Peggy Lee On Record (1941-1995)

Discussion in 'Music Corner' started by Ridin'High, Dec 29, 2016.

  1. Ridin'High

    Ridin'High Forum Resident Thread Starter

    XI. THE MAN I LOVE
    (Concluded)



    [​IMG]


    (Continued from the previous post.) Up the creamy paved road we are going. This stretch of mountain and gravel seems to enfold less than 15 homes, all of them fairly large. Right at the bottom of the road, the house nearest to the intersection bears the address 2399 Kimridge. Should we manage to reach the top of the hill (which is beginning to look like a big "if," seeing as everybody is already out of breath), we shall come face to face with 2300 Kimridge.

    Those who live or have lived in Kimridge Road include movie actor Woody Harrelson (at 2385), erstwhile teen idol James Darren (at 2375), the recently deceased TV actor & son of Rosemary Clooney, Mel Ferrer (at 2375), the exotic-looking 1960s-1970s TV-movie actress Anjanette Comer (at 2357), TV news reporter George Putnam (at 2355), either the Counting Crows' Adam Fredric Duritz or Limp Bizkit's Fred Durst (at 2325; unclear which of those two it was; the latter is, incidentally, a notorious house flipper), and British cinematographer-director-producer Ronald Neame, whose credits include
    I Could Go on Singing, Brief Encounter, and The Poseidon Adventure (at 2317). Of all these celebrities, the only one known to still keep a residence here is Harrelson. (Deame kept 2317 as one of his homes for nearly 60 years. He passed away in 2010; his family still owned the place in 2015.)

    In the screen capture above, we are seeing none of those celebrities' residences, though.

    That's 2345 Kimridge Road, the address for Peggy Lee's former home. But we don't have permission to take a look past that white gate. Fie, for shame. Well, one can only assume that the house currently on the plot looks very different from the one that Lee once inhabited.

    Appraised at about a million and a half, 2345 Kimdridge
    is owned by a probably Canadian-born founder of a private equity firm, who formerly worked as an investment banker and is likely to be quite wealthy now. He also owns both neighboring houses (2355 and 2325).


    [​IMG]


    Let's go further up the hill. (Breathe, baby, breathe.) We are still walking alongside 2345, which is a .727-acre property.

    Still on the right sunny side of the street, we are now passing 2345 and 2317, and finding out that a new place is being built over yonder:


    [​IMG]


    Further up, beyond this new construction, we can glimpse the house on the null, at 2300. Unfortunately, we have been denied access by our roaming travelocity agency (Google Maps). Bummer.

    Luckily, my dual experience as unlicensed estate agent and amateur tour guide can come in handy. I just contacted others with better access to that impressive mansion. If you are still in a snooping mood, get a brief tour
    here, or a long tour here.

    Perched on the canyon's edge, the Tuscan-style residence offers a majestic view of the rolling hills. We can also get much of the same great view from the new construction site. (The construction workers just left; let's sneak in.) As self-proclaimed "folk who lived on these hills,"
    Peggy Lee and Frank Sinatra doubtlessly enjoyed this panoramic view many a time:


    [​IMG]


    And it is right up here, from yet another veranda commanding a view of mountains brown or green, that we will finish our tour. (If you want to leave, you can very well go down the hill by yourself. I'm buying this house under construction and staying here. Forever.)

    While enjoying this majestic view, here is a gift for those of you who've decided to stay and dwell with me (better known as Ridin' High) at my new place. Treat your ears to another magnificent clip of "The Folks Who Live on the Hill," now in high definition:



    THE END
     
    Last edited: Mar 10, 2018
    .crystalised. likes this.
  2. bluemooze

    bluemooze Senior Member

    Location:
    Frenchtown NJ USA
    :righton:
     
    Ridin'High likes this.
  3. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    I'm staying too. I shall live in your guest house and maintain employment as your gardener.
     
    Ridin'High likes this.
  4. Ridin'High

    Ridin'High Forum Resident Thread Starter

    XII. JUMP FOR JOY
    (1958)


    [​IMG]


    Background

    Here's to all the sexy sexagenarians in this world: somebody else is about to join your ranks. (No, not me. Sorry.)

