Guys and Dolls 14
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120786bk Guys&Dolls 4/11/04 4:42 PM Page 2 Guys And Dolls 14. Sue Me 2:25 21. Make a Miracle 3:29 All Music & Lyrics by Frank Loesser Original Broadway Cast Vivian Blaine & Sam Levene Ray Bolger & Allyn McLerie, with orchestra Transfers & Production: David Lennick 15. Sit Down,You’re Rocking the Boat conducted by Sy Oliver Digital Restoration: Graham Newton 1. Runyonland Music; Fugue for Decca 40065, mx W 74760 2:11 Original 78s from the collections of David Tinhorns 2:05 Recorded 15 February 1949 Stubby Kaye, Johnny Silver & Douglas Deane Stubby Kaye & Chorus Lennick and the Belfer Audio Laboratory and 22. The New Ashmolean (Marching Archive, Syracuse University 2. Follow the Fold 1:15 16. Marry the Man Today 2:53 Society And Students Conservatory Cover: 1929 poster of New York Broadway (Mary Isabel Bigley & The Mission Group Vivian Blaine & Isabel Bigley Band) 2:31 Evans Picture Library); ‘dollies’ by Ron Hoares 3. The Oldest Established 2:35 17. Guys and Dolls: Reprise 0:38 Johnny Mercer with Paul Weston’s Orchestra Guys And Dolls Chorus Sam Levene, Stubby Kaye, Johnny Silver & Capitol 15385, mx 3881-3D-4 Producer’s Note Chorus Orchestra conducted by Irving Actman Recorded April 1949, Hollywood By the time Guys And Dolls came to Broadway, 4. I’ll Know 3:29 Decca 27379/85, mx W 80219/32 23. My Darling, My Darling 2:30 Issued as 78 album Decca DA 825 and ‘LP’ the long-playing record (‘LP’) had been Robert Alda & Isabel Bigley Jo Stafford & Gordon MacRae & The established as the favoured format for Original DL 8036 Starlighters, with orchestra 5. A Bushel and a Peck 1:32 Cast Albums,with the 45 RPM version running a Recorded 3 December 1950, New York Capitol 15270, mx 3462-4D-4 Vivian Blaine & The Hot Box Girls distant second and 78s barely noticed. But they Alternative Versions Recorded 23 September 1948, Hollywood still existed, and so most Broadway shows 6. Adelaide’s Lament 3:18 24. Once in Love with Amy 3:04 continued to be issued at all 3 speeds through Vivian Blaine 18. The Three-Cornered Tune 2:49 Dinah Shore with Henri René’s Orchestra Norman Wisdom with Norrie Paramor’s 1953. Luckily so, because many early micro- 7. Guys and Dolls 2:50 RCA Victor 20-4107, mx E1-VB-592-2 Orchestra & Chorus groove recordings were uneven in quality,while Stubby Kaye & Johnny Silver Recorded 8 March 1951, Hollywood English Columbia DB 3133, mx CA 22266-1A the 78 RPM issue of Guys and Dolls, on a near- 8. If I Were a Bell 2:53 Recorded June 1952, London mint Canadian pressing, proved to be the best 19. Sue Me 2:54 sounding source for this transfer. Ray Bolger’s Isabel Bigley Morey Amsterdam with Al Goodman & His 25. Make a Miracle 3:03 Lynn & Frank Loesser with piano songs from Where’s Charley? were issued as a 9. My Time of Day 1:55 Orchestra premium pressing on non-breakable ‘Deccalite’. Robert Alda RCA Victor 45-0091, mx E0-VB-5751 Mercury 5307, mx 2762-2 Recorded c.April 1949 The remaining selections were issued as 10. I’ve Never Been in Love Before 2:37 Recorded 18 October 1950, New York conventional 78s, but quiet vinyl pressings were Robert Alda & Isabel Bigley Bonus Track often made exclusively for radio stations. The 11. Take Back Your Mink 2:52 Where’s Charley? 26. Baby It’s Cold Outside 2:22 tracks by Dinah Shore, Johnny Mercer and Jo Vivian Blaine & The Hot Box Girls Various Recordings Featured in the film Neptune’s Daughter Stafford & Gordon MacRae were transferred from these ‘disc jockey’ issues, recently found in 20. Once In Love with Amy 4:19 Lynn & Frank Loesser with piano 12. More I Cannot Wish You 2:29 a private collection. Pat Rooney,Sr. Ray Bolger, with Orchestra & Chorus Mercury 5307, mx 2761-2 conducted by Sy Oliver Recorded c.April 1949 David Lennick 13. Luck Be a Lady 3:00 Decca 40065, mx W 74761 Robert Alda & The Guys Recorded 15 February 1949 Also Available: SOUTH PACIFIC Original 1949 Broadway cast and bonus recordings (8.120785) 5 8.120786 6 8.120786 120786bk Guys&Dolls 4/11/04 4:42 PM Page 1 (1910-1969) with whom they had worked on was in a desolate seven-year stretch of performances, was turned into a film starring released a two-side 78 featuring the popular Guys And Dolls Where’s Charley? uninterrupted flops. Frank Sinatra and Marlon Brando and is “Amy” and the love song Make a Miracle. Original Broadway Cast 1950, and Alternative Versions 1950-1951 The fast-talking, New York-born Loesser was Fortunately,he too rose to the occasion, constantly being revived on