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Home , Careless Hands, Carl Sigman, Crazy He Calls Me, Ervin Drake, Famous Music, Herb Magidson

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NO PRINTING GLUE SURFACE THE EXPLANATION IS THE SONG ITSELF Reflections On Carl Sigman By DAVID McGEE

WHEN CARL SIGMAN PASSED AWAY IN HIS MANHASSET, , home on September 28, 2000, the most eloquent and appropriate tributes to the great American pop songwriter were not the splendid obituaries in and The Los An- geles Times, but rather the snippets of his enduring songs — “Ebb Tide,” “What Now My Love,” “It’s All In The Game,” “Civilization (Bongo, Bongo, Bongo),” “(Where Do I Begin) Love Story,” “Losing You,” “Pennsylvania 6- 5000” — that were played on radio stations around the country to ac- company the announcement of his death at the age of 91. The printed obits — well-written, factually accurate, and unabashed in the writers’ fondness for Sigman’s art — were no doubt many readers’ introduction to the man himself, for Carl Sigman was a craftsman and an artist of the first rank, but he was not in any way a public figure. As was his wont. So when his lyrics filled the airwaves again on the day of his departure from this mortal coil, Carl Sigman was going out as he would have wanted, with his music telling the story of his deepest joys, fears, yearnings and pleasures, as well as illuminating his whimsical, feisty sense of humor, vivid imagination, and generally optimistic worldview. ☛ If people throughout the and over- seas (many of Carl’s songs were not only domestic hits but huge successes internationally as well) were “AFTER PLAYING SOFTBALL hearing these lyrics and saying, “So that’s who wrote that song!”, then Carl Sigman was a happy man. For TOGETHER IN THE BROOKLYN all of the abundant life in his songs, from the poignant evocation of utter heartbreak in “Losing You” to the SCHOOLYARDS, WE’D SPEND sanguine acknowledgement of pain leading to pleas- ure in the oft-covered “It’s All In The Game,” this son of a Brooklyn ladies’ shoe manufacturer and a LONG NIGHTS WRITING housewife mother (or as Rae Bresson Sigman was characterized by Carl’s mentor, , in WHAT SEEMED TO BE ISHAM the latter’s forthcoming memoir, “[Carl’s] little, round attractive mother [who filled me up] with blintzes or chopped liver on rye bread”) was happiest alone, or in the company of his wife, Terry (maiden name Eleanor Berkowitz), JONES SONGS. BUT WE HAD and three sons, Michael, Randy and Jeffrey. “The truth is that he was a tense person for much of his life, and almost phobic ONLY ONE SONG PUBLISHED, about going out and being a public person,” recalls his son Michael, who now heads Carl’s publishing company, MajorSongs. “That’s one of the reasons the catalogue isn’t as well known, and it’s also why he didn’t do more Broadway shows or movie ‘JUST REMEMBER,’AND IT themes or anything like that. He just wanted to be left alone. He played golf virtually every day of his life, and when he got into a foursome or something, it was fine. But he WAS NOT A HIT. BUT I LOVED was also happy playing by himself. He hated being interviewed. He wrote one Broad- way show that was a moderate hit (Angel In The Wings,) but never wanted to do it again CARL’S TUNES. AS IT TURNED because he had to go to the theater and meet producers and hang out. Literally, in the last 25-or-so years of his life, he was very much on his own, except for my mom and im- mediate family and a couple of friends.” OUT, HE WAS ALSO A GREAT “No, he didn’t schmooze like other people did,” agrees Terry, his wife of 51 years (they met when she was working for Louis Prima and Carl came up for a visit as Prima LYRIC WRITER,WHICH HE was preparing to record “Civilization.” Seventeen years Terry’s senior, Carl swept her off her feet and four months later they were wed, thus answering the question posed LATER PROVED.” in Carl’s 1971 hit, “Love Story,” to wit: “Where do I begin/to tell the story of how great —JOHNNY MERCER

SHIRTLESS, IN BROOKLYN. a love can be?”), although she adds: “He had his coterie was a regular presence on Billboard’s Top 20 pop chart from 1920 through 1938.] But we of friends. And they happened to be a bunch of guys who had only one song published, ‘Just Remember,’ and it was not a hit. But I loved Carl’s tunes. were in different phases of the business, and they were As it turned out, he was also a great lyric writer, which he later proved.” all close. They had a poker game, and they were all What Mercer doesn’t mention is that he pushed Sigman into lyric writing. When friends. One was Harry Meyerson, who at one time was they met, Carl was a tunesmith, a melody writer. But Mercer advised him, “A band has with MGM Records and ended up at Decca; there was 15 musicians who can write tunes to one person who can write a lyric. You have a flair Joe Carlton, who was an A&R man at RCA Victor; there for