    Yes, that's right, sir: once a baby,
    Jump for Joy is about to turn 60 -- and we don't mean maybe. We are talking about Peggy Lee's second album outing after her return to Capitol Records. In its mono configuration, the original LP was part of Capitol's batch of releases for the month of April (1958).

    It was recorded over three sessions, two of them in late 1957 (December 5 and 20) and the last one in early 1958 (January 3). Suiting what is supposed to be a festive, happy period (Christmas, New Year), all three dates consisted of happy-go-lucky ditties such as "Music, Music, Music" and "Four or Five Times." They were brought to life by
    a brassy orchestra, filled with saxes (five), trombones (four), and trumpets (three). Though far less conspicuous, there are also plenty of strings in the mix, and they too have been injected with a joyful mood. Party.

    Coming out in the footsteps of The Man I Love (1957), Jump for Joy was Lee's second album project to feature the arrangements of Nelson Riddle. This time around, he picked up the baton as well. As for the conductor of the previous album, a somebody by the name of Frank Sinatra, he is not known to have had any direct involvement in the making of this Lee-Riddle sequel.

    However, it could be argued that the memory of Sinatra still lingered on. The back-to-back release of these Lee LPs mirrors a simple but effective strategy. Ole Blue Eyes had effectively put it into practice during his initial years of success at Capitol: the alternation between uptempo and ballad LPs, both types under the direction of Nelson Riddle.

    Celebration is the key word. From the choice of title to the singer's emphatically optimistic tone, Jump for Joy puts on a happy face, and keeps smiling (at trouble and at life) until its very end. Nowhere is the directive "don't worry, be happy" more obvious than in the choice of a ditty from the Depression Era, as the album's conclusion. Here are some sample lines from
    "Ain't We Got Fun":


    The rent's unpaid, dear
    We haven't a car
    But anyway, dear,
    We'll stay as we are.
    Even if we owe the grocer
    Don't we have fun?
    Tax collectors getting closer
    Hmmm, what fun.

    There's nothing surer
    The rich get rich
    And the poor get poorer
    In the meantime
    In between time
    Don't we have fun!
    We had a ball!


    A ball it is.
    As if the album's title, repertoire, partying orchestra and joyful singer weren't enough, Capitol's advertisement for Jump for Joy (and its other April 1958 releases) was predicated on the concept of a "fiesta":


    [​IMG]

    Cool, said the whole gang, kool. Celebrate good times. Come on.


    Songs

    As further introduction to the sounds of Jump for Joy, let's listen to one of its celebration. Here is a celebration of (what else) love. Like many of the other tracks found in this LP, "The Glory of Love" harks back to Tin Pan Alley's 1920s-1930s period. Its lyricist-composer was a musician (specifically, a violinist and pianist) by the name of Billy Hill. Other relatively well-known songs of his are "On a Little Street in Singapore," "By the Chapel in the Moonlight," "Empty Saddles," and two compositions that have enjoyed shelf lives outside of Tin Pan Alley. "Have You Ever Been Lonely" fared well in countryland (Eddy Arnold, Patsy Cline, Jim Reeves ...), while "That's When your Heartaches Begin" has gotten worldwide attention thanks to Elvis Presley and The Beatles, both acts which covered it quite a few times.

    Peggy Lee's version of "The Glory of Love" serves as a good illustration of the mood that permeates
    Jump for Joy. The band most certainly plays loudly (but still tastefully) and the singer swings with an accent on the positive (but always tastefully). Halfway through, you will hear the trademark sound of Nelson Riddle at play, in all its sophistication (and good taste).

    Having made all those serious points on its behalf, now I am going to 'fess up' as to the real reason why I picked this particular clip: the pretty pictures! ... Well, okay, not pretty per se, but this video doe features a pleasant photo array. Shots of Peggy are intermingled with shots of couples. It is always nice to have some pleasant visuals to go along with fun music.




    To be continued
     
    Last edited: Mar 19, 2018
  5. peopleareleaving

    peopleareleaving Forum Resident

    Location:
    California
    Thank you for all the insight, Ridin'High. It's much appreciated. Your timing is impeccable as just today I was perusing sites looking for an updated CD version of Jump For Joy. I have the two-fer that includes Things Are Swingin'. Per your suggestion, I picked up the single disc of TAS and it sounds fantastic! Does the stereo single disc release of JFJ have a noticeable improvement in sound? Thanks again.
     
