that's what the wind sings to you" inspired this approach to the intro. I have also assumed that Sy Oliver (and/or Lee) are meaning to convey a scene from the show that the song comes from (Most Happy Fella). I have not looked into that possibility, but, yes, this could be their take on a extended instrumental section from the show. By the way, this is another Peggy-on-Decca song that, along with "Where Flamingos Fly," "Sans Souci" and two or three others, talks about the need to leave (or to return to) a place. "They Can't Take That Away from Me" Pleased to hear that you like "They Can't Take That Away from Me" the most. Until now, I had been more aware of negative opinions about this swinging interpretation, believe it or not. When it came out as a single, there was a less-than-enthusiastic review on one of the music magazines. As if that weren't enough, a friend of mine (and also fan of hers) found the singing technically faulty ... Well, forget 'em friends & critics; I'm siding with you on this one! Incidentally, Peggy had previously recorded this song for Capitol, in a slow-burn jazzy version that was left unreleased until the CD era. She also sang it as a brief duet in Bing's radio show.
Irving Berlin's "Me" and Cole Porter's "Do I Love You." You might be on to something. Barbour is the one credited in Decca's files, but record companies are known to be occasionally untrustworthy when it comes to arranger and conductor credits. (This particularly applied when the musician in question had ties to another label, thereby making the credit potentially problematic.) I would not be surprised if we were to learn one day that May arranged, and Barbour only conducted. Barbour and May had a long story together. They were buddies (drinking buddies, maybe) in the 1940s. May was involved as player and sometime arranger in some of the Peggy-and-Dave Capitol dates from those years. It's also worth noting that arranging was not something for which Barbour was known, although I have no doubt that he was entirely capable. In any case, "Me" dates back to 1934. Peggy also recorded this rare Berlin song for the World radio transcription service, in what sounds like a similar arrangement. The Capitol master is certainly the most sophisticated and tasteful of all her versions ... The one on Decca features a more jazz-oriented approach and has a bit of an improvisational or "head arrangement" feel, thereby leading me to suspect that this was something that she was singing in her concerts at the time. She has a third version, made for AFRS, from around the same time as the Decca one, and even more fast-paced in its approach. I love all three. (She did a fourth version for her last CD, from the 1990s.) So, this Cole Porter song can be said to be part of her canon. You can also listen to these versions in order to hear how her quality of her voice changed through time, from her prime time through her mature years to her old age. For the benefit of anyone curious, I'll post below all her versions of the song. 1956 Decca version: 1955 AFRS version: Do I Love You? 1959 Capitol version: Peggy Lee & George Shearing - Do I Love You 1959 Capitol version: Do I Love You? 1993 Chesky version: Peggy Lee: Do I love you?
Benny Carter is the saxophone player, and was also the arranger of the number ... Let's take this opportunity to showcase Peggy's live version of the song, performed at the Hollywood Bowl. Gordon Jenkins conducts. Eddie Fisher, serving as the evening's host, introduces and charts with her, too: Hail, hail, Mr. Greyhound! In my opinion, the degree to which one enjoys the number is at least partially dependent on how much one enjoys flamenco music, the genre to which the number clearly belongs. (Then again, I might be totally wrong, because I highly doubt that you ever took your greyhound out for flamenco dance lessons ...) All the spoken interjections are uttered by Sammy, who is simultaneously heard tap dancing. Throughout the track, Almeida only plays guitar, as far as I know. Peggy's staccato phrasing is in keeping with the genre, and so are her interjections. I should also add that this is a piece originally written for a movie called The Rawhide Years. Not having ever watched that western, I have no first-hand knowledge of how well the number fits with the story. The following excerpt, from an Amazon review, suggests that the number is sung by the female protagonist, who plays an entertainer, as part of her act: Colleen Miller plays the pretty showgirl from whom Curtis is separated for three long years .... She sings three songs in the saloon and one of them was written by Peggy Lee and Laurindo Almeida and even includes a Spanish dancer as backup. Whoever dubbed Ms. Miller's vocals has a great voice and I'd sure like to know who she was, but IMDb doesn't identify her. So, Peggy and Laurindo's assignment must have been to write a flamenco-styled number for this scene from the film. I don't mind the birds at all, but I seem to be in the minority. Most everybody else finds them gimmicky. In any case, I have the perfect solution to everybody's case of ornithophobia: I'll have you all be fed to Hitchcock's darn bir I'll have you listen to the version released in the CD Love Songs. Being someone who apparently shared the feeling that those avian sounds detracted from the performance, the producer of this CD edited them out. (By the way, I was only kidding above. While it's true that I don't mind the birds, it is also true that I understand the gimmicky feel that they give. I like both versions.) Wonderfully detailed reviews, both of them. Don't think I had heard about the use of plastic instead of vinyl at this late stage. Was this a Decca and/or a Canadian practice?