it; you’ll get songs published.” Of course Mercer knew whereof he spoke, but even was Jack Lacey, a deejay on WINS in those days; there he could not have envisioned the monuments Sigman would construct after launch- was Paul Barry, a song plugger; there was Howie Rich- ing his career with “Just Remember,” that 1936 co-copyright with Mercer. mond, a publisher; and Allie Brackman, who was part- The 1940s would be the first of four-plus bountiful for Carl, more than jus- ners with Howie; and Jerry Wexler. It was a bunch of us who lived in Manhasset and tifying Mercer’s assessment of the budding songwriter’s gift. The beginning of the ’40s Great Neck and the environs; all the women were friends and the men were friends.” saw the Big Band era in full flower, but giving way, post-war, to the rise of small com- Before any reader forms a mental picture of a lonely, isolated man, and starts in with bos, such as The King Cole Trio, which recorded several of Carl’s songs for radio tran- the pop psychology, understand that Carl Sigman lived the life he desired, however remote scription. As well, the ’40s saw Carl on the charts with “Before Long,” by Louis Arm- it might seem to those who prefer or find comfort in the extended families we develop in strong; “It’s Square But It Rocks” (interesting title in light of the musical revolution the business, recreational activities, clubs and the like. Michael adds, “He was very, very pri- ’50s would bring) by with Helen Humes; “Busy As A Bee,” by Benny Good- vate. He never talked about his experiences in World War II, and I only learned after he died man with Helen Forrest handling vocals; “The Thousand Islands Song,” by Johnny that he had won a Bronze Star, when I found it in his personal items. One of the great things Mercer, then Arthur Godfrey, and then Louis Prima; “Don’t Ever Be Afraid To Go Home” about the way he was, though, is that there was no ego, no showing off, nothing like that. by and later , recording the first of 12 Carl Sigman songs he The flipside is that he wasn’t as expansive personally as he was in his music. He expressed would set to wax over the years; and “Crazy He Calls Me,” by . his deepest feelings in the songs. And those are certainly loving and heartfelt and intimate.” From King Cole to Lady Day to the Count to the Chairman of the Board to Der Bingle That Carl Sigman became a songwriter at all is music’s gain and the legal world’s to Satchmo — that these towering artists, not merely among the most important of their loss. A graduate of Thomas Jefferson High School in Brooklyn, Sigman, in deference to time but of all time, zeroed in on Carl’s songs is evidence enough to warrant him being his mother, who had insisted he become a doctor or a lawyer, matriculated at New York mentioned in the same breath with the decade’s most important songwriters. University, earned a bachelor of law degree from the NYU Law School and was admitted Throughout his long career, Carl continued to write hits in his own style, oblivious to the New York State Bar. But Carl’s heart was not in the study and practice of law, so to the changing trends in (Michael says his father had neither a record he started hanging around the in , where many of the top song- collection nor any interest whatsoever in generational changes in musical taste). His writers of the day were to be found penning the tunes that would soon be heard on the great gift was his innate understanding of how listeners connected emotionally with Hit Parade. He was befriended by and wrote his first professional song with Johnny Mer- a direct, conversational style of lyric. Almost entirely devoid of flowery language and cer, who recalled in his memoir, “After playing softball together in the Brooklyn school- surreal imagery, his songs instead trade on colloquial expressions and plot lines eas- yards, we’d spend long nights writing what seemed to be Isham Jones songs. [Jones front- ily accessible to and recognizable by listeners who have struggled with sustaining re- ed a formidable dance band in the pre-swing era, was a first-rate songwriter himself, and lationships in the face of quotidian pressures, or find the strength to get through a hard