    CBackley and Ridin'High like this.
  6. Ridin'High

    Ridin'High Forum Resident Thread Starter

    Ah, that's all great to hear (or rather, great to read), Peopleareleaving. My short answer to your question would be a yes, though it is a "cautious" yes. (A longer answer would be more ambivalent.) If you find it at a reasonable price, do get it.

    One point to be made is that, as you might already know, the EMI twofer (the one you have) gives you the album in mono (despite suggestions to the contrary). So, it could be good for you to hear it in stereo, too. Moreover, the DRG CD definitely improves on the sound quality of the stereo LP. As an additional lure, it happens to include some bonus tracks.

    This is a topic that I might want to cover in further detail later, as we continue with the discussion of this album. But, if other fellow members want to voice their opinions right now, by all means, please go for it!

    (There might be differing opinions on this subject, by the way.)
     
    CBackley, bluemooze and .crystalised. like this.
  7. MLutthans

    MLutthans That's my spaghetti, Chewbacca! Staff

    Too bad Youtube yanked the video(s) with Alan Silverman, who mastered this for DRG. :rant:
     
    bluemooze, bozburn and .crystalised. like this.
  8. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton

    [​IMG]
     
    bluemooze and bozburn like this.
  9. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Seconded. The DRG CD is big improvement over the original stereo album presentation, however, stereophonic recording appears to have been an afterthought for this album, and the multi-track session tapes suffer from a lack of proper balance between the various sections of the orchestra. It's valid to have both editions, but only if one especially loves this album and wants to have its performances in a stereo mix for completist reasons. Alan Silverman did a great job of the DRG reissue -- it is the stereo recording itself that is the problem.

    The stereo mixes have plenty of "air" but the rhythm section is almost non-existent and the overall presentation is anemic. The mono mix, to the contrary, is perfectly balanced so that all of the prominent elements of the orchestra can be clearly heard in the manner that the conductor and/or engineer intended. The arrangements feel "louder" on the mono edition, with a greater sense of immediacy and excitement. The difference between the two editions can be compared to sitting in the front row of a concert hall (mono) versus the cheap seats from the highest balcony (stereo).
     
    Last edited: Mar 19, 2018
    Ridin'High and bluemooze like this.
  10. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    I noticed that too. Pity. Quite an interesting story!
     
  11. Hey Vinyl Man

    Hey Vinyl Man Another bloody Yank down under...

    I have, somehow, never heard Jump for Joy before (I have heard of it, but never had a copy and never seeked it out). Listening now on Youtube and loving it so far.
     
  12. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    [​IMG]
     
    Ridin'High and bluemooze like this.
  13. Hey Vinyl Man

    Hey Vinyl Man Another bloody Yank down under...

    Is anyone else here following the Every #1 Hit 1958-Present thread? Right now there's some conjecture going on as to whether Peggy could pull off "Bad Bad Leroy Brown". I don't hear it myself. What do you all think?
     
  14. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    She could pull it off. That composition is similar to "Big Bad Bill (Is Sweet William Now)". Peggy was first and foremost a blues singer, and blues artists can sing anything.
     
  15. Ridin'High

    Ridin'High Forum Resident Thread Starter


    There is actually one additional reason why I picked this album track, despite not being one of my favorites. (Mind you, I do like Peggy and Nelson's version. It's the song itself that lacks enough appeal for me.)

    My additional reason: mention of "The Glory of Love" gives me a pretext to post the following performance, sung by no a less a trio than Benny Goodman, Ella Fitzgerald and, of course, Peggy Lee. It was in April of 1959 that TV viewers originally watched this trio in action (exactly one year after the release of Jump for Joy).




    "The Glory of Love" was connected to Benny Goodman's catalogue of music, in particular. Back in 1936, when the song was brand new, he was the one who took it to #1, in a version that featured vocals by Helen Ward, his canary at that point in time.


    [​IMG]


    The song made it out of the world of Tin Pan Alley in the 1950s and early 1960s, when it was rediscovered by doo-wop and rhythm & blues groups. Many an old standard was actually covered and recast by such groups. The Platters became the most popular of them all, but the hit makers in the case of this particular ditty were The 5 Keys (#1 in the R&B chart, 1951).