Do all of the Decca duets of Bing and Peggy originate from Bing's radio show, or were some actually recorded by Decca at Decca studios? I'm surprised that Decca didn't insist on their own versions, although Bing's radio show appears to be of the utmost quality, so perhaps the label felt it was a prudent cost-saving measure? And are the 50-some performances of Peggy on Bing's show commercially available in any compilations?
Kay might have been more concerned about the perception of her reputation than Sophie or Peggy, although it's silly to consider that could be the reason for the change - after all, it's just a lyric by a songwriter, and not necessarily representative of a singer's personal experience. Sophie's lyrical change is especially interesting because it alters the entire plot of the song. Assuming that Peggy sings the correct (i.e. original) lyric, the object of affection is playing hard to get, or just making excuses because he's not "into" the lyrical subject as much as she is him. Sophie's change, however, turns the song into a story about the other woman, since the man brings his wife and kids for company. Amazing how a single line can alter the premise of a story entirely. RE the interpretation of Peggy's line - both explanations are plausible. I suspect Peggy believed that line held the same meaning as you previously did (girls who chat, flirt and drink). I doubt she would've sang those words within context if she made the connection that it could be interpreted as a chat/flirt/drink with room for a sleepover/pyjama party/pillow fight/orgy. Regardless, I'm glad that line gets you every time because it really moves me too - it's in Peggy's delivery - she really leaves it up to the listener to draw his or her own conclusions. Marvelous, and one of the highlights of the entire album.
Yes; it's one of her Decca highlights, in my opinion. I had forgotten about the earlier recording. I've never owned a copy of the Miss Peggy Lee set although I do have it on The Singles Collection but for some reason it didn't stick in my mind. I just gave the Capitol version a fresh listen - the slow burn is very nice, and the arrangement has a sort of cheerful "film noir" mood to it, and I enjoy Peggy's ending there. The sparse arrangement sounds like a rehearsal of sorts - it conjures the image of ensemble practice in a bar - midday - before world-weary patrons start arriving for happy hour. That recording would fit very well into a scene from Pete Kelly's Blues. But, for me, the Decca is tops. It really swings!
I gave the Lover album a fresh spin tonight. I've found a new appreciation for it, now that I better understand the thought and care that went into its programming. I knew that all selections were arranged by Gordon Jenkins, but I never made the connection these dozen tracks could be considered a cohesive whole. There is such a variety of styles, moods and settings here, and even though all were recorded within a year, the stark contrast between styles gives an impression that more time has passed between recordings. The album is a marvelous showpiece for Jenkins - it showcases his ability to arrange in a variety of musical settings. That said, I'm more polarized about these performances than other Decca offerings - another compliment to Jenkins - for it demonstrates that his work evokes an emotional response of some kind and the listener invariably feels something, whether enjoyment or otherwise. Highlights for me include: "You Go To My Head" "That's Him Over There" "River River" "I'm Glad There Is You" "Be Anything" I'm not crazy about: "I Hear The Music Now" "Just One Of Those Things" Although "Lover" commands a marvelous intensity and boasts an unforgettable climax, my award for best arrangement goes to ... "River River" I've never been able to get into "Sans Souci" although I have tried. It's been generously issued through the years and is understandably acclaimed for its unusual premise and a unique sound for Lee. Your comments have prompted me to give a serious listen to this number, and while I'm still not crazy about it, I certainly find ways to appreciate it. For me, the song has an unappealing melody, and it was recorded too hot. The resulting distortion, particularly on Peggy's vocal, is extremely grating. At first, I puzzled over Jenkins' comments about recording quality, but after a careful listen, I understand his meaning. And now I agree, in spite of the distortion. The layers of orchestration are almost tangible; the sense of space between notes is holographic, and the production effectively sets a mood. I never paid attention to the lyrics before, but thanks to you, I understand the message that is being conveyed. I find myself sympathetic, especially given the recent state of affairs. It would seem that I previously judged this "Sans Souci" book by its cover. Another performance that deserves mention is "Go Where You Go." Both the arrangement and vocal performance are strange. Any anecdotes concerning the genesis of this recording?