FRANK SINATRA RECORDED TWELVE OF CARL SIGMAN’S SONGS. day and still believe everything will work out in the end. Not that Carl Sigman was pop’s answer to Woody Guthrie — far from it, for his songs were also devoid of political or social commentary, apart from personal politics — but he had a populist touch in un- “ANYONE INVOLVED derstanding the forces that shape folks’ lives. He also was blessed with gift- ed collaborators through the years, among them , Johnny Mercer, Gilbert Becaud, , , , Peter De Rose, E.Y. Harburg, Percy WITH SONGWRITING Faith, Erroll Garner, and Luis Bonfa. At one extreme, collaboration could mean sitting for endless hours at the with Johnny Mercer, with Carl’s mom bringing in bowls of kreplach for sustenance. Just WILL TESTIFY TO THE as frequently, however, “collaboration” was actually a solitary, inspirational experi- ence. Which brings us to the story of “Ebb Tide,” the song Michael says his father rec- ognized as “transcendent.” It brought together all the elements of Carl’s philosophy of FACT THAT EACH SONG, songwriting in a process the songwriter himself, in a chapter from an aborted autobi- ography, described as “the near-perfect wedding of melody to lyrics.” “Anyone involved with songwriting will testify to the fact that each song, no mat- NO MATTER HOW PURE ter how pure or from the heart, has its own story, its own peculiar way of getting writ- ,” Carl wrote. “Some cases are of course more peculiar or more paradoxical than oth- ers, but invariably some quirk or twist of luck enters the picture to prod a lyric or melody to its completion. And sometimes some extenuating circumstance occurs which is re- OR FROM THE HEART, ally unrelated to the musical aspect of the song, but which adds a note of humor and completeness to the job of songwriting.” In the case of “Ebb Tide,” the melody (and title) came from harpist/composer Robert HAS ITS OWN STORY, Maxwell. He titled the song as he did because the music he wrote evoked what Carl describes as “the flowing quality of water, and particularly the rhythmic and building quality of the tides.” When asked by a music publisher to supply lyrics to the melody, because a host of ITS OWN PECULIAR singers were anxious to record the song, so certain were they of its hit potential, Carl balked. “In a way, it brought together all the difficulties which confront lyric writers, and all at one time,” he wrote. “Usually when we get melodies to write lyrics to, the tunes either have no WAY OF GETTING titles at all or titles which somehow fit naturally into the tune, with respect to accents, etc. “But ‘Ebb Tide’? I knew from the start that those words would never fit into that tune, and in addition I had no idea what kind of meaningful lyric I would write that would WRITTEN.” even remotely connect itself to the title.” —CARL SIGMAN After four fitful days of writing and discarding lyric ideas (all the while try- ing to stave off the pushy music publish- er calling incessantly to check on his progress), Carl walked away from the song. “I decided to just take a rest, go to a movie and start thinking about it again the next day.” When he opened the paper to check the day’s listings, his eye was immedi- ately captured by an ad for From Here To Eternity, the film that jump-started Frank Sinatra’s flagging career. But the image in the ad was not of the Chairman of the Board, but of the famous scene in which Burt Lancaster and Deborah Kerr are locked in an embrace on the beach as the tide washes over them. Carl never made it to the theater, but he had finally found the key to “Ebb Tide.” And it “seemed so natural and simple that I couldn’t understand why I hadn’t thought of it before.” The lyrics suddenly poured out “with scarcely a moment of reflection.” Carl Sigman was doubtless not the first songwriter in history to write a popular song that lacked a chorus or even the mention of the title in its lyrics (and Roy Orbi- son would employ that approach to considerable success in the ‘60s), but “Ebb Tide” shares both distinctions. Likening the meeting of two lovers to the flow of the tide, Carl went places he hadn’t gone before as a writer, finding drama, overpowering emotion, tenderness, and gripping poetry in the scene he had set, beginning with the first in- delible image: “First the tide rushes in/plants a kiss on the shore/then rolls out to sea/and the sea is very still once more,” sung to a melody that first rises gently and subsides, then, as the song and story progress, swells and explodes in a rush of pri- mal energy before subsiding again in a moment of tenderness and calm. In a lesson

CARL (BACK ROW, CENTER, WITH HEAD ON ’S SHOULDER) WITH OTHER CHARTER INDUCTEES IN THE , 1972. OPPOSITE PAGE, CARTOON FROM THE N.Y. POST, 1948. more than a few contemporary songwriters ought to heed, Carl found a way to describe that most ele- mental of human drives and desires — sex — in LIKENING THE MEETING mesmerizing, poetic terms all the more erotic for be- ing suggested rather than explicitly described. “If listened to in the right frame of mind,” Carl OF TWO LOVERS TO wrote, “the melody rises and falls in a way which un- cannily resembles an orgasm, with one of the most stirring climaxes I’ve ever heard followed by a beauti- THE FLOW OF THE TIDE, fully relaxed, restful and contented ending. At the same time, this rising and falling is a perfect symbol- ization of the movements of the tide. Now the con- CARL WENT PLACES nection begins to come into focus: two lovers meet on a beach, their expectations rise together as the tide is rising, they love, and they are at peace together as the tide ebbs. And