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Mark Blackburn

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Everything posted by Mark Blackburn

  1. Beautiful to take a chance . . . and if you fall, you fall
  2. In 1977 'Mr. Guitar' Chet Atkins recorded a song James Taylor wrote for him – to sing as well as finger-pick in his inimitable style: ME AND MY GUITAR – I never heard another version in the intervening forty years. But if you're a guitarist, really – who else could do justice to a song which alludes to “you've got a friend” in the song's bridge/release – one of the prettiest JT ever wrote, says me! Ev'ry now and then, I'm a lonely man, and it's nice to know that I've got a friend, who'll put his power right in my hand . . . and all I've got to do is the best I can (if I can). Chet's arrangement may have pleasantly surprised James! – Funky sound, including 'chorus' effect on the vocal, and guitar stylings on the musical bridge that are artless (You think, heck I could play that: Oh no you can't!) The lyric is a uniquely brilliant appreciation by an everyday Everyman playing guitar: “I am mostly flesh and bone and he is mostly wood . . . never does grow impatient for the changes I don't know. If he can't get to heaven, maybe I don't want to go! Only version ever uploaded to YouTube (Thanks, “DaffyDoug”)
  3. JAMES TAYLOR -- ART GARFUNKEL reprise The Everlys' Crying in the Rain
  4. Christmas Memories: my favorite Christmas carol written for just for Frank
  5. Like Johnny Mercer listening to obscure French melodies and turning them into hits (like Autumn Leaves) a lesser-known American lyricist Carl Sigman rescued a German tune from sure oblivion with a new English lyric. Best version of ANSWER ME, MY LOVE was a symphonic treatment of 30 years ago -- Joni Mitchell with a 70-piece orchestra arranged by Vince Mendoza. According to Wikipedia: "Answer Me" is a popular song, originally written 1952 (with German lyrics) under the title "Mütterlein" by Gerhard Winkler and Fred Rauch. The English lyrics were written by Carl Sigman in 1952. After the song was recorded by David Whitfield and Frankie Laine in 1953, the "religious" version was banned by the BBC after complaints.[1] Nevertheless, it still reached number one on the UK Singles Chart,[2] after another version was written by Sigman in which, instead of directing the question to God about why the singer has lost his love, the lyric is addressed directly to the lost lover. In the new lyric, "Answer me, Lord above..." is changed to "Answer me, oh my love..." with other appropriate changes. The new song, entitled "Answer Me, My Love," was again recorded by Laine and Whitfield, but became a bigger U.S. hit for Nat King Cole in 1954.[3] Whitfield's version reached the top spot in the UK Singles Chart first, followed swiftly by Laine's. On 13 November 1953, for the first but not only time in chart history, one version of a song was knocked off the top by another version of the same song.[2] Four weeks later, for the only time in British chart history, the two versions of the same song were at number one together.[2] Joni's version played this morning on Sirius '71 And who was Carl Sigman? You know some of his songs by heart! [A partial Wiki list] "A Marshmallow World" (collaboration with Peter deRose) "Arrivederci Roma" "The All American Soldier" "All Too Soon" (collaboration with Duke Ellington) "Answer Me" "Ballerina" "Buona Sera" "Careless Hands" "Civilization" (aka "Bongo, Bongo, Bongo, I don't want to leave the Congo") "Crazy He Calls Me" (1949 collaboration with Bob Russell) "Dance Ballerina Dance" (collaboration with Bob Russell) "A Day In The Life Of A Fool" "The Day The Rains Came" (1957) "Ebb Tide" "Enjoy Yourself" (1948) "Fool" "How Will I Remember You" (music by Walter Gross) "I Could Have Told You" (collaboration with Jimmy Van Heusen) "If You Could See Me Now" (collaboration with Tadd Dameron) "It's All In The Game" "Losing You (English lyrics)" "Music from Across the Way" "My Heart Cries For You" "Pennsylvania 6-5000" (collaboration with Glenn Miller) "The Saddest Thing Of All" "Shangri-La" "Till" "What Now My Love" "(Where Do I Begin?) Love Story" "The World We Knew (Over and Over)" "You're My World" [p.s. Deepest thanks to the Wise Men here who managed to change the platform (if that's the term) for the better, here at the world's biggest website for musicians. Most grateful for the improvements! Sincerely, etc. Mark B of the frozen North]