Broadway,in This CD also features cover versions of The almost a Runyon character himself, a guy who badgering Burrows to keep polishing the book London and around the world. New Ashmolean Marching Society And Where’s Charley? Various Recordings 1948-1952 liked to live large. He’d wake up at 3:00 AM and and squabbling with Loesser about the number During its initial run, it was so popular that Students Conservatory Band by Johnny mix himself a double martini before starting to of reprises the composer wanted in Act II. numerous “cover” versions of the songs were Mercer (1949) as well as My Darling, My All Music and Lyrics by Frank Loesser write songs. “I’ll let you play the same songs if you let released, in versions especially doctored by Darling from Jo Stafford and Gordon Macrae Sometimes in the world of musical theatre, all In gambling parlance, it’s a natural. He began his career in Hollywood in 1936, me tell the same jokes,”is how he settled that Loesser. The Three-Cornered Tune, heard (1948). Norman Wisdom played the leading the right people come together in the right It all began with Damon Runyon (1884- where he wrote songs for over sixty films, until argument. here in a 1951 Dinah Shore recording is a light- role in the London production and his Once In place at the right time. 1946), the hard-edged, soft-centered journalist being lured to Broadway by Feuer and Martin. The show was cast with actors, rather than hearted distaff reworking of the “Fugue For Love With Amy is represented as well in this When you do, you get Guys and Dolls. who filled his writing with characters who bore Without knowing anything about the show singers, although listening to this recording, Tinhorns” theme and Sue Me is a rare 1950 1952 recording. Although it lacks the historical importance names like Dave the Dude and Harry the Horse. except that it was based on Runyon’s milieu, he most acquit themselves admirably. Robert Alda’s recording by Morey Amsterdam of the original The recording ends with a pair of selections of Oklahoma!, the cultural cachet of Porgy and He only wrote in the present tense (“I am immediately wrote the perfect genre piece: Sky Masterson has the right world-weary rasp version of the song, before Loesser had to from Loesser and his then-wife, Lynn, who rel- Bess or the sheer panache of My Fair Lady, walking down Broadway last night and who do Fugue For Tinhorns, a three-part round in and no one has ever made an impacted sinus rethink it as a duet, thanks to the feeble voice of eased their version of Make a Miracle in 1949. many critics and commentators – when pressed I see?”) and he loved to twist a phrase (“The which a trio of racetrack aficionados try to pick sound as adorable as Vivian Blaine’s chronically Sam Levene. Frank and Lynn used to perform at parties and – wind up citing Guys and Dolls as their race is not always to the swift, nor the battle to a winning horse. The combination of classical catarrhal Miss Adelaide. The rest of this recording is a pleasing their most popular piece is also included here: favourite musical. the strong, but that’s the way to bet.”) form and conversational slang (“I got the horse Borscht belt performer Stubby Kaye was a potpourri of Loesser from this period. Where’s Baby, It’s Cold Outside. It wound up being It’s not hard to understand why. It’s one of Over the years, sixteen of his short stories right here …”) captured the essence of how welcome addition to the musical comedy stage Charley? was his first Broadway show,which used in the 1949 film, Neptune’s Daughter and those rare works of art where form and function would be turned into movies, and by the late Runyon could be sung. and his rendition of Sit Down, You’re opened in 1948 and ran for 792 performances. won Loesser his only Oscar in 1950. as well as style and substance are joined 1940s, a collection of his work, called Guys and Hollywood screenwriter Jo Swerling tried an Rocking the Boat has never been bettered. This lighthearted romp was a musical A final note about the couple. Lynn was together with a deceptive ease that makes for Dolls, struck sophomore Broadway producers early draft of the script for the show,but was Isabel Bigley was hand-picked by Loesser to version of that old farcical chestnut Charley’s notoriously acrimonious and obsessed with delightful listening. Cy Feuer and Ernie Martin as perfect material found to lack the combination of flexibility and be his shining soprano lead, but the hot- Aunt and it received fairly tepid notices.