    [​IMG]

    There were also The Velvetones, The Roommates and, in what sounds to me as the most enticing of these group versions, The Dells. The number would remain current within the r&b and soul genres later on. There is, for instance, a 1967 version by the noteworthy Otis Redding.

    [​IMG]


    Of course, numerous singers of standards have tackled it as well. Those include Dean Martin, Dinah Shore, Nina Simone, Jackie and Roy, Jimmy Durante, and The Andrews Sisters. (If curious to give any of those a listen, click on their names.)


    [​IMG]


    In relatively recent times, "The Glory of Love" regained traction after Bette Midler was heard singing a slow version of it, in her 1988 movie Beaches. But the most recent artist of note to cover himself in "Glory" was neither Bette nor Peter (etCetera) but Paul McCartney (2012). He did a pleasantly slow tempo version.


    [​IMG]
     
    Last edited: Mar 20, 2018
    bluemooze and .crystalised. like this.
  16. jtaylor

    jtaylor Senior Member

    Location:
    RVA
    Ah yes, the controversial Five Keys album cover.
     
  17. Ridin'High

    Ridin'High Forum Resident Thread Starter


    Ha! Jeremy made me do it:


    [​IMG]


    You are seeing two versions of the same 1957 album cover. Public outcry caused Capitol to withdraw the first. (The one with the white promotional sticker is actually the re-release.)

    To keep Peggy in the discussion ... Capitol did not have to withdraw any of her album covers, but I believe that the following 1946 Capitol recording wounded up being banned from the airwaves:


     
    Last edited: Mar 23, 2018
  18. Hey Vinyl Man

    Hey Vinyl Man Another bloody Yank down under...

    Incidentally, the Five Keys' version of "The Glory of Love" is not on the thumb-cover album. It is on this album:

    [​IMG]
     
    bluemooze likes this.
  19. Ridin'High

    Ridin'High Forum Resident Thread Starter

    Just a quick heads up, meant for anyone interested in purchasing a fine used Peggy Lee anthology at a good price. The eBay copy in question is selling for 3 pounds in the UK (+ £3.49 postage), or approximately $4.20 if you are in the US (+ about $4.96 for s&h). Its seller lists the item's condition as "very good."


    [​IMG]

    The Best of the Singles Collection is a single CD whose contents are culled from the 4CD set The Singles Collection.

    This Best of comes in an American edition and a British edition. They are essentially identical, except for the addition of three tracks to the UK edition, for a total of 25 tracks. The eBay item to which I am referring is a British copy.

    Among the additional tracks in this British edition is one of relevance to collectors of Peggy's music: a previously unissued performance of "Always True to You in my Fashion," with George Shearing. That performance is not available in the aforementioned 4CD set, nor in any other CD. (That performance's rarity is the actual reason why I thought I'd let everybody know about that cheaply priced copy, currently up for grabs.)

    Links: UK eBay or US eBay.

    P.S. Weird. I'm checking the UK link that I placed right above, and seeing that it takes me to the US site instead. So, if you want to check this item at the British branch, ignore the link above. Just go to ebay.co.uk and do a search for Peggy Lee The Best Of The Singles Collection (2003) 25 Tracks.
     
    Last edited: Mar 27, 2018
    bluemooze and .crystalised. like this.
  20. Ridin'High

    Ridin'High Forum Resident Thread Starter

    XII. JUMP FOR JOY
    (Continued; Second Post)


    [​IMG]


    Original Formats

    Our previous post about Jump for Joy started off with an image of the monophonic US LP, which hit the stores in April of 1958. The present post starts off with an image of the stereophonic US LP, which probably came out in March of 1959.

    The other original format was EP. Shown right below, I believe this EP to date from the same year as the original mono LP (1958). It consists of just the four tracks listed on its front cover. That's all it was, as far as domestic EPs went: there was no second or third serving of Jump for Joy on "Extended Play" (unlike Lee's preceding Capitol album, The Man I Love, which was entirely released over three domestic EPs).



    [​IMG]


    The (Sometimes) Wonderful World of Stereo

    [Note: what follows is a basic summary. The topic: early stereo at Capitol, with a bit of Peggy Lee content added to it. Since I'm planning to write about this topic in the discography that I'm putting together, I figure this great forum to be a good place to start gathering info and sketching out things. Factual corrections and additions will be appreciated.]