  6. I can't clear my throat without saying the words "My favorite" (or "Mom's favorite"). I got my love of superlatives from my Mom's English-born father -- who when I was little would tell me about the fastest bird ("The Swift" -- 200 mph in a dive) or "the fastest car" (the 'Reid Railton Special' driven by English furrier John Cobb who -- the year of my birth, 1947 -- briefly topped 400 mph in setting a two-way record at Bonneville (394 mph) that lasted for decades! That car ended up in a museum in Birmingham England -- Grampa Fortington's home town. To coin a phrase, What a coincidence!There are moments when I'm listening to Siriusly Sinatra satellite radio and thinking (one song after another) "No, THAT is my favorite version." Including (recently) "These Foolish Things" -- sung by Rod Stewart. I was at a party once and amid the ambient noise I could clearly hear a male singer's voice singing this English standard. I checked to see which singer was able to penetrate that much noise. The unique sound of Rod Stewart. Frank and Ella wouldn't have penetrated through that joyful noise the way the husky delivery of Rod Stewart does. In that particular way, you could say "Rod is the best!" In any case he had the good sense to record "my favorite version" as a video. Delightful, you may agree.https://www.youtube.com/watch?v=mL0pgcRlZYk
  7. Incidentally, that final note on DIDN'T WE is the second lowest note Frank ever sang! Just as an aside: Like Oscar Peterson (and very few other people I know) my oldest grandson Thomas has perfect pitch. We'll be watching television, a musical commercial and I'll say, "What's that note?" "B-flat" says my 22-year-old musical wizard (a better guitarist than his funny old Grumpa ever was). We go to the keyboard and check. He's always right. The novelty will never wear off! I have to pick up my guitar (always in tune) and check -- a moment ago, the final low note on Frank's recording of the first eventual hit song Jimmy Webb wrote, DIDN'T WE. Our favorite singer takes it down to a low F-major. What about WAVE? Thomas could hear them once and tell me with certainty that "he's two tones lower" on WAVE: E-flat. That would be THIS. From his second album of A.C. Jobim songs, and yes, still my favorite song composed (words and music) by the fellow I call "The Cole Porter of South America."
  8. JIMMY WEBB -- my new favorite "Playing Favorites" show on Siriusly Sinatra
  9. "Hey Tony!" said Hank on the phone: "Why you go and ruin my song?"
  10. Connick's SOME ENCHANTED EVENING – still 'enchanting' ten years on
  11. I had a thread here that was 'this close' to half-a-million 'views.' (Once I had a railroad, now it's gone, brother can you spare a dime?) Reminded of "IF" -- my favorite poem by Rudyard Kipling: "If you can make a heap of all your winnings, and risk it on one turn of 'pitch and toss' and lose – and start again at your beginnings, and never breathe a word about your loss …. ---- I was nine when I first read that poem by 'The Jungle Book' guy; its insights into the human condition (and its perfect cadences) entered my memory without effort that day, and are still there 60 years on. Recalling too, a moment half a century ago when Sinatra started his own “Reprise” record label with Warner Brothers – and was suddenly, for the first time in his life, a really wealthy man – at the peak of his financial powers: That's when he shared with his first born Nancy his favorite line from that Kipling poem (mine too!) “If you can meet with Triumph and Disaster, and treat those two impostors just the same” I'm 72 now, still singing "I Thought About You" to my three youngest grand daughters, who indulge me with smiles when I say, "That's by Johnny Mercer. He'll be your favorite too!" I like to write about great melodies, great lyrics and great renditions. "Without the rendition," said Jule (Just in Time) Styne "there is no song." To borrow a line from John Mercer: I hope you won't mind my bending your ear. My postings are appreciations – celebrations – of The Great American Songbook – usually prompted by what Siriusly Sinatra satellite radio channel 71 is playing “right this minute.” Or else by “you liked THAT, you may like this too!” offerings from the shuffle play miracle that is YouTube circa 2019. Hope you enjoy!
