PhillyGuy
2005-02-21 08:08:42 UTC
Sometimes with a song or melody you like, you know there's a best
version out there somewhere, or somebody has to find the key to unlock
all of a songs' riches.
Examples of this for me are a song like "Unchained Melody". I don't
believe the ultimate version has yet been done, although for me Roy
Hamilton's version and Les Baxter's semi-instrumental at least pointed
the way and skirted around the edges of greatness. Elvis did a decent
version. But he was Elvis. Millions are happy as a clam with the
version by late Bobby Hatfield of the Righteous Brothers - but I don't
believe in my heart of hearts that's the best anybody can or will ever
do with that song by a long shot. And I mean a long.....shot. Vito &
The Salutations version is a farce for me (not for you necessarily),
because what I'm looking for, is for some artist to bring out the great
beauty in this plaintive song and max it out in their vision, or even
with a producer's vision to help.
Another song for me that I have an intrigue for the melody is Alberto
Dominguez' "Perfidia". I don't care what era the song is done in, or
what kind of production values are employed, as long as the song gets
the right treatment in that kind of setting. Here is how I rate the
few versions I'm aware of:
#1 Linda Ronstadt (from the score of "The Mambo Kings")
#2 Jimmy Dorsey Orchestra
#3 The Ventures
#4 Xavier Cugat (oldest version I'm aware of; not counting his
remakes, this is the Victor/RCA version I speak of from early 40's)
#5 Benny Goodman
#6 The Four Aces
#7 Glenn Miller
The Ronstadt I rate a 9.5, and the Dorsey a solid 9. It is not the
best or most important thing he did, but the only well-done (not
underdone like Glenn Miller's version or overdone like Goodman's). If
you want to know how the song comes off in great hands or great
conception, stop right there.
The Ventures' version is brilliant for translating this into rock and
roll treatment (or rock and roll production values). It is not the
best thing they ever did, but it is one of the best things they ever
did). The Xavier (pronounce the Cuban's name "hah-vee-AIR" please)
Cugat version could have been my number two, the wimp-out ending a al
bubbles blow in the bathtub with a straw drags an otherwise startlingly
creative effort way down. And don't talk to me about his watered-down
remakes in the 50's of his big hit, or I'll reach for my gun.
Now we get to some versions that disappoint. Benny Goodman's version
appears to be a great effort, but it grows old much faster on regular
listenings, and has limited appeal, even though he raves it up and
tries a super-charged take on it. It is no deep Goodman classic in the
way that "Why Don't You Do Right?" is, and for a Latin number, he had a
more salutory effort on "Ramona". All 3 of these are available, for
comparison, by the way on the Time-Life "King Of Swing" CD in their
swing series. It ain't no big band essential. But doesn't swing
harder than the Dorsey? Of course it does. That doesn't make it
better. It is overwrought, yet it borders on greatness. Goodman
seemed to have his own version for every song ever available in its
day. Sometimes he hit the bullseye ("Stompin' At The Savoy" or "These
Foolish Things" with Peggy Lee, or "Loch Lomond", and sometimes, it
seems more often than not, a pale, pallid and/or feckless version of
somebody else's big hit, like "Bei Mir Bist Du Schon", which would make
you wonder why he ever even bothered, unless to keep band busy working
on something and fulfill and record contract with Bluebird (or
contractual obligation).
Nothing like that can evn be said for the Four Aces version; it is far
from their best song, and even further from the best possibilities for
"Perfidia". What the Aces didn't do for uptempo, Glenn Miller didn't
do for a sleepytime lullaby version of Perfidia. If either or both of
these are your only acquaintance with the song, I feel sorry for you,
but not if you are too lazy to look any further.
Why did it take 50 years for the best version so far, that of Linda
Ronstadt's, to come out with something that does the song justice?
Jimmy Dorsey's is pleasant, well-orchestrated, and justifiably sold
better in its day than the Glenn Miller or Goodman versions, but gives
not hint of greater possibilies. Unfortunately, his band was not as
enduringly popular as Miller's, and now whenever big band is heard,
people are more likely to be familiar with Miller's milk and cookies
for bed version, which almost totally strips the version of any of its
original Latin fire.
Hearing the Ventures pleasant, but not killer version of the song, also
gives no hint of what Ronstadt would someday do in a Rhumba (please
pronounce "rume-buh" or "room-buh" to get that word right)
phrasing. Still, while this may be as close as we get to full or
perfect realization of the song, one is still left with the feeling
there is still a little room left for someone, in theory to sneak in
and top it, but not much room to get by it. There is a LOT of room, by
contrast, to do more with "Unchained Melody", it is just going to take
a brilliant conception by somebody with talent to burn to do it.
some thoughts,
-T.
version out there somewhere, or somebody has to find the key to unlock
all of a songs' riches.
