Coming Attractions For 2008

I'm only getting started here at Music For Every Mood. If you like what I've posted so far, just wait! I have plenty more good stuff to work my way through. Just to mention a few of the artists I will be spotlighting in 2008 are Doris Day, The Four Lads, Billy Ward And His Dominoes, Patti Page, Debbie Reynolds, Kitty La Nier, Billy Eckstine, Johnny Mathis, Kitty Kallen, Dolores Gray, The Paulette Sisters, Betty Johnson, Connie Francis, Dodie Stevens, Ella Mae Morse, Ruth Brown, Jill Corey, Mamie Van Doren, (who, by the way, is still hotter than ever!), Chico Holiday and many more!

And, as always, if you have any requests, please just let me know. I might have the artist you're looking for and will try to post them specially for their fans. Or if you would just like to hear more of an artist I've already covered, be sure to ask for that, too. As a devoted fan myself of Julie London, I will be posting more from her soon, so have no worries on that account!

The Hyperpolyglot Girl

Artist: Caterina Valente

Song: Secret Love (b-side) (a-side is Oho-Aha)
Label: Decca 9-30778 (Pink Label Sample Copy - Not For Sale)
Number: DU-1579
Songwriter: Sammy Fain - Paul Francis Webster
Time: 2:23
Released: 1959

Caterina Valente was born in Paris, France on January 14th, 1931, into an Italian circus family. Being as her parents were both talented, this is probably why she inherited so much musical ability. Not only can she sing and play the guitar fluently, she can speak and sing in twelve different languages, too. The term for this is where the title of the blog comes from. Caterina is considered a true world citizen and a hyperpolyglot. She became an internationally known vocalist in 1953 when she joined Kurt Edelhagen's orchestra in Germany. She soon signed to Polydor and made her recording debut the same year. Her first big hit was Malaguena, followed by Analucia.

In 1959, she switched to Decca Records and that was when today's track was recorded. Secret Love had been a hit for Doris Day, but when Caterina Valente did it, it seemed like a whole new song - vibrant and alive. The arrangement, with backing provided by Kurt Edelhagen's band, has her talking to herself, urging her on with the song. Beginning with the cryptic "5 seconds from Wolf," she bursts into the song with her voice doubled, echoing some major passages at the beginning. It is a joyous proclamation to the world that her secret love will remain a secret no longer.

I fell in love with her voice from the moment I first heard this track. I'm sure you will, too, so be certain not to miss the original single version of Secret Love by Caterina Valente. It will have your fingers snapping and your toes tapping, I guarantee.

They Call Me MISS Toni Fisher

Artist: Miss Toni Fisher

Song: The Red Sea Of Mars (b-side) (a-side is Everlasting Love)

Label: Signet 3-279 (White/Red Label)

Number: E-5878

Songwriter: Wayne Shanklin

Time: 2:58

Released: 1960

She was always known as "Miss Toni Fisher" and her big hit was The Big Hurt, in 1959. What was most noteworthy about this first hit of hers was that it was the first record ever released which used a phasing effect. It was written by her husband, Wayne Shanklin, as was this record The Red Sea Of Mars. She had one other Top 40 hit in 1962, entitled West Of The Wall, about lovers caught on either side of the newly-erected Berlin Wall. But, today's post was released in between these two records, 1960, and was not a hit.

