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William Orten Carlton = ORT.
SPECIAL CORRESPONDENT & BEER EDITOR FOR THE FLAGPOLE
THE COCKTAIL COMPENDIUM FOR THE MILLENIUM
A couple of nights ago, 1 trundled by the
office to finish up some work and noticed a
book f hat I had never seen before lying on a
table nearby. Once I started scanning it, it
was impossible for me to put it down; 1 had
to turn through almost all of it, and it was
nigh onto 6 am. when 1 finally arrived home.
The title of it is MusicHound Lounge —
The Essential Album Guide to Martini Music
and Easy Listening. It is edited by Steve
Knopner, and the foreword is by Martin
Denny — who to many people’s minds is the
King of Lounge Music. Denny’s intro sets the
tone for the entire volume.
Turning a page at total random. I arrive
at Mitch Miller. Some of you will remember
Mitch for his “Sing Along Gang" television
show and albums, but I know him not only
as progenitor of several hit 45s in my collec
tion but more as Pop A & R Chief at
Columbia Records during the 1950s. Miller
so hated rock & roll that other producers at
Columbia waited for him to take vacations
so they could usher people into the studio
and cut their sides in Miller’s absence; he
would have found them objectionable had
he been present. As a result, Columbia
released quite a few killer rockabilly singles,
such as “Slam Bam, Thank Ya Ma’am” by
Paul Hampton, which would have made the
ciassically-trained Miller gnash his teeth to
dust.
1 turn at random (second try) to Frankie
Laine. His most recognizable hit is probably
“High Noon (Do Not Forsake Me, Oh, My
Darling)”; he also had major hits with
“Jezebel” and “Moonlight Gambler” (all these
for Columbia between 1951 and 1964) and
“That’s My Desire” and “The Cry Of The Wild
Goose" (for Mercury between 1947 and
1951), all produced by
Mitch Miller. Laine
recorded for ABC from
1966 to 1969, hitting
with “I’ll Take Care Of
Your Cares,” “Making
Memories,” and one I
lack, “Dammit Isn’t
God’s Last Name.” He
scored a bit of a coup
when Mel Brooks
induced him to sing
the themesong in
the 1974 hit movie
Blazing Saddles.
Laine continues to
perform; at age 85,
after two bypass
surgeries, he is
remarkably robust,
and says he will
retire when he
can’t perform any
more, and not until.
Next I come to Robert Goulet (first try).
My favorite song of all time by him is “Come
Back To Me,” from the Broadway hit show
“On A Clear Day You Can See Forever," taken
from his LP “Robert Goulet On Broadway.”
Broadway is probably what Goulet does best;
he founded his career by playing Sir Lancelot
in Lerner & Loewe’s musical “Camelot." Bom
in Lawrence, Massachusetts, Goulet is likely
not close kin to the Goulet family in Madison
and Franklin Counties who pronounce their
name “GOWlet."
I turn next to Brave Combo (first try).
Surely the utterly Gol-Durndest Polka Band
in the Universe, these guys remind me of
what could have happened if Frank Zappa
and Lawrence Welk had been able to collabo
rate. Throw in Frankie Yankovic & His Yanks
and Captain Beefheart, too, and you’ve really
got an idea of what they’re all about. Their
Athens shows have been - shall we say -
memorable; my only complaint is that they
have been too few and far between. I
hope these guys
burn up the pave
ment from Denton,
Texas to here as
soon as someone
gets up the gump
tion to book them.
Is any one listening?
Now for a few
of my choices.
Blossom Dearie is
included; how could
she not be? (I still
remember her guest
ing on a talk program
about 1980 with her
octagenarian father,
who patiently ex
plained how her won
derful - and absolutely
real - name came
about. Dearie is an old
[auld!] Scots surname,
by the way.) Ms. Dearie released several crit
ically-acclaimed solo LPs for Verve in the
late 1950s and is a bit of a cult figure (she
remains an active performer), but my knowl
edge of her career is largely based on the
album she issued on Emarcy (then the jazz
subsidiary of Mercury) entitled The Blue
Stars Of Paris.” A single taken from this
album, “Lullaby Of Birdland,” was a hit in
late 1955/early 1956; sung in French, it
remains one of the finest pieces of jazz
vocalese I have ever heard. It still makes me
cry to hear it, partly because it is so beauti
ful, and partly because it so transfixed my
late friend Melissa when I played it for her
on a starry night in 1988.
I cannot believe that they left Kettie
Lester out. Her 1962 hit “Love Letters”
should have assured her inclusion! I guess
her lone Era Records LP is too far out-of-
print for her to be included.
But Serge Gainsbourg (and Jane Birkin)
are here. Their 1970 hit, “Je T’Aime... Moi
Non Plus,” sung in French and punctuated
with near-orgasmic breathing, was banned in
a number of American markets as lewd. (1
find it especially enriching to play the 45 at
78 r.p.m., but l digress.) It belied
Gainsbourg’s talents as a monologist and
Birkin’s as a classical pianist, but it is an
impossible record to forget, and to many
people that makes it art.
Eden Ahbez (or eden ahbez, as he spelled
it) is included, ahbez, the composer of the
1948 Nat “King” Cole hit “Nature Boy," is a
very likely subject for a future column. To
tell you more now is not necessary; ahbez is
worth your wait - in gold.
1 would be remiss if I neglected to tell you
about Raymond Scott at this point. Scott
composed music later used in Warner
brothers cartoons that many of you would
recognize instantly. This came as an out
growth of a pioneering series of jazz record
ings he did for Columbia in the late 1930’s.
Dismissed as novelty items then, they have
taken on new shades of meaning in the ensu
ing years. Scott died at age 85 in 1994, com
pletely aware that people appreciated his
unique contribution to American music.
This is a fascinating book and is indispen-
sible for any serious record collector. The
publisher is Visible Ink Press and the cover
price is $24.95. Cheap, I’d say. (30.)
©1998 William Orten Carlton.
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