the beach and tides (helped by their association HE HADN’T GONE with the moon) are as romantic as any setting could hope to be. The whole wedding of the tune to the lyric (or, I should say, of lyric to the tune) is the most natural, the best and the easiest (once the idea was there) I’ve ever written.” BEFORE AS A WRITER, “Ebb Tide” was a hit twice in 1953, first in an instrumental version by British band- leader (it had a four-week run at #2 on the pop chart) and later that same year by the popular vocalist , whose Sigman-Maxwell version was FINDING DRAMA,OVER- a Top 10 pop single. In 1954 the great R&B belter Roy Hamilton closed out a person- al best year on the pop charts with a Top 30 recording of the song. By far the best known version, though, is ’ 1965 Top Five single, produced by POWERING EMOTION, in full Baroque splendor, in which the tide is cast more as a tsunami destroying everything in its path than a mere wave breaking on the shore TENDERNESS, AND (to be fair, a better evocation of Spector’s personality, if not his sex life, than Carl’s more sensitive treatment would have been), and tenor Bobby Hatfield wails the words “ebb tide!” at the close, inserting the previously unspoken title. GRIPPING POETRY IN This wonderful and long-overdue collection reaffirms Carl Sigman’s place in the pantheon of great American pop songwriters, an assessment his contemporaries would certainly agree with, if their eagerness to collaborate with him and to record his THE SCENE HE HAD SET. CARL WITH BRENDA LEE AND “LOSING YOU” PUBLISHER IVAN MOGULL. “SAMMY CAHN ONCE TOLD ME THAT CARL SIGMAN WAS THE ONLY POP SONGWRITER WHOSE CATALOG HE ENVIED. AND FOR GOOD REASON. UNLIKE MEN LIKE songs is any indication. And thanks to that lone chapter of his, Carl’s own words re- mind us of what a rare artist he was in his own era and in the current one, in which style AND COLE PORTER tramples substance and the coin of the realm is disposability rather than durability. Carl Sigman’s songs are all about durability, because they’re about the lives we live as sen- WHO WORKED (EXCEPT VERY EARLY tient human beings on planet Earth — day by day, from heartbeat to heartbeat, from the cradle to the grave. The songs are not about him, they’re about you and me. Great IN THEIR CAREERS) EXCLUSIVELY BY artist that he was, Carl Sigman disappears even as he appears in his own melodies and lyrics. If you’re hearing these songs and exclaiming, “So that’s who wrote that song!”, THEMSELVES,WORDS AND MUSIC, somewhere Carl Sigman is smiling. “The writing of ‘Ebb Tide,’ like songwriting and like almost con- CARL WAS IN THE TRADITION OF nected with art and the art world, was fundamentally an indefinable phenomenon. The absurd combination of circumstances, pressures and motivations which produced OTHER GREAT WRITERS LIKE WALTER the lyrics that go with that tune (and indeed tune writing is an altogether different, and even more mysterious, subject) can never be explained. The explanation is the DONALDSON,RICHARD WHITING song itself, and the observations I’ve given here are merely the humorous and sur- face explanations of a phenomenon which, if it deserves anything, deserves to be lis- AND JOHNNY MERCER WHO tened to rather than read about. So if this chapter or this book does anything for any- one, I hope that it will make him listen to some of the music we are talking about. There SOMETIMES WROTE LYRICS AND is a rich tradition filled with many beautiful songs in the popular music field, and only by listening and listening again will one fully appreciate the anecdotes and obser- OTHER TIMES MUSIC.” vations I and my fellow songwriters are offering.” e —ERVIN DRAKE, SONGWRITER AND FORMER Now, listen to the songs. HEAD OF THE SONGWRITERS GUILD CARL AND TERRY SIGMAN WITH , JANUARY 1956 SOME OF THE ARTISTS WHO HAVE RECORDED THE SONGS OF CARL SIGMAN

Merle Haggard Natalie Cole Louis Prima Dean Martin Darlene Love Ella Fitzgerald Frank Sinatra Mel Torme Sonny & Cher Joni Mitchell Sarah Vaughan Billie Holiday Count Basie matched with a song as Dean force display of his inimitable Civilization (Bongo, Bongo, Decca recording of this Martin was with this one by style for . It Bongo) — Carl Sigman’s only Sigman-Russell collaboration THE SONGS Capitol Records in 1961. was subsequently covered by stab (partnered with Bob by Billie Holiday, arranged BY GREGG GELLER, DAVID McGEE & MICHAEL SIGMAN Ballerina — A #1 record for the English ska revivalists Hilliard) at a Broadway by , has had a Bad Manners, who charted musical, Angel In The Wings, profound influence on singers Of A Fool — Laine in 1953. The next year, baritone-bandleader Vaughn Frank Sinatra recorded twelve its title and lyrics altered ever- Monroe in 1947, this number with the song in 1981, and, ran for 308 performances at of every generation and type, songs written by Carl Sigman, so slightly by Sigman for still returned to the charts ten