She was born in Los Angeles, California in 1931, and died of a heart attack on February 12th, 1999 in Hyrum, Utah. At the age of 18, she played a small, uncredited part in the musical Make Believe Ballroom, in 1949. In 1959, she signed a recording contract with a small independent company called Signet Records, located in Hollywood. On November 16th, her first record debuted on the charts entitled The Big Hurt. Because it went up to #3 on the pop charts, she had the opportunity to appear on the shows of Dick Clark and Ed Sullivan. In 1960, her second record How Deep Is The Ocean peaked at #93. Later that year, Signet released the single Everlasting Love b/w The Red Sea Of Mars, although it failed to chart. They also gathered her recordings together and released an album named after her big hit The Big Hurt. This, too failed to chart and she was dropped from her contract with Signet. Her one record deal with Columbia Records featuring If I Loved You b/w Love Bug also failed to chart and then she moved to Big Top Records in 1962. Her final hit, West Of The Wall, for that label, came on May 26th, 1962. She had several other singles released on the Smash label and then a short return to her original label, Signet, but had no further chart action.
This is a shame, really, as she had such a nice, strong voice and delivered her performances in a confident matter. Now, people always try to analyze why things happen, so permit me to do the same here. I think perhaps the reason she didn't have a bigger chart presence than she did was due to two primary factors. One, it seems like her husband wrote all of her material. Usually artists like her are given songs to choose from written by a wide variety of songwriters. The most strongest tracks are chosen to record and this may have been a factor in her case. However good of a songwriter her husband Wayne was, he was no Lerner and Lowe. The Red Sea Of Mars is a good song, but perhaps there could have been better ones found for her to record. Even though this track has grown on me, that's just my opinion. The second factor I find that may have inhibited her career is the fact that of the two pictures I could locate of her on the internet, one being below, Miss Fisher didn't come across as a particulary stunning-looking woman. In the music business, looks can sometimes make or break an artist.

But don't let any of that deter you from hearing her voice. It is quite pleasant to listen to. Here is Miss Toni Fisher singing The Red Sea Of Mars. Enjoy!

One other small item of interest. I find many times that the length of the song as reported on the record label does not match up with it's actual length when played. This record was a case in point. Listed at two seconds under 3 minutes long on the label, it actually only lasts for 2:44. And it's not because my turntable has a speed problem, either. I suppose sometimes that the music business is not a very precise science.

She's Available

Artist: Margie Rayburn
Song: And He Told Me A Lie (b-side) (a-side is To Each His Own)
Label: Liberty F-55159 (White Label Promotional Copy)
Number: 45-LB-888
Songwriter: R. Bagdasarian
Time: 2:35
Released: 1958

Despite the fact that Margie Rayburn had quite a varied career, there isn't that much to find out about her on the internet. Just a few tantalizing tidbits here and there. She was born Marjorie Helen Orwig in Madera, California on June 3rd, 1924 and sadly passed away from a heart attack on June 14th, 2000. In between those dates she was the singer with The Sunnysiders, whose hit was Hey Mr. Banjo; was a member of the Ray Anthony Orchestra; appeared on such television shows as The Spike Jones Show and American Bandstand; and even toured with Buddy Holly and The Crickets, in January of 1958!
Her career never really seemed to take off, even when she was signed to Liberty Records, because she wasn't selling sex like her labelmate Julie London was. It wasn't until her fifth single for Liberty that she had a hit, with her #7 in the charts recording of I'm Available. Six more singles and one album, Margie, for the label were unsuccessful. This song, And He Told Me A Lie, was one of the six singles released after her big hit, but one that did not chart. Interestingly enough, it was written by a man already familiar here on Music For Every Mood - Ross Bagdasarian. It is a wistful piece of betrayed love and even though I'm not familiar with much of the music of Margie Rayburn, this record is quite moving in it's own way.
Be sure to download this song and hear Margie Rayburn singing And He Told Me A Lie. They just don't make records like this anymore.

The Rat Pack, Part Two

Artist: Sammy Davis Jr.

Song: It's Bigger Than You And Me (b-side) (a-side is Back Track!)

Label: Decca 9-29649 (Pink Label Sample Copy - Not For Sale)

Number: 45-L 8562

Songwriter: Jule Styne - Leo Robin

Time: 2:21

Released: 1955

Here is part two of my special Rat Pack edition of posts. This one features Mr. Wonderful himself, Sammy Davis Jr.

Sammy Davis Jr., who could have been called the hardest working man in show business, started appearing on stage when he was only 3 years old. Born on December 8th, 1925, his parents divorced when he was three. His father received custody of him and immediately took the boy with him on the vaudeville curcuit. Except for a stint in the Army during World War II, his career would last until he died in 1990. He lost an eye when he was involved in an automobile accident in 1954, which almost cost him his life.