    Until 1955, Capitol's pop artist sessions were all monophonic. The label began to record some of its dates in both mono and stereo during the following year. It continued to follow that "non-pattern" (i.e., some sessions only in mono, some also in stereo) for the remainder of the 1950s. Back then, this enterprise involved simultaneous but separate setups at Capitol.
    Each process relied on a different set of in-studio microphones. Generally, different engineers on different control rooms took care of one or the other type of sound reproduction.

    By mid-1958, a minimum of 15 Capitol artists had experienced the recording of their album projects in both mono and stereo. I am referring to Stan Kenton (In Hi-Fi; recorded on February 11 and 12, 1956 at Goldwyn Studios, Hollywood), George Shearing (Black Satin; recorded at the Capitol Tower on December 18, 19 and 20, 1956), Nat King Cole (Love Is the Thing; recorded at the Capitol Tower on December 19 and 28, 1956), Johnny Richards, Frank Sinatra, Gordon Jenkins, Jackie Gleason, Les Baxter, Harry James, Les Brown, Jimmy Lunceford, Ray Anthony, Nelson Riddle, Keely Smith, and Fred Waring. That's a total of 15; there would be more.

    Here is one such, raising the number to 16:
    Peggy Lee. If Capitol kept up with typical procedure, a minimum of six microphones must have been used to pick up the monophonic transmission of her Jump for Joy dates, but only three mikes for the stereo alternative. A three-mike setup meant that there was one microphone for Peggy and two microphones for all of the 32-piece orchestra -- one of the two placed somewhere to the left, the other somewhere to the right.

    Capitol's separation of stereo from mono did not mean that the two processes were given equal weight, however. Stereo was still at an experimental phase in its history, and thus years away from reaching the mainstream. At most music companies, the brass thought of it primarily as a fad or novelty, worthwhile only insofar as it could lure audiophile folks willing to pay premium prices. Thus, through the second half of the 1950s, stereo was relegated to secondary, lowly status at Capitol, while close monitoring continued to be granted to monophonic transmission.

    Fortunately, studios and labels such as Capitol counted with capable and forward-thinking sound engineers, too. Hence, however tentative (or experimental, or subservient) the stereo recording process might have been, excellent stereo mixes were still produced in some instances. (In other words, this is a case-by-case, album-by-album situation. Later on, we will discuss whether the news are good or bad or mixed in the case of our target album, Jump for Joy.)



    [​IMG]


    Stereo Taping (With Nary A Jump For Joy)

    Most of Capitol's earliest experiments in stereo were commercially released on the label's well-received series of stereo reels. A pricey configuration aimed at audiophiles, two-channel stereo tapes were produced by Capitol for only a short time span -- approximately, mid-1957 to mid-1958. (We are talking about Capitol's unidirectional, 7.5 IPS, two-track stereo tape. They were a different incarnation from the more common, lesser-quality, 3.75 IPS, four-channel reels of the mid-1960s.)

    The label's catalogue included a fair amount of classical, choral, and instrumental titles, as well as movie soundtracks. Amidst the artists or acts chosen for inclusion, the Hollywood Bowl Orchestra prevailed, showing up in the first five reels (not counting the two introductory titles, Introduction to Stereo and Study in Stereo). More albums featuring the orchestra would be added as Capitol's reel catalogue grew, of course, along with multiple titles by the likes of The Roger Wagner Chorale, The Pittsburgh Symphony Orchestra, et cetera.

    Pure pop acts were not ignored, though.
    Made available on July 22, 1957, the very first batch comprised 13 titles, of which the last four items were pop albums: Kenton In Hi-Fi (ZD-10; Capitol's very first stereo try, undertaken at Goldwyn Studios), Nat King Cole's Love Is The Thing (ZD-11), Fred Waring And the Pennsylvanians in Hi-Fi (ZD-12), and George Shearing's Black Satin (ZC-13; Capitol very first try at the Capitol Tower). Subsequent popular album entries included more Nat (Just One of Those Things), more Waring (All Through the Night) and more Kenton (Rendezvous with), plus album offerings from ten notable male pop acts: Ray Anthony, Les Baxter, Les Brown, Jackie Gleason, Harry James, Gordon Jenkins, Jimmy Lunceford, Johnny Richards, Frank Sinatra, and Nelson Riddle. Not until reel #42, did a female act made an appearance in the catalogue, however. The pioneer: Keely Smith (I Wish You Love).