  12. [h=2]Discordant harmony -- the jazz player's genius[/h] As if to say -- you love Nancy Wilson . . . ever hear her version? Hit the "back one hour" button and Siriusly Sinatra satellite radio is streaming on the computer, "Nancy Wilson" -- someone I've always loved -- and my 'new favorite' rendition of "In Other Words" (Fly Me to the Moon). Whoever orchestrated it, they borrowed several 'signature' Duke Ellington arrangements for horns. The great Billy May, says one of the wise men at Sinatra Family where we celebrated this one today. Added a note to this superb version: (Thanks, "Nancy Wilson - Topic"): "Discordant harmony -- the jazz player's genius : Listen to what happens at -- Nancy appears to sing a half-tone flat ("please be TRUE . . .") But the vibes player (a jazz genius himself, whoever it was) underlines Nancy's conscious choice of what I call 'discordant harmony" by playing the exact same 'flat' -- which could be part of a chromatic display chord where just one note is off. (Oscar Peterson did it better than anyone else.) Yet another reminder that THESE are the good old days: The sonic purity of this version is surely as good as it gets, this side of heaven:
  13. [h=2]SINATRA: I'm Not Afraid[/h] [INDENT]“Are YOU afraid? I'm not afraid!” The most beautifully orchestrated fast waltz Frank ever recorded. Siriusly Sinatra plays it once a year or so. The shuffle play miracle that is YouTube just sent it my way. As if to say, Remember this one? You love it and lack any memory of who wrote this gem, and which brilliant arranger did the sparkling orchestration – with a huge orchestra. It sounds like Riddle . . . but I know it's not. It opens as quietly as any Sinatra ballad ever recorded -- just harp and flute for the opening stanza: a slow 'parlour' waltz, that builds and builds, almost without you realizing what is happening. Thanks to this YouTube upload, I look closely at the label: A Rod McKuen lyric updating an earlier tune by French composer Jacques Brel. “Produced by Sonny Burke” and “Arranged and Conducted by Lenny Hayton” (who is Mr. Hayton? How can I not have heard of him??) Just how big was this orchestra? It sounds almost “Concert Sinatra” huge. (Don't know the answers, but I think I know one-or-two, who do.) Listen to the way our favorite singer artlessly raises the volume to match the words -- almost wistful, timid at the start --- but relentlessly, the orchestration reaches its series of crescendos, (around 2:43) 'The Voice' is unleashed, in full splendor – but completely in support of the lyric: A vivid reminder that Frank really LISTENED to the lyricists' words as they're written. And we may be sure that Frank directed/prompted Mr. Hayton, in what surely must have been this little-known, arranger/conductor's 'shining hour.' Bet the fiddle players tapped their bows, while the rest of the orchestra applauded in the ensuing silence! Wish I'd been there, in that studio (wonder which one?) Really, how could a recording this wonderful be almost overlooked. If not for Jersey Lou Simon programmer extraordinaire for 'Siriusly Sinatra' we'd never get to hear it! Wonder if the 45 record label really was this pretty deep turquoise? Circa 2019, you never know! To coin a song lyric? “What is for real, what is false? All of us seem to be caught in a waltz!” [URL]https://www.youtube.com/watch?v=_9GY7Xt822k[/URL][/INDENT]
  14. [h=2]Yo Daddy's rich, and yo mamma's good lookin'[/h] [INDENT]It's summertime (in the world's coldest major city) and, not a day goes by, circa summer of '19, that I don't think of George Gershwin's most-recorded song of the same name. 12 or 20 years ago I sent friends a compilation CD that included "my favorite version"; it's still my favorite, all these years later. Yours too? Ella & Louis in an early 'genius loves company' moment. Guess what "Puerto Libre" at YouTube just sent my way a moment ago. Why? -- in the 110 pages of this thread -- did it take this long to get around to this one? As a kindred spirit at Sinatra Family noted recently, the song-writers' "Nobel Prize" is 'The Gershwin' and people who never heard names like Kern, Rodgers, Warren or Van Heusen, recognize that name; and this, his most recorded melody. Never before, and never since, did it get a better treatment, you may agree? [URL]https://www.youtube.com/watch?v=lnXLVTi_m_M[/URL][/INDENT]