This record dates from the following year, when he had regained control of his life and career. Columbia Pictures released the movie Here Comes Eileen, in 1955, and the song It's Bigger Than You And Me was featured in it. Although Sammy didn't appear in the movie or sing the version on the soundtrack, it was nevertheless included as the b-side of his latest single, Back Track! Featuring an orchestra led by Sy Oliver, Sammy sings it in his own inimitable way and ends up making the song his own. Here is that swinging cat Sammy Davis Jr. doing It's Bigger Than You And Me. You won't want to miss this other fine addition to the Rat Pack canon.

The Rat Pack, Part One

Artist: Dean Martin

Song: Promise Her Anything (a-side) (b-side is The Triche Trache)
Label: Capitol F3787 (White Label Promotional Record)
Number: 45-17074

Songwriter: Roy Alfred
Time: 2:54
Released: August 29th, 1957

I just received the belt I ordered through the mail, so in honor of getting my turntable back into operation, I have not one special Rat Pack-related post, but two! This is the first one and what needs to be said about the artist that most people don't already know? Of course I'm speaking about Dean Martin, born Dino Paul Crocetti on June 17th, 1917. Dean's career was so big that he was the only star to be a major hit in all four major areas of show business: concert stage, recordings, motion pictures, and television.
This particular song, Promise Her Anything, with the subtitle of (But Give Her Love), features an orchestra conducted by Gus Levene. The record itself is stamped August 29 1957, so I know that's when it was released. When it came out, it was at the period when his career was seeing a sudden resurgence. He had split with his longtime partner Jerry Lewis and started concentrating more on his recording and acting. What a powerful combination that came to be when he appeared in the series of movies based on the Matt Helm spy character. Those are some of my favorites of his. But enough of this preliminary stuff, let's get on to the actual record which features the oh-so-smooth crooning of Dean Martin as he sings Promise Her Anything. I'm sure you're going to enjoy this one and it's companion piece coming next from Sammy Davis Jr.

Now Appearing On The Gary Moore Show

Artist: Denise Lor

Song: Everything I Do (Concerto Of Love) (b-side) (a-side is You're Everywhere)
Label: 20th Fox 45-114 (MF-145) (Cloud Label, Promotion Copy - Not For Sale)
Number: JBOW-9969

Songwriter: Victor Young - Eddie Heyman
Time: 2:43
Released: ?

I can't find much information at all about Denise Lor. Other than the fact that she was on the Garry Moore show from 1950-64, had a #8 hit in 1954 called If I Give My Heart To You, and was one of the classiest girl singers of the fabulous fifties, there is next to nothing about her on the internet. I suspect this record is from a later period. On it she is backed by Hugo Montenegro and his orchestra. The flipside was probably the intended hit, but I can't seem to locate that it even made the charts, so that's no help. I think I'll just leave you with the impassioned singing of Denise Lor while she performs Everything I Do. Listen to it and that's probably all you need to see that she was a very good singer!

As always, if anybody can provide more information about any of these fine artists, please don't hesitate to comment and let me know.

August 17th, 2010 Update: Apparently since this post about Denise, she has come back into the public eye. There has been a little information posted about her on Wikipedia and I received an interesting little tidbit about her through some e-mail correspondence. Here are both bits of information:

Wikipedia: Denise Lor (born May 3, 1929) is an American popular singer and actress.
She was a featured artist on Garry Moore's television show. Ms. Lor was married to and subsequently divorced from TV director and singer Jay Martin, with whom she had sons, Ron and Dennis. They had met when she was singing on The Garry Moore Show at CBS, where he was an associate director. She subsequently married writer Charles Horine (Chuck Horner). Her main hit was "If I Give My Heart to You," which charted in 1954 at the same time as another recording of the same song by Doris Day. She has appeared in numerous musical comedies including Gypsy, Annie and Sweeney Todd.

Related to her appearances on the Garry Moore show: Ivan T. Sanderson, naturalist, author, World War II intelligence agent and media personality, used to appear every week on the Garry Moore daytime show in the 1950's, and he used to do things to Denise Lor like put bats in her hair and release bees while she was onstage singing.

Well, there you have just a little bit more information about Denise Lor. It looks like she's still alive, so if she is, please let her know that her fans remember her well and I wish she would contact me here at Music For Every Mood. I'm sure her fans would like to hear from her!

