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A great melody first, then lyrics,(only) THEN 'vocals'

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  • My favorite Joni Mitchell song you may not have heard

    Overnight Siriusly Sinatra satellite radio played, one-after-another, favorite songs of mine – including 12 or 20 I've singled out here on this thread alone. I'm feeling you could say, personal gratitude to the man who comes up with the playlist each day.

    I awoke thinking of my all-time favorite pop ballad by my second-favorite composer, Harry (Salvatore Guaragna) Warren – AT LAST. I never knew he wrote it, until a couple of decades ago, driving into work in the pre-dawn of a cold winter day like this one. Had that 'gotta-pull-my-car-over' to the side of the road' moment, and turned up the AM radio volume: A great female singer -- I couldn't immediately identify -- in the company of a huge (70 piece?) orchestra was re-introducing me to AT LAST.

    Just as an aside, the stunning arrangement combines of deceptively simple complexity with a disarming repeated notes -- 'chink-chink-chink' piano accompaniment heard in so many of those early, mostly-forgotten 50's pop tunes that tried so hard to compete for our attention on early rock 'n' roll radio.

    I remember being thrilled when the announcer came on to announce, after-the-fact: “That was Joni Mitchell.”

    [The light just went on! The reason James Taylor visited neighboring Saskatoon, Saskatchewan a decade before playing here in Winnipeg (three years ago) was because that's Joni's home town! James Taylor and other musical greats are celebrating Joni's 75th.]

    To this day that CD of Joni's remains one of my 'desert island' albums. From memory, I think the principal arranger was Vince Mendoza – who, rather than reinvent the wheel, wisely borrowed verbatim – copied wholesale, the charts by Gordon Jenkins for Sinatra: the opening 'gathering-storm' orchestral flourishes still give me goosebumps. Guess they did for Joni too!

    Any track from that album would be fitting to listen to now – including the one Siriusly Sinatra satellite radio played overnight, “Don't Go To Strangers.” But since I awoke this morning thinking of this one . . . Oh! Three songs in a row overnight were about dreams and dreaming! Including “I Couldn't Sleep a Wink Last Night” (and two others by Sinatra and Como). If I didn't know better I'd say, What a coincidence! AT LAST! At last!


    • One of the songs by Joni on that 'orchestral' album was CASE OF YOU.

      My wife and I will live and die on Blueberry Bay -- on a pie-shaped lot, just 'round the corner from Ice Cream Lane. (That last bit, I made up). When we moved here in 1982 I had a then brand new cassette of a favorite old black vinyl album of Joni's: "BLUE." I would have played “A CASE OF YOU” for my Irene back then. Just played it for her now – sunlight streaming through a window, both of us feeling tears of joy, hearing this again. This and BIG YELLOW TAXI will always be my favorites of her songs.


      • (How to) Put on a Happy Face
        Just for me (I'd like to think) Siriusly Sinatra satellite radio just played my favorite TONY BENNETT duet, with James Taylor. Their delightful take on PUT ON A HAPPY FACE. James recalls his introduction to the song when his musical Mom took some of the family to see BYE BYE BIRDIE, the original Broadway production. Favorite moment here? When Tony is trying to sing these words and J.T interrupts (at 2:42) with a spoken, “Hey, I knew that girl!”

        I knew a girl so gloomy – she'd never laugh or sing.
        She wouldn't listen to me – now she's a mean old thing!

        The informed introduction is by the late Phil Ramone, producer of Duets:

        Happiness is getting a note from James Taylor this day -- in response to this posting (below)

        "James Taylor responded to your note, Mark Blackburn: Thanks mark. Also one of James's personal favorites-- that song, that recording, that producer and the incomparable, Tony Bennett."

        Last edited by Mark Blackburn; 03-11-2019, 07:46 PM.


        • Favorite song about baseball: James Taylor's Ode to The World Series Champion Red Sox -- ANGELS OF FENWAY.

          Before tonight I'd only heard James Taylor's wonderful ANGELS OF FENWAY on the CD; or set to a single photo of James at Youtube. So, I'd not seen this note-perfect video -- giving me goosebumps, beginning with that glimpse of ordinary souls taking the subway to the game – their explosion of sheer joy when the drought finally ended, “after 86 summers gone by.”

          Favorite lines (though every single stanza is quietly brilliant). When the team is poised, on the brink of final victory and . . .