inexplicably, by dozens of the Coronet Theatre in 1947-48 from to including this one for his own broader appeal, the same song years later in a swinging Eastern European rock bands and provided Elaine Stritch Peggy Lee to Aretha Franklin Reprise label in 1969: the became a - Nelson Riddle to in the years since the fall of with this show-stopper in to Linda Ronstadt. Change its English lyric version of Luis arranged Nat King Cole stand- become yet another signature the Berlin Wall. her debut on the Great White name to “Crazy She Calls Me” Bonfa’s “Manha de Carnival” ard on Capitol Records, re- song for Nat King Cole with Busy As A Bee (I’m Buzz, Way; fifty-three years later and find it on Lady Day tribute from the classic foreign film vived by Joni Mitchell in 2000 Capitol. Written with Bob Buzz, Buzzin’) — A classic she reprised the song in the by Sam Cooke and Black Orpheus. Jack Jones on her Reprise orchestral pop Russell, it’s sometimes known big band arrangement by autobiographical one-woman Tony Bennett. had hit the charts with his Both Sides Now. Bob as “Dance, Ballerina, Dance.” Fletcher Henderson for “King show At Liberty, preserved for Don’t Ever Be Afraid To Go posterity by DRG Records. But take on the song in 1966, but Dylan is known to have per- of Swing” Benny Goodman Home — Written with Bob Before Long — Long before back in 1948 it had topped the Sinatra’s Don Costa-arranged formed it in concert circa 1991. “Hello Dolly” and “What A and His Orchestra, recorded Hilliard, this swinging title rendition remains definitive. in late 1939 by Columbia charts for Decca in a romp by was an unlikely choice of Around The Corner — As lead Wonderful World,” Louis comic actor Records. Vocals by Helen Danny Kaye and repertoire by the recently- All Too Soon—A collaboration singer of and later Armstrong was trying his . with Duke Ellington, recorded as a solo artist, Ben E. King hand at contemporary pop Forrest. Written with Bob divorced Frank Sinatra, who by the “Rockin’ Chair Lady,” specialized in a kind of urban material; the recording of this Russell and Joseph Meyer. Come In Out Of The Rain — included it amongst his final Mildred Bailey, in 1941 at love song (“Spanish Harlem,” Carl Sigman collaboration Careless Hands — A strikingly One of three Sigman copy- few recordings for Columbia Decca with legendary pro- et al) of which this 1964 Atco with Satchmo’s drummer modern sounding #1 smash for rights (“My Fair Lady” and Records in 1952. Perhaps it “Paint Yourself A Rainbow” was the influence of his ducer Milt Gabler; in 1957 recording is a prime, if obscure, Sid Catlett dates from the “The Velvet Fog,” Mel Torme, Ella Fitzgerald included it in example. Not so obscure, how- very first Louis Armstrong & in 1949, early in his post Mel- are the other two) cut by The original inspiration, Bing her Duke Ellington Songbook ever, that Mink DeVille didn’t His All-Stars RCA Victor Tones solo career with Capitol King Cole Trio, Nat on piano Crosby, who released the on Verve. Among the others cover it on the 1983 album studio session in 1947. Records. This song, written and vocals, for Capitol, this song in 1952 too. who have cut it: Lambert, Where Angels Fear To Tread. with Bob Hilliard, also pro- 1946 collaboration with Bob Dream Along With Me (I’m Buona Sera — Originally Russell was revived in 1959 Hendricks & Ross, Peggy Lee, written with Peter De Rose as vided a vehicle for Dottie On To A Star) — Arrivederci, Roma — Virtually at Epic Records by singer, Sarah Vaughan, Anita O’Day. every Italian-American singer a conventional love song and West to extend her long run Recorded by pianist and Academy Award- Answer Me, My Love — A of note has recorded this title recorded as such by Louis of country chart successes at for RCA Victor in 1956, this winning actor Jack Lemmon. German song, “Mutterlein,” (as have many others, in- Prima on Mercury in 1950, RCA in 1971. Then, a decade beautiful song, with words Who knew? rendered by Carl Sigman as cluding Abbe Lane with Tito the King of the Las Vegas later, Jerry Lee Lewis and and music by Carl Sigman, “Answer Me, Lord Above,” Puente & His Orchestra!), but lounges then re-cut it in 1956, his pumpin’ piano left their Crazy He Calls Me — Since was heard every week for hit #1 in the UK for Frankie rarely is a singer so perfectly transforming it into a tour-de- indelible mark on the song. its introduction in 1949, the the next seven years as the theme song of his long- Spector produced a majestic and Guy Lombardo & His running Saturday night NBC- version by The Righteous Royal Canadians, with vocals TV variety show, where, as the Brothers, which peaked at by Kenny Gardner, whose relaxed one noted, “very few #5 for his Philles label. “The 1949 Decca recording of it people ever heard (it) all the whole wedding of the tune to became the first big hit for way through.” Revived in that the lyric (or, I should say, of The