Teach Me Tiger

Artist: April Stevens

Song: Love Kitten (a-side) (b-side is You And Only You)

Label: Imperial 5761 (Black label silver printing)

Number: IM-2993
Songwriter: Nino Tempo

Time: 2:08

Released: 1961

Many people will recognize the name of April Stevens, especially if the name Nino Tempo is connected with it. Together, they had the smash 1963 hit Deep Purple. What many people don't realize is that this dynamic duo are brother and sister. They were born with the names of Nino and Carol Lo Tempio, and were from Niagara Falls, New York before they relocated to California. Their careers were seemingly always intertwined - working together, working apart, recording together, recording separately - and even though Nino wasn't on this track, he did write it, along with it's flipside You And Only You.

April's solo career goes back to 1951 when she was approached by the owner of Laurel Records, while still in school. Before long, she had changed her name to April Stevens and recorded a few songs for Tony Sepe's small independent label out of Hollywood, California. Early hits of hers from the 1950's included Don't Do It, Gimme A Little Kiss, Will Ya Huh? and Teach Me Tiger, all slightly suggestive sounding in nature, and a couple of them even being banned from the radio! Love Kitten is another song in the same vein. April's voice literally purrs in this song, with her sensuous, alluring vocals and singing in a throaty half-whisper. Who could doubt that she generated a lot of fan mail back in the day?

Both Love Kitten and it's b-side You And Only You have never been included on any of her albums and that is a mistake indeed. With her sexy, come-hither voice, one has only to wonder how much bigger of a star she could have been had her hair been blonde instead. Listen to April Stevens purring Love Kitten, and see if you don't agree!

Not The Robber Baron

Artist: Jaye P. Morgan

Song: Tell Me More (b-side) (a-side is My Blind Date)
Label: RCA Victor 47-7178 (Black label silver printing)
Number: J2PW-0958

Songwriter: Jerry Leiber-Mike Stoller
Time: 2:02
Released: March, 1958

Jaye P. Morgan, whose real name was Mary Margaret Morgan, had a long and varied career, starting in the 1940's. Her nickname was acquired in high school, where she was elected the class treasurer and people compared her to banker J. P. Morgan because she was so tight with money. The reference stuck and she took the name "Jaye P." when she started performing professionally. In 1954, she signed with RCA Records and during this popular 4-year period, there were several singles released. In fact, during the year of 1955, she had five hit singles! This particular record came toward the end of her association with RCA and has Neal Hefti directing the orchestra. It features Jaye P. Morgan on vocals and a great uptempo arrangement. The flipside My Blind Date has been anthologized recently, as has a lot of her works, but this particular song has never appeared on any album.

After her recording career started winding down in the mid-1960's, she did little entertainment-wise except a few nightclub appearances and television talk shows, later moving into acting in the 1970's. But, she is probably most remembered for a 1980 appearance she made on The Gong Show, of which she was a regular panelist, where she did something that got her fired from the show. She supposedly bared her breasts during a performance by Gene-Gene, The Dancing Machine. This infamous incident is detailed further elsewhere, so I won't go into specifics here.

She is currently retired and her latest release is entitled Jaye P. Morgan Lately!, re-released in 2005. (Originally it came out on the Palace Records label in 1983.) But, this is Jaye P. Morgan in the height of her popularity singing Tell Me More.

She Was Just Seventeen

Artist: Sue Raney

Song: Till There Was You (a-side) (b-side is Pal Joey Theme, by Nelson Riddle and his Orchestra)

Label: Capitol F3847 (White Label Promotional Record)

Number: 45-17765
Songwriter: Meredith Willson

Time: 2:41

Released: November 26th, 1957

Sue Raney's first album was recorded by Capitol when she was only 18 years old. When Your Lover Has Gone, produced by Nelson Riddle, was released in 1958. This single was not recorded for it, nor was it a part of that album. Instead, it came from the previous year when Sue had first signed with Capitol. Upon discovering her, they paired her with Nelson Riddle and immediately saw results. Till There Was You was recorded on October 29th, 1957, and was backed with the theme from the Frank Sinatra movie Pal Joey (whom Riddle also produced for Capitol) which was released on November 25th, 1957. The Pal Joey Theme featured only Riddle's orchestra with no vocalist.