          “The whole world held its breath
          People got down on their knees
          Ready for the sudden death
          Prayin' to Heaven, for Hell to freeze"

          Last edited by Mark Blackburn; 03-11-2019, 10:51 PM.


          • OVER THE RAINBOW – Jack Sheldon & Ross Tompkins

            My favorite trumpet player Jack Sheldon – alone together, with Johnny Carson's favorite pianist, Ross Tompkins. They picked OVER THE RAINBOW for their contribution to a 2-CD “Harold Arlen Centennial” album (released in 2005). It's everyone's favorite number from “The Wizard of Oz” – even though most people couldn't say, 'Who wrote that song?' (or never even heard the names of composer, Harold Arlen and lyricist “Yip” Harburgh).

            Siriusly Sinatra satellite radio just played this recording, as if to say to me personally, “Bet you never heard this one by your favorite trumpet player?” No, Jersey Lou, if you are there, I hadn't, thank you very much!

            There is one version of it at YouTube – with slight flaws in the audio that detract only a little from Jack Sheldon's flawless tone. It's less evident in Jack's singular singing voice, or when listening to Ross Tompkins piano (I just left it a fourth “helpful” vote).

            Jack Sheldon is a somebody in the jazz world with a large Wiki entry; Ross Tompkins, less so. His modest entry below. Did I say my new favorite version?


            Ross Tompkins (May 13, 1938 – June 30, 2006) was an American jazz pianist who was a member of The Tonight Show Band.

            Tompkins attended the New England Conservatory of Music, then moved to New York City, where he worked with Kai Winding (1960–67), Eric Dolphy (1964), Wes Montgomery (1966), Bob Brookmeyer/Clark Terry (1966), Benny Goodman (1968), Bobby Hackett (1965–70), and Al Cohn and Zoot Sims (1968–72). He moved to Los Angeles in 1971, playing with Louie Bellson, Joe Venuti, and Red Norvo in the 1970s and Jack Sheldon in the 1980s.[1]

            He was best known for his longtime association with The Tonight Show Band, led by Doc Severinsen, on the television program The Tonight Show Starring Johnny Carson. He was a member of the band from 1971 until Carson's retirement in 1992. He recorded for Concord Jazz as a leader in the second half of the 1970s. Tompkins died of lung cancer at the age of 68.


            • Carrying a torch for someone, definition of

              "To have unrequited feelings of love for someone. People who love someone who does not love him or her back are carrying a torch for that person. ... This idiom illustrates the idea that love is like a burning flame kept bright."

              Up early listening to Siriusly Sinatra satellite radio and the voice of its programmer, "Jersey Lou Simon" whose voice a moment ago is warm and welcoming, like a loved one. Of late, that voice has been giving longer song introductions – like the one a moment ago:

              “'Oh, How I Miss You Tonight' from 'Frank Sinatra All Alone' – an album of torch songs arranged by Gordon Jenkins.”

              Wish I knew a little of the history of this often overlooked album, which includes some of Gordon Jenkins' loveliest, most subtle arrangements (at least to my ears). How did it originate? Did Gordie himself plant the seed for this one, perhaps saying to our favorite singer: There are a few songs I can think of that, taken together, might be a good theme album. Songs that might otherwise be overlooked: like this one – and, “Are You Lonesome Tonight” (the early Elvis song).

              The Wiki entry notes that “half the songs are by Irving Berlin,” which may provide a clue about the album's genesis. And the cover painting – an up-in-the-middle-of-the-night with just one light on in the room, upper stage left. The painter's technique is superb. Who did it? Who knows?

              All this from Jersey Lou introducing this one track from a great album of “torch” songs!

              It's a measure of how unaware the world is of this album: the upload to YouTube, the only one with the album cover, published eight months ago, has 70 views, two “helpful” votes and no “comments.” Let's leave this one, with a vote of appreciation.



              • Other favorite version of my favorite Rodgers & Hart song

                Today's my birthday – No. 39 as Jack Benny liked to say (old joke for old folks, like me). But it's also the second anniversary of the death of Tommy LiPuma, my favorite musical producer. I can imagine him telephoning his friend Johnny Mandel (in late 2000) to say “How'd you like to arrange an(other) album for Shirley Horn?” And Johnny would have said Yes in heartbeat.

