Skip to main content

20 Golden Greats

My wife's musical tastes and mine didn't overlap too much, but she had a love of the '40s and '50s crooners, which, when we met, was music I'd just begun to appreciate too. In her case, it was a taste she'd inherited from her father, who, born in the mid-'20s, had grown up listening to those singers. His particular favourite artist in that vein, and, by extension, hers, was Nat 'King' Cole. She recalled fondly how he'd sing Cole's 'Mona Lisa' (and Frankie Laine's 'That Lucky Old Sun') to her as a lullabies when she was very young.

We jointly acquired CD compilations of the bests of Cole, Sinatra, Dean Martin, Ella Fitzgerald, Peggy Lee & others. At our wedding we danced to Tony Bennett's version of 'The Way You Look Tonight'. Those tunes were a large part of the soundtrack to our marriage. When her father died, 'Mona Lisa' was played at his funeral, and to hear it became more bittersweet. When my wife died, only six years later, it was played at her funeral too: ever since it's been a powerfully poignant tune for me.

I've bought a number of Nat 'King' Cole LPs in recent years. A few I haven't much cared for - they can be a bit too heavy on the syrupy-sweet ballads; a little too smooth - but I do love his At The Sands live LP, and one can't go wrong with a compilation so well-packed with classic numbers as 20 Golden Greats. It's not a record I play lightly, with 'Mona Lisa' (side 1, track 5) followed not long after by 'Smile' (side 1, track 8): if the former doesn't bring me to tears, the latter seldom fails to finish the job. 

Comments

Popular posts from this blog

All Wrapped Up

Here's another of the compilation cassettes I bought this summer, having taken home a Denon twin-deck hi-fi cassette player from the local charity shop. All Wrapped Up is a 1983 compilation of singles by The Undertones, with Side One filled with A-sides, and B-sides on Side Two. A cassette must be the least desirable medium for such an arrangement, with a long rewind required if one just wants to hear the hits repeatedly. The Undertones were unapologetically provincial and anti-fashionable, with their songs sharply-written slices of life that pointedly avoided any mention of politics, or of the then-continuing violence in their native Derry. My favourite tracks are the obvious choices: 'Teenage Kicks', 'Jimmy Jimmy', 'Here Comes the Summer', 'My Perfect Cousin' & 'Wednesday Week'. Their later singles showed increased sophistication but lack the some of the straightforward charm of their earlier work. The B-sides, not unexpectedly, are mo...

In Heat

Having acquired the soubriquet "the walrus of love", Barry White thereafter became something of a figure of fun, something that misled me (and presumably others) into disregarding his music. Only within the last few years have I begun to pay it more attention. After picking up a copy of his '74 album Can't Get Enough last summer, which I loved, I sought out some of the music by his protegés Love Unlimited. From a Discogs seller I ordered well-used copies of Under the Influence of... ('73) and In Heat ('74) for only £6.25. The only unappealing thing about In Heat is its awful title. The songs and the singing are strong; the arrangements rich & warmly enveloping. As one would expect from White, the thematic focus is firmly fixed on amatory matters. The opening number 'Move Me No Mountain' (the only one on the record not written by White) offers a refreshing rebuttal to the kind of lyrical hyperbole in songs like 'Ain't No Mountain High E...

Bananas Are Not Created Equal

I knew Jay Berliner's name from his contributions to Van Morrison's Astral Weeks and Charles Mingus' The Black Saint and the Sinner Lady , so when I saw this curiously-titled LP at the local charity shop I was intrigued, and bought it even though I had no idea what kind of music it might contain. This was after the days when one could still buy records there for a pound apiece, but I don't think I paid more than a fiver for it. The music turned out to be an all-instrumental blend of funk, soul & jazz. Berliner's virtuoso lead guitar is only one of many attractions here. The band of first-rate session musicians behind him are all uniformly excellent too, and, crucially, sound like they're having a blast. Cornell Dupree's supporting guitar work, while less showy than Berliner's, is beautifully-judged, and the rhythm section is terrific. Arranger/conductor Wade Marcus was no slouch either, judging from the way everything comes together. Two of the funk...