Richmond Organization, perpetually-running homage the lyric to the tune) is the a soon- to- be powerhouse to the ’50s, the musical most natural, the best and music publishing company. Forever Plaid. the easiest I’ve ever written,” Promoting the song, Carl said Sigman. Sigman appeared on the Ebb Tide — In 1953 British cover of The Cash Box playing orchestra leader Frank Enjoy Yourself (It’s Later Than (what else?) hop scotch. Chacksfield topped the charts You Think) — A top 10 Decca with his arrangement of the single for Guy Lombardo & His How Will I Remember You — haunting Robert Maxwell- Royal Canadians, with vocals In 1961, Rosemary Clooney composed melody of this by Kenny Gardner, in 1950, entered the studio with song. Once its Carl Sigman- this collaboration with lyricist arranger Nelson Riddle to penned lyric was completed, found life record Love, a the covers came in a flood when 2-Tone English ska band inspired by their (real life) that has yet to subside. Vic The Specials revived it in the love affair. This song, included Damone was first into the early 1980s. Its message, therein, is crucial to the top 10 later that same year, however, is eternal. tale as told in that small followed by the under- masterpiece of the recording Hand Me Down Love — appreciated Roy Hamilton arts, released by Reprise Another Carl Sigman-Duke with a #5 R&B smash for Epic Records in 1963. Ellington collaboration, this the following year. In 1956, it one interpreted by English I Could Have Told You — was an essential element of With a melody by Jimmy grande dame of vocals Cleo the classic Nelson Riddle- Van Heusen (in between his Laine at a 1957 big band date arranged album Frank Sinatra partnerships with Johnny in London, early in her career. Sings For Only The Lonely on Burke and Sammy Cahn), Carl Capitol. The Platters added it Hop Scotch Polka (Scotch- Sigman scored yet another to their string of Mercury Hot) — A novelty number cut cut by Frank Sinatra, arranged hits in 1960 and, in 1965, Phil by , Mitch Miller, by Nelson Riddle for Capitol

CARL (LEFT) ON THE COVER OF THE CASH BOX IN 1949, WATCHING SINGER ART MOONEY PLAY HOPSCOTCH TO CELEBRATE THE SUCCESS OF “HOP SCOTCH POLKA,” WRITTEN BY CARL WITH PETER DE ROSE (RIGHT). MGM A&R CHIEF HARRY MEYERSON ALSO LOOKS ON. Records in 1953. Esther It’s All In The Game — The and ‘80s respectively; a genre- and roll is to be found in this “” — Phillips gives his lyric a jazzy answer to the question: which transcending interpretation by swinger by the big band, for Sinatra. Producer Jimmy In 1950 kicked R&B reading of a Ray Ellis #1 song was co-written by a Hall of Famer fronted by singer Helen Bowen gave the song to off a decade’s worth of chart in 1965 on Atlantic Vice President of the United Van Morrison on his 1979 Humes, for OKeh Records in Sammy Davis Jr. who cracked Mitch Miller-produced chart Records. Other noteworthy States? Composed by Charles Warner Bros. album Into The 1941. For the uninitiated, it’s the charts with it for Reprise success on Columbia Records recordings: Brook Benton and G. Dawes, veep in the Coolidge Music; and many, many more. the dance floor that’s square, in 1968. with this Carl Sigman-Percy Dinah Washington, separately, administration, as a classical It’s — but rocks, according to this Losing You — This dramatic Faith collaboration, which has and John Pizzarelli, recently. piece, with lyrics added Written with Peter De Rose in Sigman lyric for a Freddie ballad turned out to be the gone on to produce similar If You Could See Me Now — by Carl Sigman in 1951. On the 1949, this seasonal song had Slack rhythm number. last (thus far) in a long line results for Dinah Washington, Tadd Dameron’s unusually day that he finished the lyric, settled into the life of a hardy Just Remember — The of top 10 singles for “Little Ray Charles, and Elvis Presley complex modern melody Sigman learned that Dawes perennial with covers by such first Carl Sigman song to Miss Dynamite,” Brenda Lee, down through the years. had died of a heart attack, whose 1963 Decca release makes this the Carl Sigman singers as Dean Martin, Bing be recorded was this 1936 My Mood Is You — Lena leading his publisher, Mac Crosby, Brenda Lee, Johnny was produced by Nashville song of choice for vocal collaboration with Johnny Horne has recorded this song Goldman, to quip, “Your lyric Mathis and sundry others Sound progenitor Owen aficionados of all eras. It pro- Mercer which generated at twice, first for an album with must have killed him.” This when producer Phil Spector Bradley. vided Sarah Vaughan with her least three covers in Great guitarist Gabor Szabo in 1969 breakthrough recording for standard-to-be first found included it on his immortal Britain, one by BBC Orchestra Love Lies — It was on July 17, and, more recently, on the Musicraft in 1946 (in 1998 that its way to prominence in a 1963 Philles album A Christ- leader Henry