                "My lips could move and talk
                My feet could step and walk
                and yet my heart stood still . . . "

                How successful was Tommy at what he did best? According to Wiki

                Tommy LiPuma was an American music producer. He received 33 Grammy nominations, 5 Grammy wins, and his productions sold over 75 million albums. Wikipedia
                Born: July 5, 1936, Cleveland, Ohio, United States
                Died: March 13, 2017, Manhattan, New York City, New York, United States

                Siriusly Sinatra just played Shirley's (2001) recording of my favorite Rodgers & Hart song, MY HEART STOOD STILL. Performed, with Johnny's inimitable string arrangement -- as only Shirley could, accompanying herself on piano, using its notes to lead her into each phrase, out of tempo – almost too slow, except it's Shirley. And this is genius at play.


                Sometimes a great song, shared at YouTube by amateurs, can elicit the most wonderful "comment" -- like this one, posted below this song. Such a concise insight -- don't know how anyone could improve on this!

                Noe Berengena 4 years ago (edited)
                One of Shirley's best recordings -- she sings every note in her signature style -- a knack for perfectly relaxed phrasing. It's a perfect collaboration with Johnny Mandel's orchestration. His arrangements are subtly shifting colors that move smoothly and magically, like an iridescent fog.
                Last edited by Mark Blackburn; 03-13-2019, 10:41 AM.


                • MY BUDDY -- Nancy Sinatra
                  There are songs better sung by women – something is lost when they're sung by men. Even if Frank Sinatra himself recorded it, MY BUDDY wouldn't carry the same emotional weight it did one Sunday evening when I was 21 (a very good year) and Nancy performed it 'live' on the Ed Sullivan Show.

                  Just as an aside, “The Ed Sullivan Show” was watched by the entire nation of Canada – especially when this country's funniest native sons (friends of my father) Johnny Wayne and Frank Shuster performed a skit. They were Ed's favorite guests – and made a record number of appearances. Wonder if they were performing that very night when Nancy sang MY BUDDY. If they were, Nancy might remember. If she can't . . . I know one or two guys here who could probably pin it down.

                  I thought of this, after Siriusly Sinatra satellite radio played Nancy's lovely album version of this song, overnight.

                  On this 'kinescope' of a videotape (numbers at bottom of screen) – from the early days of color TV, the show's director inter-cuts 16-mm film clips of Nancy with her “buddies” in Vietnam. Tears of joy for all those young men's faces – my age back then, and “in harm's way” as Nancy says. All us guys overcome with her beauty as she sang this one. Did I mention this is my favorite version? (after Doris Day's hit recording of 1952).

                  Last edited by Mark Blackburn; 03-14-2019, 09:31 AM.


                  • The late Gene Lees: Notes to song writers
                    Just listened to Queen Latifah's beautifully recorded version of QUIET NIGHTS OF QUIET STARS and thought of Gene Lees --- a poem he wrote, titled simply, SONNET. It's like something my mother would have written. I know Mom would have appreciated Mr. Lees' perfectly poetic summing-up of the mystery of the shared joy that we call "song."


                    Music is a strange and useless thing.
                    It doesn’t offer cover from the storm.
                    It doesn’t really ease the sting
                    Of living, or nourish us, or keep us warm.

                    And people spend their lives in search of sound,
                    Learning how to juggle bits of noise,
                    And by their swift illusions to confound
                    The heart with fleeting and evasive joys.

                    Yet I am full of quaking gratitude
                    That this exalted folly still exists,
                    That in an age of cold computer mood
                    A piper can still whistle in the mists.
                    His notes are pebbles falling into time.
                    How sweetly mad it is, and how sublime!

                    --- Gene Lees

                    “'It is, Hilaire Belloc once wrote, 'the best of all trades to make songs, and the second best to sing them.'

                    “As one who has been privileged for some years to make his living doing both, I concur. Singing is more fun. Writing is more work. But the writing of your ‘perfect song’ gives you an inexpressible pleasure, one that is heightened by the thought that others, hearing it later, will perhaps derive a pleasure from it too.

                    “A friend of mine described seeing composer Harold (“Over the Rainbow”) Arlen stop still in the old La Guardia Airport when one of his melodies came over the sound system; a look of puzzled wonder filled his face. The crowd moved on around him, no one among them knowing him, but many and perhaps most of them knowing the song.

                    “In the French lyrics of ‘L’ame des poets’ (‘The Soul of Poets’) the great Charles Trenet wrote: ‘Long after the poets have disappeared, their songs still run in the streets.”

                    “We never know, when we write a song – at least those of us who are fortunate enough to do so professionally, with a reasonable hope of its exposure to the public – where it will end up. My friend Johnny Mandel [still alive & well and arranging for the likes of Diana Krall] who wrote, among many superb melodies ‘The Shadow of Your Smile,’ quipped to me one day: ‘I do very well in elevators.’