The song Till There Was You was from the Broadway musical The Music Man, which would premiere the following month, on December 19th. I find it fascinating that the songwriter, Meredith Willson, would allow it to be used like this. There was an original cast album which was released on January 20th, 1958, and it went on to hold the #1 position on the Billboard charts for twelve weeks, so it's surprising he let this version pre-date it and possibly detract from it's sales. Whatever the reasoning was, Riddle's and Sue Raney's version is quite charming. Another unlikely artist to have covered this song, was the Beatles, in 1963! But, here is the ultra-smooth Nelson Riddle and Sue Raney version of Till There Was You from 1957.

I found out that Sue Raney is alive and well, living on the West Coast, and still recording. In fact, she just recorded a tribute album to Doris Day that was released earlier this year of 2007. I heard some of it and she can still sing, let me tell you - better than ever! You might want to look that CD up, it's entitled Heart's Desire, A Tribute To Doris Day. You can hear cuts from it on Sue Raney's very own My Space page here.

The Swingingest Sexpot In Show Business

Artist: Abbe Lane

Songs: We're Not Children (a-side) and Femininity (b-side)

Label: RCA Victor 47-7169 (Black label with silver printing)

Number: J2PW-0722 and J2PW-0724
Songwriters: Jay Livingston - Ray Evans (Both songs)

Time: 2:25 and 2.14 (The printing on the label says 2:25 and 2:56)

Released: 1958 (?)

I wasn't going to post this single because I found out these two songs were on her album entitled The Lady In Red and it had been reissued recently on CD. But, when I located an original version of that album which somebody had digitized and uploaded to the internet, here, I found out something very surprising. The two songs on my single were different versions than were found on the album! That's right. They both had the same arrangements, of that I'm sure - the instrumentation was exactly note for note on both versions. And, yes, it's Abbe singing on both versions, but they seem to be different takes. On We're Not Children, the lyrics and length of the song is the same on both the single and the album, as is her phrasing and the way she interprets the song. It's just that I can tell it's not the same vocal take on each one, if you know what I mean. Femininity is a whole other story.

On the album, Femininity has an intro piece and lasts 2:56. Does the length sound familiar? It should, for that is what the song is reported to run as printed on the label of the single version. The problem with that is, though - the single version only lasts 2:14! And, to top it all off, the lyrics are totally different in some places, so I know it's a different vocal take!

What could have happened? After a lot of research, I still don't know the answer to that. One clue that led me farther away from the truth was the small printing underneath the titles of both tracks on the single: From the musical production "Oh Captain!" A-ha! After a little more research, I found out that Abbe did indeed premiere these songs in the Broadway musical Oh, Captain! and that there was an original cast album released. I figured that was the discrepancy - the single was from the Broadway show, put out before the album was recorded. But.... Abbe was on the RCA label and the cast album was released by Columbia, so she couldn't appear on it and instead had to have her vocal parts sung by Eileen Rodgers. So, that wasn't what happened. What did happen?

My theory as to what took place is this. As is the case with some songs in Broadway productions, often times the lyrics get "updated" when recorded outside of the production. It arises that references that are in the song when perfomed onstage are out of context without the full compliment of the Broadway show surrounding it on a "secular" album. There is nothing to confirm or deny my theory, that I can find, but here is what I think happened:

Abbe never got to sing the songs that she herself premiered on Broadway. I mean, now they were like her signature songs and somebody else had to sing them on the original cast album! That must have made her pretty angry at rigid Record Company rules and regulations. When her record company, RCA, got ready for her to release a new album, they made sure that these two songs would be included on it; because after all, she was practically famous with them already. So they recorded them, and because the lyrics had to be rearranged and one of the songs padded out to a more fuller length, they tacked on an intro to the beginning of Femininity and all was well. To appease her, I think they may have allowed her to record them again, singing the versions she had on Broadway, only never intending to do anything with these other versions. I also suspect that they intended to use the album versions of both songs on the single all along, as the tell-tale timing lengths printed on the label indicates. Sometime after the recording process, the master tape of these two songs must have gotten mixed up and sent to be used on the single instead of the album version masters, and it wasn't caught until it was too late. Well, that's my theory and I'm sticking to it! If anybody has any information about this, please contact me.