Examples of this for me are a song like "Unchained Melody". I don't
believe the ultimate version has yet been done, although for me Roy
Hamilton's version and Les Baxter's semi-instrumental at least pointed
the way and skirted around the edges of greatness. Elvis did a decent
version. But he was Elvis. Millions are happy as a clam with the
version by late Bobby Hatfield of the Righteous Brothers - but I don't
believe in my heart of hearts that's the best anybody can or will ever
do with that song by a long shot. And I mean a long.....shot. Vito &
The Salutations version is a farce for me (not for you necessarily),
because what I'm looking for, is for some artist to bring out the great
beauty in this plaintive song and max it out in their vision, or even
with a producer's vision to help.
Another song for me that I have an intrigue for the melody is Alberto
Dominguez' "Perfidia". I don't care what era the song is done in, or
what kind of production values are employed, as long as the song gets
the right treatment in that kind of setting. Here is how I rate the
few versions I'm aware of:
#1 Linda Ronstadt (from the score of "The Mambo Kings")
#2 Jimmy Dorsey Orchestra
#3 The Ventures
#4 Xavier Cugat (oldest version I'm aware of; not counting his
remakes, this is the Victor/RCA version I speak of from early 40's)
#5 Benny Goodman
#6 The Four Aces
#7 Glenn Miller
The Ronstadt I rate a 9.5, and the Dorsey a solid 9. It is not the
best or most important thing he did, but the only well-done (not
underdone like Glenn Miller's version or overdone like Goodman's). If
you want to know how the song comes off in great hands or great
conception, stop right there.
The Ventures' version is brilliant for translating this into rock and
roll treatment (or rock and roll production values). It is not the
best thing they ever did, but it is one of the best things they ever
did). The Xavier (pronounce the Cuban's name "hah-vee-AIR" please)
Cugat version could have been my number two, the wimp-out ending a al
bubbles blow in the bathtub with a straw drags an otherwise startlingly
creative effort way down. And don't talk to me about his watered-down
remakes in the 50's of his big hit, or I'll reach for my gun.
Now we get to some versions that disappoint. Benny Goodman's version
appears to be a great effort, but it grows old much faster on regular
listenings, and has limited appeal, even though he raves it up and
tries a super-charged take on it. It is no deep Goodman classic in the
way that "Why Don't You Do Right?" is, and for a Latin number, he had a
more salutory effort on "Ramona". All 3 of these are available, for
comparison, by the way on the Time-Life "King Of Swing" CD in their
swing series. It ain't no big band essential. But doesn't swing
harder than the Dorsey? Of course it does. That doesn't make it
better. It is overwrought, yet it borders on greatness. Goodman
seemed to have his own version for every song ever available in its
day. Sometimes he hit the bullseye ("Stompin' At The Savoy" or "These
Foolish Things" with Peggy Lee, or "Loch Lomond", and sometimes, it
seems more often than not, a pale, pallid and/or feckless version of
somebody else's big hit, like "Bei Mir Bist Du Schon", which would make
you wonder why he ever even bothered, unless to keep band busy working
on something and fulfill and record contract with Bluebird (or
contractual obligation).
Nothing like that can evn be said for the Four Aces version; it is far
from their best song, and even further from the best possibilities for
"Perfidia". What the Aces didn't do for uptempo, Glenn Miller didn't
do for a sleepytime lullaby version of Perfidia. If either or both of
these are your only acquaintance with the song, I feel sorry for you,
but not if you are too lazy to look any further.
Why did it take 50 years for the best version so far, that of Linda
Ronstadt's, to come out with something that does the song justice?
Jimmy Dorsey's is pleasant, well-orchestrated, and justifiably sold
better in its day than the Glenn Miller or Goodman versions, but gives
not hint of greater possibilies. Unfortunately, his band was not as
enduringly popular as Miller's, and now whenever big band is heard,
people are more likely to be familiar with Miller's milk and cookies
for bed version, which almost totally strips the version of any of its
original Latin fire.
Hearing the Ventures pleasant, but not killer version of the song, also
gives no hint of what Ronstadt would someday do in a Rhumba (please
pronounce "rume-buh" or "room-buh" to get that word right)
phrasing. Still, while this may be as close as we get to full or
perfect realization of the song, one is still left with the feeling
there is still a little room left for someone, in theory to sneak in
and top it, but not much room to get by it. There is a LOT of room, by
contrast, to do more with "Unchained Melody", it is just going to take
a brilliant conception by somebody with talent to burn to do it.
some thoughts,
-T.