                    “It is commonplace for songwriters to be told by a new acquaintance that he or she fell in love or had a great romance or got married to the accompaniment of one of their songs. I usually make some such joke as, ‘I hope you won’t hold me responsible.’ But this is only to hide an embarrassed pleasure. Therein lies one of the subtlest thrills of song writing, particularly lyric writing: the totality of the communication. People memorize your thoughts, playwrights and novelists rarely have that experience.

                    “But at the time you are actually doing the writing, which is a lonely business --- all writing is lonely --- the chief thrill is that of craftsmanship. Boris Vian, the French novelist and lyricist who died all too young, once said that he was more proud of his lyrics than his novels. The lyric is the most exquisitely difficult literary form of them all. It is MUCH more difficult to write lyrics WELL, than it is to write poetry [for reasons which Gene Lees explored wonderfully in his writings: may I recommend his THE MODERN RHYMING DICTIONARY whose 50 page introduction offers so much more than the title implies.]

                    One last thought, a reiteration of Gene Lees thoughts about “Studying the Masters.” His purpose, said Lees “is to help define the excellent in lyric writing. I have nothing to tell you about how to make money in the music business. There are other such books although some of them seem directed more toward making their authors money than making YOU money.

                    “The principles I describe apply to ALL kinds of lyrics, from country & western lyrics, some of which are very good, to Broadway show lyrics, some of which are very bad. In general however, the highest standard of lyric writing has been set by the theater, and I would recommend that any beginner make a study of Broadway musical scores, particularly the older ones . . .

                    “Indeed, to ignore the work of one’s predecessors is to waste a lot of time discovering for yourself what others have already learned. You’d be a fool to try to ‘invent’ counterpoint when you can look to Bach to see how it is done.

                    “When Queen Victoria complained to William Gladstone that there were not many good preachers, he said: ‘Ma’am, there are not many good ANYTHING.”

                    Gene Lees, co-composer of 'Quiet Nights of Quiet 'Stars,' 'Dindi,' 'Someone to Light Up My Life,' 'This Happy Madness' and (for influential jazz pianist Bill Evans) the words to 'Waltz for Debby,' was a very good lyricist.

                    Last edited by Mark Blackburn; 03-14-2019, 11:01 AM.


                    • Sinatra and "singing S's"

                      [Just recalled an anecdote shared in my Amazon review for a book by Gene Lees]

                      " . . . I know what it's like to treasure every word Sinatra says to you (he once directed 50 words my way) and so it seems perfectly natural that Lees never stopped thinking about what Frank said: That seemingly throw-away remark prompted Lees to reflect, deeply, years later in his advice to those of us who'd love to write at least "one good song lyric."

                      "Recording engineers," said Lees, "don't like the letter `S' because it presents them with an equalization problem. If they boost the high frequencies, the `esses' become exaggerated." (Sirius Radio can sometimes be terrible for this, when your reception is going a little `funny' just as Lees wrote, in the days before satellite radio: "Turn up the highs (treble) on your stereo - you notice the attenuation of the `S'."

                      Then, going further into reflection (remember, all this stemming from a 'chance' remark by Frank Sinatra) Lees said, "The prejudice (against using a lot of `esses' in song lyrics) seems to me now, to date back to a time before high fidelity recording: Ira Gershwin wrote "'S'Wonderful" in the 1930s - and he used esses all over the place, apparently having fun with them, if not poking fun at the prejudice."

                      Which set Lees to "wondering about the source of this bias? Scholars tell us (or at least hypothesize) that the letter was (given that shape) like a snake to designate the sound a serpent makes. And . . . if that's so . . .the fear of snakes may underlie the prejudice."

                      Which brought Gene Lees back to his 'Whatever made me think of all this?' moment . . . that long ago evening in a recording studio with Sinatra, by way of an anecdote about 'The Bard.'

                      "The `S' problem is a problem only in overuse," he says, recalling the line from Mcbeath's soliloquy, "If the assassination, could trammel up the consequences, and catch with his surcease, success."

                      "That's pretty bad," said Lees. "In four syllables Shakespeare gives the actor a phrase that is hard to pronounce and quite unattractive when you DO get it out."

                      "As for whatever reservations recording engineers may have," said Lees, "I am reminded of what Sinatra said to his engineer at that (same) session when the latter asked him to stand further from the orchestra since their proximity was creating a `separation' difficulty."