As to Abbe Lane herself, she had quite a career. Born in 1932, she began as a child actress on the radio and from there she progressed to singing and dancing on Broadway. In 1952, she married the Latin bandleader Xavier Cugat and his influence could be seen on her music, which favored Latin and rumba styles. The title of this post was taken from a 1963 magazine article about her after she had achieved her greatest success, which was as a nightclub singer. She appeared in Italian films and several television shows of that period, Toast Of The Town, The Flying Nun, The Brady Bunch, Hart To Hart, and Vega$. Fans of hers got to see her one final time in the 1983 film version of The Twilight Zone, where she played a stewardess. Today, she is still alive and well. Maybe I should try to locate her and ask about the mix-up on this record.

This having been my longest post so far, (but you get 2 songs for the price of 1!), I need to give you the link for these wonderful songs. Here is Abbe Lane singing the songs from her single We're Not Children/Femininity. And, she actually sings them better on the 45, so don't miss this one!

Lily Ann

Artist: Lily Ann Carol
Song: I Don't Know Any Better (a-side) (b-side is It's Been So Long)
Label: RCA Victor 47-4852 (Black label with silver printing)
Number: E2VW-6360
Songwriter: Irving Gordon
Time: 2:53
Released: 1953 (?)

There isn't much information out there in cyberland about Lily Ann Carol. About the only thing I could find was that she was a featured vocalist in Louis Prima's Orchestra in the mid- to late-1940's and that after that she did some solo work on Prima's own Robin Hood label and then the Bruce label. This single was not released on either of those labels, so she must have moved on to a different record company by this time.
From further research, I have found out that the number on this RCA disc was used right after another single featuring Hugo Winterhalter and his Orchestra, and his songs Hesitation/Tic-Tac-Toe were released in 1953. So, it's safe to assume that this 45 rpm of Lily Ann Carol's came out in 1953 also.

The only commercially-available recordings of hers appears to be on the same aforementioned Louis Prima records; actually she's featured on just a few cuts of one album that is currently for sale. Other than that, her works don't seem to be available anywhere. That's a shame, too, because she has a really powerful voice and persuasive inflection. But, don't take my word for it - see for yourself how moving her performance is by getting I Don't Know Any Better by Lily Ann Carol.

Oh, and if you like this song and want to hear more - please let me know. A short comment is all the impetus I need to post the b-side of this record, It's Been So Long, or any other sides I may have mentioned in the course of my blogging!

Perfect-Lee Peggy

Artist: Peggy Lee

Song: Oh! No! (Please Don't Go) (b-side) (a-side is Ooh That Kiss)

Label: Decca 9-29534 (Pink Label Promotional - Not For Sale)

Number: 45-L 8179

Songwriters: Lucky Thompson - Gee Wilson (Gene Wilson)

Time: 2:42

Released: June 6th, 1955

Today's post is a catchy little Peggy Lee number entitled Oh! No! (Please Don't Go). It was recorded on the same day, February 11th, 1955, as it's a-side Ooh That Kiss. While the a-side has seen further release on at least one collection, an import CD from 1998, this little nugget has never been included on an album.

Born on May 26th, 1920, Peggy Lee had a career that lasted from 1941, when she joined Benny Goodman's band, until her death in January 2002. In that period, she recorded more than 600 songs and wrote many more. She was truly an American legend in music.

Now, go and give a listen to the voice, about which Frank Sinatra had this to say: "Her wonderful talent should be studied by all vocalists; her regal presence is pure elegance and charm." Peggy Lee sings Oh! No! (Please Don't Go).