Hall, another 1940, near the beginning of his Blue Note album We’ll Be single was inducted into the prototypic version by Tommy mas Gift For You in a stirring by Henry Jacques and time with Tommy Dorsey & His Together Again, dedicated Grammy Hall of Fame) and Edwards, which rose as high vocal turn by Darlene Love. His Correct Dance Tempo Orchestra that Frank Sinatra to the memory of her close Mel Torme with a valedictory as #18 for M-G-M in late 1951. Christmas has never been Orchestra (he was billed on waxed his first Carl Sigman friend, Billy Strayhorn, in of sorts in a 1995 Concord Seven years later, a new quite the same. the HMV label as “Britain’s copyright, for Victor. It was 1994. Words and music by session with Rob McConnell recording in the contemporary Champion Dancer of 1934-36”) to swoon for. It’s Crazy — Recorded by the Carl Sigman. and The Boss Brass. Other doo-wop mode by the same versatile singer, composer and the lovely rendition by versions of note: Carmen Australian expatriate singer- Many Times — It was only artist for the same label was (he co-wrote “He Ain’t Heavy, natural that the top new No Range To Ride Anymore — McRae, Billy Eckstine, Natalie top 10 for twelve weeks, He’s My Brother” with Bob violinist Brian Lawrance & As a sideline to his ongoing Cole and Dianne Reeves. His Lansdowne Orchestra, vocalist of the pre-Rock topping the charts for six of Russell), arranger-producer 1950s would find his way to career as crooner, trumpeter, It Worries Me — Yet another them. And then, the deluge. Bobby Scott at a 1968 recorded for Rex Records on and bandleader, Vaughn March 22, 1938, that kicks off a Sigman song, this one Nelson Riddle-arranged re- Among its many covers: a Columbia Records session. written under the nom de Monroe developed an this collection. cording by Frank Sinatra from supper club soul rendition that A saloon song Sinatra plume Jessie Barnes. And it alternate musical persona early in his career at Capitol, went top 10 R&B for Motown’s somehow missed. Lonely Is The Name — A was equally natural that the as a Western balladeer, this one hit the charts in late The in 1970; two It’s Square, But It Rocks — collaboration with German recording of that song, by most famously with “Ghost 1954. Lyrics by Carl Sigman, in Country chart entries, by Tom Further proof that Count Basie arranger-producer and or- Eddie Fisher for RCA Victor, Riders In The Sky.” This 1950 a prime example of his con- T. Hall on Mercury and Merle & His Orchestra helped lay chestra leader , rose as high as #4 on the follow-up for RCA Victor, versational songwriting style. Haggard on MCA in the 1970s the groundwork for rock who had recently co-written charts in 1953. written in tandem with Peter De Rose, might well serve Python’s Previous Record in “Arrivederci, Roma,” “It’s All the mid-1960s there was a while there found the time to Francis Lai’s melody, there as an environmentalist’s 1972 and, more recently, in a In The Game,” “Till” and Carl Sigman song in the to arrange Let’s Face The were versions by Tony lament today. series of radio commercials “What Now My Love.” thick of it, a Bert Kaempfert Music, an album by a very Bennett, Johnny Mathis, in Great Britain. Jerry Vale, even Jim Nabors, Passe — Margaret Whiting, The Saddest Thing Of All — collaboration, arranged by young Shirley Bassey. The but ultimately it was Andy daughter of composer Richard Shangri La — The “Ebb Tide” A collaboration with Michel , that topped album yielded a stunning Williams who carried the Whiting, included this song team of Sigman and Maxwell Legrand, this was the final the chart and rendition of this song which day with a top 10 single among her string of chart rec- reunited and joined with Carl Sigman song recorded peaked at #30 on The Hot 100 rose to #5 in the UK on that topped the Adult ords in the immediate post- composer-conductor Matty solo by Frank Sinatra, in in 1967. EMI’s Columbia label. Covers Contemporary charts as WWII period for the new Malneck to come up with a 1975 as arranged by Gordon of the Gilbert Becaud col- There Is No Christmas Like A well. Shirley Bassey had Capitol label. song that became a big, brash Jenkins for . laboration (“Et Maintenant,” Home Christmas — Recorded also entered the fray with a 1950s-style pop vocal group (He did revisit “What Now en francais) have been Pennsylvania 6-5000 — The by Perry Como for RCA Victor, lovely reading for United hit for The Four Coins on My Love” in duet with Aretha plentiful ever since, including first big Carl Sigman-penned with orchestra and chorus Artists which, nearly thirty Epic in 1957 and a hushed, Franklin in 1993.) a #14 charted version by hit, #5 for Glenn Miller & His conducted by Mitchell Ayres, years later, turned up on her introspective, almost spoken Sonny & Cher on Atco in 1966, Orchestra on Bluebird in 1940. The Thousand Islands Song in 1950, this song became a The Remix