                      "'That's YOUR problem!' Sinatra said pleasantly."


                      Tony & Diana and S'WONDERFUL

                      p.s. This was the day I became "Top Fan" of Mr. Bennett's on his Facebook page, where I just shared this anecdote -- knowing he'd love that punchline from Frank!


                      • Ray Charles' ode to my favorite grand parent

                        My Japanese daughter-in-law Eriko's grandfather is dying (he is 88). He lived long enough to see (on several visits to Japan) his great grandchildren -- our beloved Luke (seven) and Charlotte (four). Irene said after their visit for my birthday, two days ago, "You are the only grandfather they have." I often joke that I'm their favorite person -- apart from their Mom and their Dad, our son Ben. Apparently I indulge them.

                        Anyway, last night I thought about my favorite grand parent, my Dad's Mom -- Ruby. I loved her so much. I was only six when she died. I thought of the beautiful song -- I've only ever heard it sung by Ray Charles, whose genius included singing songs no one else wanted to sing. Ruby is a rare name today. Guess which song Siriusly Sinatra played when I was waking up ten minutes ago.


                        p.s. What a coincidence! Below this video, there's a note from the great grandson of the man who wrote RUBY.

                        Dylan Narz (3 years ago)
                        Written by my great grandfather, love Rays version so much.


                        • Favorite version of Eddy Arnold's best song

                          "Afraid and shy, I let my chance go by -- the chance that you might love me too"

                          Coincidentally . . . on the shuffle play 'wonder' that is today's YouTube -- next offering was my favorite Ray Charles song -- YOU DON'T KNOW ME. I always mean to reflect on this, my favorite version of Eddy Arnold's best song.

                          Mr. Arnold came up with the melody first, and had the good sense to ask a song writing genius Cindy Walker to find the right words. Intended for a country audience that may not have been familiar with Rodgers & Hammerstein's favorite musical, CAROUSEL, Cindy borrowed for the song's bridge/release, the most poignant words from Carousel's show stopper, IF I LOVED YOU ("longing to tell you but afraid and shy, I let my golden chances pass me by").

                          Yes, I'd been meaning to celebrate this song that re-launched Ray's career in a new direction. His fan base were baffled when Ray recorded an album comprised entirely of Country & Western songs. But the album was a mega hit with a much larger audience. This was the best song on that black vinyl LP, and I like to think, the one that got Ray thinking about selecting a bunch of his favorite country tunes.



                          • YOU DON'T KNOW ME (My "ultimate 'Show Me' lyric")

                            Yes, the best 'SHOW me' lyric I ever heard.

                            I shared it with my Mom just before she died. We were seated on lawn chairs under the trees in the sun-dappled driveway of our family home in Ottawa. Dad was inside whipping up some of his patented tuna fish sandwiches. Something made me sing it to my Mom. She cried, thinking of just such a boy who watched her "walk away beside that lucky guy" (Dad).

                            That 'To-You-I'm-Just-A-Friend' boy went off to WWII and, as a fighter pilot, lost his life in 'The Battle of Britain.' So my Dad explained later that same day when I shared that Mom had closed her eyes and quietly sobbed, hearing these words sung perhaps for the first time.

                            My folks were neither friends of country western music, nor fans of Ray Charles. But I realize now, they would have enjoyed Ray's recording.

                            Best-ever recording? This one. Certainly Canada's other gift to jazz would agree. She asked Ray if this could be their Duet -- for the late-in-life, aptly titled 'GENIUS LOVES COMPANY' album.



                            • The Sinatra video with 12 million views -- the city with "The Cattleman"

                              Start spreadin' the news . . .

                              I tell you, the things I've learned about L.A and New York City over the years from Sinatra Family members who live in those places. Tonight, one of them (my age) "Stanley" said Gene Lees and he would always go to THE CATTLEMAN -- for steak and cheesecake.

                              Just as an aside: I've been to NYC half a dozen times but visited Los Angeles only once – in the 80s, on a TV station film junket. I stayed in the same out-of-the-way little hotel where my Dad once spent a few days (the storied “Beverly Wilshire”) where our interviews with the film's stars were taped. I reviewed an Australian horse flick called PHAR LAP – starring the guy married to the 'Play Misty For Me' villainess. He told me when our interview ended, he'd never seen the Clint Eastwood movie with his knife-wielding wife until “years after” they were married; "It terrified me!" Oh what's his name! He starred in “The Hot Rock” and she's . . . 'Jessica' something. (It's no fun getting old and losing your memory!)