  15. [h=2]Sir George and the Velvet Fog[/h] [INDENT]My compatriot, and favorite musicologist/social commentator, Mark Steyn selected as his latest 'Song of the Week' the one-and-only jazz standard composed by George Shearing – “Lullaby of Birdland.” Mark spoke about how he learned this song on piano; we guitarists learned of its existence from 'Mr. Guitar' Chet Atkins, on a 1959 album that introduced future finger-style guitarists to six-string melody-in-counterpoint. Our first exposure to the guy who “sounded like two guitars” – and 10,000 pickers (including a young George Harrison) saw a red Gretsch electric – Chet's own design – for the first time. And fell in love! The album cover alone inspired millions of us to take up the guitar. Favorite track? This one! [URL]https://www.youtube.com/watch?v=wcnShZYmRrM[/URL] Mark's essay this day is (as always) informed, informative and funny – sparkling with personal anecdotes only Mr. Steyn could share. Just last week, at 'Sinatra Family' online, we were sharing a favorite tune or two by the self-described 'musical soul mates' – Shearing & Torme. Concerning whom Mark writes: “He had a special affinity for Mel Tormé. Shearing had a droll sense of humor (to an interviewer who asked him whether he'd been blind all his life, he replied, "Not yet"), and he and Tormé enjoyed musical jokes. The best involved Shearing starting up the famous da-da de-da-da vamp to "New York, New York", at which point Tormé comes in singing "(The bells are ringing) For Me And My Gal", and detours through "They Didn't Believe Me", "Mack The Knife", "Birth Of The Blues" and "How High The Moon", all to the accompaniment of the same insistent "New York, New York" vamp - until finally an exasperated Shearing yells, "Okay, Melmy, sing it already!" And so Tormé finally starts spreading the news and being a part of it, at which point the pianist drops the vamp and accompanies "New York, New York" by playing Glenn Miller's "Moonlight Serenade". Among the umpteen nuggets of info Mark included was this one -- straight to the heart: “This week marks the centenary of Sir George, [who died at 91]. He was born in London, south of the river at Battersea, on August 13th 1919 - and was blind from that first gulp of air, the result, he believed, of a botched attempt at abortion . . . “ The closing words of this essay (link below) could only have been composed by Mark Steyn: “After hearing Erroll Garner's [version of “Lullaby of Birdland”] he said, "I wonder why I didn't write it that way." Because he didn't need to. He wrote it his way, and let the world's musicians play it according to whatever caught their fancy. They're still finding new things to do with it even now - and maybe its composer is, too: Lullaby Of Birdland Whisper low kiss me sweet And we'll go Flyin' high in Birdland High in the sky up above... Sir George Shearing, Battersea working-class lad and son of (as he liked to joke) a "coal porter" turned knight of the realm, flyin' high in Birdland, now and forever. – Mark Steyn [URL="https://www.steynonline.com/9590/lullaby-of-birdland?fbclid=IwAR1g4tXUeHi2RL0JIABl_qa87fC2uxpkutZwoETmz5lxhNpAcdCa4ieX_Yk"]https://www.steynonline.com/9590/lul...NpAcdCa4ieX_Yk[/URL] [/INDENT]
  16. [h=2]SHIRLEY HORN -- It's Not Easy Being . . .[/h] [INDENT]Where else could you turn on your radio and hear the late, great Shirley Horn singing “Green” (it's not easy being). After Frank's definitive recording, the singer Frank called “the only true genius in the business” (the business of singing) recorded his lovely late-in-life rendition. But Shirley Horn included this exquisite recording for her Ray Charles tribute album “Lights out of Darkness” (on Gitanes label). Thanks, Jersey Lou for the album cover graphic. Another one I'd buy if I didn't have Siriusly Sinatra satellite radio. A brilliant jazz pianist, it's just Shirley alone with her Steinway on this one: [URL]https://www.youtube.com/watch?v=0A4wbSStIyI[/URL][/INDENT]
  17. [h=2]STAY WITH ME -- Sinatra[/h] [INDENT]I'm pulling up at church today, about to take the key out of the ignition, when, just for me, Jersey Lou Simon or his talented, designated hitter plays STAY WITH ME – my all-time favorite 'abide with me, Lord' type song which you never heard (unless you own the Sinatra '65 album. I don't). Written for the movie 'The Cardinal' (but not used in the soundtrack): Words by my favorite female lyricist, Carolyn (Witchcraft) Leigh. (I sang its praises I think earlier on this thread.) The real coincidence is, I'd just been thinking this very morning that our Canadian Catholic hymnal, since the 1980s, is loaded up with the best Protestant hymns (complete with the best footnotes: such as, from memory, its listing of “Stuart K. Hine” as author (words and music) of “How Great Thou Art” (a Gospel song which sounds old; I was six when Stu wrote it in in '53). But my favorite hymn, played each year at our Remembrance Day (Nov. 11) ceremonies in Canada, hasn't made the hymnal: It has five brilliant stanzas, mated to a