Interesting to learn that May and Barbour were not only colleagues but also friends. Was May already tied to Capitol at the time Peggy recorded "Me"? If so, that is perhaps the reason May was not credited. Nat Cole's Just One of Those Things is perhaps the most distinctive example of Billy May's style, and Peggy's recording of "Me" would fit perfectly within that album - so perfectly that it must be May.
Interesting. It would seem that I enjoy Carter's playing although I'm not crazy about his arrangements for vocalists. Sully is a farm rescue and has difficulty walking on lead, let alone flamenco dancing. He would prove to be a most challenging student for Arthur Murray! I really enjoy "Autumn In Rome". I find the sound effect gimmicky, but I have greater reservations about edited masters. I may seek a copy of this compilation out of curiosity, but chances are that I'll prefer to listen to the master as it was originally intended. Alas, your birds might go hungry. (And should I myself experience hunger pangs while listening to "That's All," they best watch out!) Is the Love Songs compilation a recommended title? How is the sound quality and the programming? My copy of Lover appears to be polystyrene too. If I understand correctly, such pressings were commonly used to issue hit singles in high quantities, probably as a cost-saving measure. The rationale for its use in a smaller market (and for albums) is puzzling.
Bing Crosby, Peggy Lee, Fred Astaire - It's a Good Day - Amazon.com Music 14 Peggy solos, 12 Peggy-Bing duets and one long Peggy-Bing-Astaire medley of 10 tunes Bing Crosby - El Rancho Grande by Bing Crosby - Amazon.com Music 8 Peggy solos and 15 Peggy-Bing duets 5 of these Peggy solos appear on the first disc above, and 4 of these duets appear on the first disc above, but I have not checked to see if they are identical performances from the same broadcasts
My copy of "El Rancho Grande" was a Bootleg CD-R only, purchased in 2002, when many bootleggers were afraid to issue real pressed CDs. I don't think it was ever issued as a real CD, but not sure. But it does have a bar code, so maybe. (Bar code 71765 21082)
Only one of the duets was definitely a transfer from a radio show: "Little Jack Frost Get Lost." Originally a radio performance (1950), Decca transferred it for release on a single in 1952. As for the other duets, and as far as I can remember, they were recorded at Decca's studios. (There is one possible exception. We do not have enough information for a verdict.) Even though they are studio recordings, all or most of these duets have radio ties, insofar as they were also performed in his show. Going back to "Jack Frost," and for the benefit of anyone interested in comparing, I'll post the 1950 radio performance here, the 1952 Decca record in my next post.
Perhaps ... Maybe there were financial advantages in following the method ... Or maybe Bing (et al) felt that the radio take in question was so good that there was no need to for a studio re-recording ... Maybe laziness played a bit of a role, too? I mean: if such good radio performances were already in the can, maybe Bing didn't see the need to spend further time in the studio, recording new numbers, when he could instead be whiling away his time at the golf court? ... Being one of the biggest, bestselling artists at the label, I imagine that Bing (and/or his producer) had greater leeway than most everybody else. In any case, this seems to have been an occasional practice, by no means the norm. Besides (as you said), his pre-taped radio show was of top sound quality; so, why not? I think that the procedure was to take so-called test pressings from his radio show to Decca's engineers, for them to work toward a releasable master. Once that process was put in place, Decca would presumably become the owner of the resulting master.