                              As for NYC – because of Stanley's note: I just looked up that restaurant he and Gene Lees (another friend I never met in person) so loved visiting. (Nobody makes better cheesecake than my Irene who just came in and said, “When are you coming to bed?' “In a minute,” I lied.) It's Wiki entry names it one of the most popular restaurants in the world. (Who was it that said, “If you can make it there you can make it anywhere?”)

                              The Cattleman[1] was a steakhouse in New York City founded in 1959 by restaurateur Larry Ellman . . .

                              The Cattleman opened at Lexington Avenue and East 47th Street[4] in Manhattan, New York City, in 1959, with sales reaching $450,000 that year. By 1967, The Cattleman had relocated to 5 East 45th Street[5] (also known as 551 Fifth Avenue,[6] the Fred F. French Building), with sales of over $4,000,000 a year at the 400-seat restaurant.

                              A history of New York dining, On the Town in New York (1998), called the restaurant a "riotously successful steakhouse".[10] In 1961, The Theatre magazine said it was "one of the best dining emporiums in New York."

                              The restaurant was known for the radio slogan "Where you can get your steak rare and entertainment well done."

                              Thanks for the diversion Stanley. “Now, back to our regularly-scheduled programming . . . ”

                              Google “New York, New York” this night and this is the very first offering.



                              • Comin' home to an old favorite / new favorite version

                                One of my three sons, Ben is a guitarist. Happiness is playing something from my youth on one of my guitars -- and having Ben say, “What's that song.” Most recently it happened as I played my arrangement (from age 18) of COMIN' HOME. Ben liked my arrangement – a lead line on the treble strings and a descending counterpoint bass lines. Plus my youngest son liked the catchy tune itself -- written I told him by “another Ben.”

                                A moment ago Siriusly Sinatra satellite radio played my all-time favorite version by Canada's Michael Buble. The song's full title is “Comin' Home, Baby” -- it originated in 1961 as an instrumental -- beloved immediately by jazz players. The next year, with a newly written lyric, a producer talked jazz singer Mel Torme into recording it. According to Wiki, the composer . . .

                                “Ben Tucker then persuaded his friend, lyricist Bob Dorough (later of Schoolhouse Rock! fame), to write a lyric for the tune, and producer Nesuhi Ertegun persuaded singer Tormé, who had recently joined the Atlantic label, to record it. Tormé was initially reluctant to record the song, and later wrote that: "It was a minor-key blues tune with trite repetitious lyrics and an 'answer' pattern to be sung by the Cookies, a girl trio that had once worked for Ray Charles".[3] The recording took place in New York City on 13 September 1962.[4]

                                Despite Tormé's reservations, his version of the song, with an arrangement by Claus Ogerman [!] rose to no.36 on the Billboard pop chart in November 1962, becoming his biggest hit since the early 1950s;[5] it reached no.13 on the UK singles chart.[6] It was also the title track of his album Comin' Home Baby! (with added exclamation mark).[7] Tormé's recording was nominated as Best Male Solo Vocal Performance and Best Rhythm and Blues Performance at the 1963 Grammy Awards.[8]

                                [Just as an aside: Mel Torme's 'conversion' of heart to what would become his only Top 40 hit reminds me of Tony Bennett being offered Hank Williams' COLD COLD HEART and not wanting anything to do with it! In Tony's case it resulted in a million selling No. 1 record. He never met Hank Williams face-to-face (before Hank died age 29 of alcohol poisoning) but Country music's greatest-ever composer telephoned Mr. Bennett to deadpan: “Hey Tony – why you go and ruin my song?”]

                                Today's updated Wiki entry now includes a large section devoted to Mr. Buble's version (my favorite recorded with the a capella group BOYZ II MEN) The tight jazz band arrangement pays respects to Mel's original recording. Mr. Torme would have loved this!


                                "Comin' Home Baby" was recorded by Canadian crooner Michael Bublé, and released as the fifth and final single from his third studio album, Call Me Irresponsible. The single was released on April 25, 2008, exclusively in Germany. It features vocals from the Grammy Award-winning vocal harmony group Boyz II Men. No video was filmed for the song, and there was little to no promotion, causing the release to not appear in any major charts worldwide, with the exception of Germany, where the song peaked at #17. The digital download package, which was first made available for download on, features a new remix of the track from Frank Popp. A physical version of the single was also made available in Germany.[11]