    [​IMG]


    This an old question that just piqued my curiosity. I have not encountered a clear-cut answer to it yet. But here is what I've found.

    Most of the pop albums that made it into 7.5 stereo reel tape were recorded in 1957. Here are some examples.

    #42: November 1957 (Keely Smith)
    #46: November 1957 (Les Baxter)
    #57: October 1957 (Jackie Gleason)
    #61: December 17, 19, 20, 1957 (Gordon MacRae)

    I've listed four, but I did check a few other titles lower than #61, and those too turned out to have been recorded before 1958.
    The series appears to have generated a total of 96 titles. After MacRae (#61), some pop titles were still produced, but none of them fall within the vocal department. Examples:

    #79: Glen Gray's Sounds of the Great Bands (March 1958)
    #87: Ray Anthony's Dancing over the Waves
    #88: Felix Slatkin's The Military Band (
    January 1958)
    #92: Harry James' The New James
    Soundtracks, too.

    Judging from such a scarcity of vocal titles, my guess would be that Capitol was not finding much audiophile interest when it came to singers. Hence, by early 1958, Capitol might have decided to exclude them.

    The first two sessions of Jump for Joy were recorded in late 1957 (December 5 & 20), but the last one took place in early 1958 (January 3). Perhaps,
    by waiting until January of 1958 for its completion, Peggy's album missed its chance by a hair. (This is all speculation on my part, though.)

    Something else that I looked into (out of curiosity): 1957 Capitol vocal sessions that do not appear to have been picked up for the dual stereo-mono process. It's an assorted but notable bunch of monophilia: Dean Martin, Judy Garland, Tommy Sands, Molly Bee, The Andrews Sisters, The Four Freshmen, June Christy with Pete Rugolo (Fair and Warmer), etc.


    [​IMG]


    Any readers interested in further exploring the topic of stereo reels should check out the extensive thread that was opened by Matt Lutthans long ago: Capitol Records 2-track Reel-to-Reel Tapes, 1957-1958.


    Audio Showcase



    To be continued. Next: more on stereo releases, and assorted topics.
     
    Last edited: Apr 4, 2018
  21. Ridin'High

    Ridin'High Forum Resident Thread Starter

    [​IMG]

    A rather curious 2-CD set, to be released later this month (April 2018). I definitely want to check it out. The back-to-back sequencing of songs by Frank and Peggy intrigues me.

    Four positive points, so far:

    1. lots of tracks!
    2. perfect choice of front cover photo.
    3. excellent pick for an opener. Frank's 1956 rendition of "I've Got You under my Skin" is a classic. Catchy too, Peggy's 1953 swinging rendition is from her classic Black Coffee album.
    4. back-to-back inclusion of "Come Dance with me" should reveal that Peggy's version contains lyrics not in Frank's, nor in most other versions.

    Potential negatives:

    1. since the releasing label is a mass-marketing Public Domain company, I do not hold out much hope for the set's sound quality. (Most likely, it will be just adequate. I'll be okay with that, if the price is low.)

    2. the selection of Peggy songs is all over the place (going back to her young days in the 1940s), while the Frank selections might be limited to just his classic period(s). That could create a feeling of aural imbalance for the listeners.


    Track listing:

    Disc 1

    1. I've Got You Under My Skin - Peggy Lee
    2. I've Got You Under My Skin - Frank Sinatra
    3. I'm Beginning To See The Light - Peggy Lee
    4. I'm Beginning To See The Light - Frank Sinatra
    5. Too Close For Comfort - Peggy Lee
    6. Too Close For Comfort - Frank Sinatra
    7. It's All Right With Me - Peggy Lee
    8. It's All Right With Me - Frank Sinatra
    9. How Deep Is The Ocean? - Peggy Lee
    10. How Deep Is The Ocean? - Frank Sinatra
    11. Old Devil Moon - Peggy Lee
    12. Old Devil Moon - Frank Sinatra
    13. You're Getting To Be A Habit With Me - Peggy Lee
    14. You're Getting To Be A Habit With Me - Frank Sinatra
    15. Don't Worry About Me - Peggy Lee
    16. Don't Worry About Me - Frank Sinatra
    17. C'est Magnifique - Peggy Lee
    18. C'est Magnifique - Frank Sinatra
    19. Come Dance With Me - Peggy Lee
    20. Come Dance With Me - Frank Sinatra
    21. Cheek To Cheek - Peggy Lee
    22. Cheek To Cheek - Frank Sinatra
    23. I Could Have Danced All Night - Peggy Lee
    24. I Could Have Danced All Night - Frank Sinatra
    25. As Time Goes By - Peggy Lee
    26. As Time Goes By - Frank Sinatra