To get into exact numbers: over 49 episodes, Peggy Lee sang a total of 138 numbers (sometimes solo, sometimes with Bing & additional company). In basic agreement with Tribute. Let's add the overall picture. Here are the CDs to be primarily considered: If you order this quartet, you will come close to having everything that has been commercially released. Left out will be 10 tracks that can only be gathered piecemeal (i.e., by buying about ten different CDs). The two sets of CDs pictured above should be deemed complimentary pairs. The first two are from the Avid label, the last two from the Sunflower label. (Actually, the first one is on a label called Parrot, but in later years it was reissued by Avid.) The front cover of I've Got a Crush on You makes no mention of Bing because that disc concentrates on her solos from his show. Duplication? If you were to get just the first three CDs, the duplication would be minimal. It is when you add El Rancho Grande that the repeats pile up: 16 of the 23 tracks on that disc are also on the Avid CDs. Even so, fans and collectors should still appreciate owning a copy of El Rancho Grande, on account of the remaining six tracks, as well as its fine sound quality. On the matter of sellers or companies from which to order them, the best choice might be Amazon's British branch, because all of these are British releases, and British vendors often sell them for very low prices. The Sunflower discs do seems to be CDrs. But, as far as radio material goes, their sound quality is pretty good, really. It's clearer and livelier than on the Avid CDs, which are much older releases. (Not that the sound of the two Avid discs is bad by any means; I'm just comparing.) On that note, I'd be wary of ordering the first CD, It's A Good Day, which came out in 1992. Some 10 or 15 years after I bought it, my copy began to get CD rot -- or whatever you might call that corrosiveness. Fortunately, there is an option. The following 1997 2CD set reissued the entire contents of the 1992 single CD: All the above-mentioned CDs seem to be Public Domain items, and some of them do not even have liner notes. A few years ago, when Bing Crosby Enterprises was regularly issuing a whole series of great Bing CDs (most of them from his radio show), there was hope for an official Bing-Peggy CD set, down the line. Now that the series has gone dormant, the hope has dwindled, but I for one still believe that it will happen eventually.
That's what the sly dog will have you think. Do this: secretly install a night-vision camera and check out the footage on the next day. You are going to be amazed at how he whiles away the wee hours ... shimmying like Sister Kate! By the way (and if I might go even more off-topic than I already have), the last episode of the BBC TV series Planet Earth II was hilarious from top to bottom, but the following footage, in particular, had me laughing out loud. First at :49 and then after the 2:00 mark. Yeah. Or, at the very least, friendly. They also shared the same manager, whom I believe to have been another of Dave's drinking buddies. Billy's earliest appearances on Capitol Records date all the way back to 1943, when the label was not even two years old. He and Dave played together on one or two 1943 Capitol's sessions, and next on Peggy's dates from the ensuing years. Peggy's Decca recording of "Me" is from 1955. That year, Billy was definitely still doing work at Capitol -- releasing such albums as his Bacchanalia, as well as conducting and arranging for artists like Tennessee Ernie Ford and Ella Ma Morse. Now, I do not know how tight this tie to Capitol was. I would imagine that he was held by an exclusive artist contract that would have covered his services as an arranger as well, but maybe I am wrong ... Maybe the leash wasn't too tight. Same opinion here. Ghostwriting was a very frequent happening among arrangers -- as the arrangers themselves would go on to disclose in more recent years. I know for a fact that he did arrange two 1954 Decca singles (sung by other artists, rather than Peggy) and he is not credited on either one, doggone it.