perfect melody; its first stanza just gets 'deeper' for me 'as I approach the prime of my life' – from memory imperfect: Abide with me, fast falls the even'tide; the darkness deepens, Lord with me abide! When other helpers fail, and comforts flee, 'help of the helpless' Oh abide with me! And then they go and play this song that Frank loved, but which no one else recorded. Perhaps because it wasn't used over the closing credits. RIP Carolyn Leigh. [URL]https://www.youtube.com/watch?v=VvWXt5rDANQ[/URL] I see, among the comments below the video, one from someone named Mark Blackburn (I know him!) which included this link: Celebrated this night at SinatraFamily.com -- Forums -- Nancy for Frank SHOW #456 [URL="https://sinatrafamily.com/forum/showthread.php/50284-NFF-SHOW-456-Week-of-April-7-2019-nbsp?p=1273948#post1273948"]https://sinatrafamily.com/forum/show...48#post1273948[/URL][/INDENT]
  18. [h=2]Why some “favorites” go straight to our hearts -- for a lifetime[/h] [INDENT]The first week of January 1993, Frank Sinatra took perhaps ten minutes of his life to write me a note of thanks for a two page letter that opened . . . December 17, 1992 Dear Mr. Sinatra: This letter may never reach you, but it needs to be written, because of the way I'm feeling right now. About your music. I'm a 'baby boomer,' 45 years old, from a musical family . . . [Toward the end of the letter] . . . the Christmas tape I prepared for my parents this year I labeled “Pure Gershwin – (Almost)”. It includes some of Dave Grusin's splendid “Gershwin Connection” tunes, followed by Robert Farnon's Porgy & Bess Suite, then Harry Connick Jr.'s treatment of “But Not For Me” (my parents aren't familiar with Connick) and then, 'the real thing' : Your Gershwin tunes from “The Capitol Years.” They phoned last night (as my wife Irene, and two young sons Aaron and Ben decorated our tree, while we listened to your Christmas album). My folks were delighted with your music, and my 'historical' liner notes. They were pleased both with your 'classics' and in awe of the quality of the recording which renewed their love for your music. They especially loved your treatment of their 'theme' song, from their first days together, “Embraceable You.” Like me they say that if there's a better version of that, they'd love to hear it! --- My Dad died November 15, 2006; Mom, four years earlier. A late-in-life stroke reduced him to six word sentences. For the four years after Mom's death he was unable even to LOOK at his living room Steinway. “It hurts to much,” he said (they were musical soul mates). But then, on my last visit to the family home in Ottawa, Dad sat down at the piano – just for me – and tried to play a song. He'd written over 400 songs, some of them hauntingly beautiful – my favorite melodies. Despite my prompting, he couldn't play any of his own songs. But then . . . He played Embraceable You. All the way through. He played it a second time, haltingly (out of tempo) but without a mistake. Imagine! All that music inside his brain, and the only song that could emerge through his talented fingers was this one. Inspired, I'd like to think, by this 'best-ever' version. Our favorite singer would have enjoyed hearing this story (I'd like to think!) [URL]https://www.youtube.com/watch?v=7VtTZc_kYmI[/URL] In subsequent months, Dad slowly regained some repertoire: Until, on his final visit to Winnipeg, in a public setting, on an electronic grand piano in the lobby of an old folks' residence he played his favorite song – Mom's favorite, mine too: “All The Things You Are.” He played several variations, exquisite to my ears – of this, the most difficult of all songs to play (a riot of modulations that winds up back in the same key – a jazz player's delight). As he played (for my benefit, after fulfilling a request to “Play Red River Valley” (which he did, without a trace of condescension) Dad, as if to say, “This one's for you and Mom,” played 'my favorite version' of ALL THE THINGS YOU ARE. He must have made a mistake, but I didn't hear it. On that visit – his last to my home – I took out the “Great Songs from Great Britain” CD, arranged by his friend (since WWII) Toronto-born Robert Farnon and played for Dad “Roses of Picardy” a between-the-Great-Wars song he'd mentioned in his “Guns of Normandy/Guns of Victory” history series of books (which sold 80,000 copies – a big number in Canada!). I told Dad that Sinatra was at the end of a world tour and was not in good voice. Dad wave his hand in a “No, No” gesture and said, “Very good . . . VERY GOOD.” [URL]https://www.youtube.com/watch?v=AVIztA_RsWM[/URL][/INDENT]