Champagne Music Lite

Artist: The Lennon Sisters

Song: It Started In Naples (b-side) (a-side is I Get So Lonely)
Label: Dot 45-16114
Number: MB-15085
Songwriters: Cicognini - Savino - Simoni - Gabler
Time: 2:39
Released: June 1960

The Lennon Sisters were featured for many years on the Lawrence Welk Show, between 1955-1968, and had many records on their own. This particular song was featured in the 1960 Clark Gable, Sophia Loren movie entitled It Started In Naples, but performed by a different artist. I've seen the movie and heard the sister's version and I like the one by them better. It features the oh, so smooth vocal harmonies of the sisters, (Peggy, Kathy and Janet - Dee Dee had left the group temporarily) and a really great twin-mandolin lead toward the end! On the record label they are listed as Lawrence Welk Presents The Lennon Sisters. Check out that flock of Italian paisanos that helped to compose it. The arrangement is very authentic sounding and the recording benefits greatly because of it.

The a-side, I Get So Lonely, is a good, uptempo song, so it will make an appearance here someday. I promise! But, while you're waiting for it, be sure to get The Lennon Sisters singing It Started In Naples. It might even have you craving spaghetti and garlic bread after hearing it!

Through online research, it looks like this song is another one that has never been on any album. Discounting for possible foreign releases, I'm almost 99% positive that you won't find this track anywhere else. So, please enjoy it if you're hearing it for the first time. It's quite a lovely tune.

Julie Is Her Name

Artist: Julie London

Song: It's Easy (b-side) (a-side is Voice In The Mirror)

Label: Liberty F-55139 (White Label Promotional Copy - Not For Sale)

Number: 45-LB-848

Songwriter: R. Bagdasarian

Time: 2:01

Released: 1958

The first 45 r.p.m. that I'm going to post turns out to be rare. In fact, it doesn't even appear to have ever been included on any album, much less a CD compilation. The artist I'm speaking about is, of course, Julie London. And why this song has never been on any of her albums is a mystery to me. The song is called It's Easy, and was the flipside of the title track she and her husband Bobby Troup wrote for the motion picture she starred in called Voice In The Mirror.

Julie handles the material, which is perfectly suited for her style, quite zestfully. It was written by Ross Bagdasarian - yes.... the same man who created the Chipmunks! What's more amazing is that below Julie's name on the label is the phrase The Music of David Seville. Why this has never seen any other release is beyond me. In my opinion, this song captures the essence of Julie London's talent perfectly. Don't think that because it was a throwaway that it's a substandard number - it's not second-rate by any means! In fact, it's one of my favorite songs by her.

So, make sure you go and get this one, as you've probably never heard it before. You're in for a real treat, I guarantee! Here is Julie London singing It's Easy.

Now, as to the mp3 itself, I apologize if it's not as clear as it could be. I recorded it to my computer about 8 years ago and burned it to cd and this is the version I ripped and uploaded. I meant to re-record it to my computer tonight and do a much better job of cleaning up the sound, but my turntable threw a belt. So, until I can get a replacement, this version will have to do. It's not bad, but I know it could be better. And stay tuned, I'll upload the flipside one of these days. It's a ballad that isn't too bad in it's own right, with the orchestrations for it being handled by Pete King.

Rare 45's

Welcome to Music For Every Mood. As the title suggests, there will be a lot of music, and of varying styles. I'm digging through my collection of 45's and most of them are from the 1950's. There will be a lot of female voices represented, such as Julie London (my fave) Peggy Lee, Patti Page, Sue Raney, Debbie Reynolds, Doris Day, Kitty La Nier, The Lennon Sisters, Lily Ann Carol, Caterina Valente, Abbe Lane, Kitty Kallen, Dolores Gray, The Paulette Sisters, Jaye P. Morgan, April Stevens, Denise Lor, Betty Johnson, Connie Francis, Dodie Stevens and one of my all-time favorites, Joan Weber. Well, with that range of artists, I hope you get the idea. And, I hope you come back often to see what I've posted.

A lot of these artists aren't represented on CD and the songs that I hope to share will be next to impossible to find. You won't find them on any CD compilation, so the only hope you'll have of hearing them is to either buy a collection of records from a retired deejay, or just get them here.

I'm not sure how each single will be represented, as there aren't covers for them - just non-descript sleeves. Maybe I'll post a scan of the record label, I'm not sure. If anyone has any suggestions, feel free to speak up. I will try to do my best to come up with facts about the singer's life and any data on the recording itself, if possible. I'm not promising anything, but we'll see.

So, prepare yourself for.... music for every mood!