Listening to a CD on the Jazz Unlimited label (Denmark), The Hollywood Sessions by The Capitol Jazzmen and others... It has Ain't Goin' No Place and That Old Feeling (1944), but also an odd 1947 date by a group called Ten Cats and A Mouse, for which Peggy's listed as playing drums. Other well-known personnel play instruments unusual for them: Los Angeles, October 14, 1947 Dave Barbour-trumpet/Billy May, Bobby Sherwood-trombones/Paul Weston-clarinet/Eddie Miller-alto sax/Benny Carter-tenor sax/Dave Cavanaugh-baritone sax/Red Norvo-piano/Hal Derwin-guitar/Frank Devol-bass/Peggy Lee-drums. I don't hear any drums on Ja-Da, but they're audible on the other tune, Three O' Clock Jump:
The Peggy Lee CD is part of the above-shown Universal series. Her volume came out as part of the first batch, released in 2002 and 2003. Aaron Neville and Neil Diamond were also part of the 2002-2003 batch, and so was a various-artists volume called The Love Songs of Motown. Most of the chosen acts were from the Motown label. Marvin actually got two discs, one of them dedicated to his duets. A second installment of CDs showed up in 2005. I know less about that batch; the only two CDs that I have seen are by Don Williams (above) and Johnny Gill (another Motown act). Maybe there were only two 2005 items, after all? ... In any case, Peggy Lee seems to have been the only artist of a pre-1960s vintage chosen for inclusion in this series. The programming of the Peggy Lee disc is pretty good. It consists of 14 numbers from her Decca years. A fine selection of romantic songs was made, and they are well sequenced. Taking into account that this is a midrange series, the tasteful artwork/photography must also be commended; the satisfactory liner notes deserve mention as well. Now, as for the sound quality ....... I'm glad you asked. I've been trying to give a fresh listen to this CD for a long time, and have kept on postponing it. I've read varying opinions. Even my own has mysteriously varied: upon first listen, I thought it sounded great, but during later listenings I found it lacking. Mainly, it started to feel to me as if the tracks had been tweaked to sound uniformly even, and as if the lightly swinging tracks had been slowed down. (That's probably NOT the case; I'm just sharing the impression that I have gotten sometimes, when listening to the overall CD in one sit.) After repeated listening, I have decided that volume level is particularly critical in dictating the impression that the CD leaves on you. If I listen to it at high volume, I respond positively. If I listen at the mid-volume to which I'm more used, I find myself thinking that some of the warmth and low notes of Peggy's voice are not coming through -- not, at least, the way they did in the original LPs. Everything sounds ... evened out ... nicely but unnaturally wrapped on a "cellophane fog." I just decided to look up the name of the mastering engineer, and I'm seeing that he does not have many fans in the forum. Among the charges that I caught: too much EQ, too much treble, too bright, overcooked. If anyone else has the CD and wants to share opinions (good or bad), do feel free to chime in. Should be interesting to try to listen with earphones (which I do not use). I see your point. Get Love Songs only if you find it at budget or low price. I'll place below links to YouTube clips of both the birdless and "birdied" versions, although I don't think that either clip captures the way Peggy's vocal sounds when you hear it on LP. A few of the notes that she hits in this number are very low, yet neither of the YouTube clips quite conveys the effect for me. By the way, "Autumn in Rome" is yet another song from a film (The Indiscretion of an American Wife), though not one on which Peggy had any involvement. As it originally showed up in theaters, the 1953 film features an oddity: basically, it starts off with a music video that is fully detached from the movie's plot. The two songs heard in this video are "Autumn in Rome" and the film's titular number, "Indiscretion." Hugely popular at the time, Patti Page was the vocalist chosen for the soundtrack and video. Patti is not among my favorite singers, but I do think that she does an all-around solid, excellent job in this soundtrack. For the music video, she counted with the advantage of fantastic cinematography, as well as a film-noir backdrop. I might have already linked to the video clip in another Peggy thread, but, all the same, here it is again: As for the Peggy versions ... Birdless: Autumn In Rome Peggy Lee With Birds: Autumn In Rome
Lovely film of Patti. I wonder how the producer of Love Songs was able to lift the birdsong from Peggy's mono master? Seems akin to removing eggs from a baked cake, unless they were overdubbed later. I prefer the version without birds after all; the critters obscure the melody line during the song's introduction, and the distraction weakens the emotional impact and somehow makes the arrangement seem less effective (and less dark).