  19. [h=2]Favorite “goodbye” song (and best rendition)[/h] [INDENT]I love Shirley Bassey – one of England's greatest gifts to popular music. A moment ago Siriusly Sinatra satellite radio played an early (1961) recording of my “new” favorite version of maybe the most poignant song Cole Porter ever wrote – EV'RY TIME WE SAY GOODBYE. Her most beautiful and reverent rendition is reminiscent (to my ears) of Dame Vera Lynn. Come to think of it, I believe it's “Dame Shirley.” And, to coin a phrase, there ain't nothin' like a dame. [URL]https://www.youtube.com/watch?v=WCdMIQoTzWc[/URL] Most recent note below the video from a kindred soul: Milton Moore (1 year ago) Dame Shirley Bassey did a magnificent job on this Cole Porter standard. The arrangement and orchestration are non pariel. Those violins were piped down straight from HEAVEN![/INDENT]
  20. [h=2]The Best (Frank) Ever Had![/h] [INDENT]“And ev'ry night I fall asleep on YOUR side of this great big double bed; rememb'ring that the worst you ever gave me, was the best I ever had.” I'm pulling up in my driveway a moment ago and Sinatra is singing “The Best I Ever Had.” Is thi,s I wonder, another one from that album whose cover is my "new favorite photo of Frank" (SOME NICE THINGS I'VE MISSED). I pictured Cole Porter listening to these words, and saying, "You know – that's not half-bad!" Yes, if this song originated in Country music, it sounds like something that could have been composed, words and music, by Tom T. Hall (the best that ever was). Is it listed at Wikipedia? No. Is a version at YouTube. Yes! And the arrangement! (wonder who?) The band just sizzles with fun. You can hear the smile in Frank's voice! I'd say he LOVED recording this one --- with top-flight jazz musicians. Bet they applauded (only string players tap their bows) at song's end. Yes, yet another 'something that I had missed' to coin an album title. [URL]https://www.youtube.com/watch?v=WOPj3ROAvic[/URL] Comments (four) below the video include these, from kindred spirits: Art Durbano 6 years ago I had a wife they wrote this one for. MusicShell 6 years ago ME TOO! Thank you !!!!![/INDENT]
  21. [h=2]"The Love Nest" – turns 99! (Thanks, Calabria!)[/h] [INDENT]At this moment Siriusly Sinatra satellite radio is playing the singer I most love, Calabria Foti -- performing a medley of songs titled, "Backyard Medley," which includes three songs from my parents' generation (one from my grandparents' generation) that we seldom hear any more: The medley opener was co-written by Al Jolson – “Back in Your Own Backyard” -- which segues perfectly into Rube Bloom & Harry Ruby's “Give Me the Simple Life.” And finally a very special song (for me) as the 'closer': “The Love Nest” – opening theme for the George Burns & Gracie Allen Show -- composed by Lou Hirsch who died in 1924, four years after lyricist Otto (Smoke Gets in Your Eyes) Harbach penned the words. I LOVED that Burns & Allen theme song! I first heard it when I was 10 years old (1957) as the show neared the end of its eight year run. But to learn the song title, I had to wait half a century till the age of search engines. No one I've heard has ever recorded “The Love Nest” – until (just for me) “my favorite living singer” included it. Calabria, a world class violinist, did the arrangement herself – for her “Prelude to a Kiss” CD. None of Calabria's songs are at YouTube. But just to remind fellow baby boomers who loved that black & white small-screen-TV early television show, here's the first version listed at YouTube this day: Their Wiki article opens . . . The George Burns and Gracie Allen Show, sometimes called The Burns and Allen Show, is a half-hour television series broadcast from 1950 to 1958 on CBS. It stars George Burns and Gracie Allen, one of the most enduring acts in entertainment history. Burns and Allen were headliners in vaudeville in the 1920s, and radio stars in the 1930s and 1940s. Their situation comedy TV series received Emmy Award nominations throughout its eight-year run. Since last we checked, a kindred spirit has inserted a reference to the theme song: “Opening Theme – 'Love Nest' by Lou Hirsch” – but it fails to note, as Calabria Foti did in her liner notes, that Otto Harbach composed the lyric! A song so obscure that a search this daybrings up the original – which will be 100 years old next year! Surely the oldest song video we'll ever see at Sinatra Family. It includes a note acknowledging that it's “From the George M. Cohan musical, 'Mary', lyrics by Otto Harbach with music by Louis A. Hirsch. In Fitzgerald's "Great Gatsby" it's the song played by Klipspringer just before he sings "Ain't We Got Fun". [URL]https://www.youtube.com/watch?v=kgm6xrdLiqg[/URL][/INDENT]
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