    Disc 2

    1. I Get A Kick Out Of You - Peggy Lee
    2. I Get A Kick Out Of You - Frank Sinatra
    3. I've Got The World On A String - Peggy Lee
    4. I've Got The World On A String - Frank Sinatra
    5. Stormy Weather - Peggy Lee
    6. Stormy Weather - Frank Sinatra
    7. Let's Do It (Let's Fall In Love) - Peggy Lee with Benny Goodman
    8. Let's Do It (Let's Fall In Love) - Frank Sinatra
    9. Fools Rush In - Peggy Lee
    10. Fools Rush In - Frank Sinatra
    11. It Could Happen To You - Peggy Lee
    12. It Could Happen To You - Frank Sinatra
    13. From This Moment On - Peggy Lee
    14. From This Moment On - Frank Sinatra
    15. On The Sunny Side Of The Street - Peggy Lee
    16. On The Sunny Side Of The Street - Frank Sinatra
    17. They Can't Take That Away From Me - Peggy Lee
    18. They Can't Take That Away From Me - Frank Sinatra
    19. I Didn't Know What Time It Was - Peggy Lee
    20. I Didn't Know What Time It Was - Frank Sinatra
    21. Just One Of Those Things - Peggy Lee
    22. Just One Of Those Things - Frank Sinatra
    23. We'll Meet Again - Peggy Lee
    24. We'll Meet Again - Frank Sinatra
     
    bluemooze and .crystalised. like this.
  22. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    Fascinating concept, especially for a PD issue! Thanks for the alert, since I'm also curious to check this one out. Ladies first, apparently :)
     
    Ridin'High likes this.
  23. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    This post deserves a super like, if the forum had such a feature. An excellent synopsis of early Capitol stereo recordings.

    Incidentally, that Kenton In Hi-Fi tape is responsible for bringing stereophonic recording to Nashville. Owen Bradley bought that tape and was so impressed with the results that he called Ampex and ordered a three-track machine for his own recording studio. That machine was the first of its kind in Nashville, and it captured early stereo performances of Johnny Cash, Patsy Cline and Ray Price, among many others who recorded for major labels that contracted Bradley Studios for its Nashville sessions. So, one might say that it was the artistry of Stan Kenton and the foresight of Capitol engineers in Hollywood that inspired Nashville to endure as one of the foremost centers of popular recording in the United States.
     
    Last edited: Apr 5, 2018
    CBackley, bluemooze and Ridin'High like this.
  24. MLutthans

    MLutthans That's my spaghetti, Chewbacca! Staff

    I think that it would be cool to run the tracks from the Oscar Peterson Jazz Portrait of Frank Sinatra album back-to-back with the same tracks from Sinatra himself (or vice versa).

    There was something funky in the Capitol 4x duplication process that added unstableness (instability) to solo elements in the center, which should have been more-or-less "rock solid." Note the middle of this review:
    [​IMG]

    ....and Sinatra's Jolly Christmas album. For non-album tracks involving vocalists, the mono-only sessions continued into 1958, including this one by Sinatra and Keely Smith: Non-Album Tracks, 1958 (Side note: Some Brahms recordings by Rudolf Firkusny were recorded by Capitol in NYC mono-only in May of 1958.)

    Great post, Ridin'High!
     
    Last edited: Apr 8, 2018
  25. .crystalised.

    .crystalised. Forum Resident

    Location:
    Edmonton
    I failed to explain how this post relates to Peggy Lee. To clarify, Capitol and Decca were two of the major labels that recorded their Nashville acts at Bradley Studios. Therefore, if Peggy Lee had ever recorded in Nashville for any reason while signed to either label, it would have been at this studio.
     

Share This Page

molar-endocrine