Album…Diamonds recording for Peggy Lee on as well as recordings by, Its title was the telephone — One of three Angel In The staple of his annual Christmas Are Forever in an away- her Capitol album In The among others, Frank Sinatra, number of the Café Rouge Wings tunes by the team of television specials; today it is TEAM mix that found favor Name Of Love in 1964. Also at New York’s Hotel Penn- Sigman and Hilliard to jump a holiday standard awaiting Judy Garland, Elvis Presley, on dance floors internation- reprised in Forever Plaid, with sylvania; today it remains from Broadway to the charts re-discovery. Barbra Streisand, The ally. In 1973, Sarah Vaughan a definite nod to the Coins. that hotel’s main switchboard in 1948 (“Civilization” and Temptations, Willie Nelson, demonstrated what only a Till — Best remembered as a number. And the song Sleepy Shores — Question: “Big Brass Band From Mitch Ryder, Miss Piggy and, great jazz singer can do classic, as recorded continues to be employed add a Carl Sigman lyric to the Brazil” are the others), in most recently, French star to a by-then very familiar in films and on TV to evoke hit 1971 theme for the BBC- versions by Sigman mentor by The Angels on Caprice in Patricia Kaas in her first song, cutting an intensely the era of the 1940s. TV series Owen M.D. and and friend Johnny Mercer, 1961, this song started life as English language release, personal interpretation a hit instrumental by Roger Piano Bar, on Columbia Robin Hood — Theme song what do you get? Answer: and Arthur Godfrey, but “live” in Japan for Main- this heavily Four Freshmen represented here by a Williams in 1957. Tony Bennett Records. stream Records. of the popular British and cut a beautiful vocal version in (or perhaps )- hilarious Louis Prima per- (Where Do I Begin) Love American TV series of the 1959: Tom Jones charted with You’re My World — In 1964, influenced single cut by Ray formance. Alternate title: Story — When the movie 1950s was a top 20 UK hit for it for Parrot in 1971. at the height of Beatlemania, music publisher (, Conniff and The Singers for “I Left My Love On One Of Love Story opened in 1970 it producer Columbia in 1972. Unlikely, The Thousand Islands But I ) Dick James with What Now My Love — seemed as though every brought 21-year old Liver- but true. Can’t Remember Which One.” Stephen James and his With all those hits by Frank middle-of-the road (that’s pudlian Cilla Black into the Chums on Parlophone in 1956, The Day The Rains Came — The World We Knew (Over Sinatra and Nat Cole under what they were called back studio and emerged with a produced by George Martin. Written with Gilbert Becaud; a And Over) — When Frank his belt, Nelson Riddle went then) singer on the Columbia recording of this Carl Sigman Revived with parody lyrics as top 20 hit for Jane Morgan on Sinatra had a renewed run of off to England in 1962 to artist roster released a song that climbed to #1 in the “Dennis Moore” on Monty Kapp in 1958. She also cut chart success on Reprise in score the film Lolita and record of its theme. Written UK for Parlophone. e “Mutterlein” and called it “Answer THE ONES THATGOT AWAY Me, Lord Above.” The publisher BY MICHAEL SIGMAN didn’t think that would fly com- mercially, so under protest it be- GROWING UP AS THE ELDEST OF CARL SIGMAN’S THREE SONS, I HAVE VIVID came “Answer Me, My Love.” As memories of his songwriting career. My very earliest childhood recollections it turned out, both versions be- conjure my mother screaming “plug!” and the family gathering around the ra- came hits, “Lord Above” reigning dio every time she caught one of his hits. As a nine year old in day camp, I would as the #1 record in the UK by change into my baseball uniform in the locker room every day while the radio in 1953, with the played ’ “It’s All In The Game,” the #1 hit that summer. Watch- more secular version charting for ing the “Perry Como Show” on TV every week, I was thrilled to see Como sing Nat Cole and then covered over his theme, “Dream Along With Me.” (Once when my dad took me into New York the years by dozens of artists, in- City to make the rounds at the Brill Building, we ran into Perry and he gave me cluding Bing Crosby, Brian Ferry, a quarter, which I kept in my jacket pocket for years.) Later, as a high school The Impressions, Johnny Rivers junior, I suddenly became cool when The Righteous Brothers had a top-5 hit with and Joni Mitchell. the monumental, Phil Spector-produced In 1959, Dad got the plum assignment to write the lyric for the theme from Ex- “Ebb Tide.” Lenny Welch even called me odus, an Otto Preminger blockbuster in the making. I’ll never forget lying in my up to the stage when he sang “Ebb Tide” bed and crying to the moving lyric he composed: “It all began 5000 years ago, They at my senior prom! made me leave my place of birth, That was the Exodus, the start of Exodus, And But some of my richest childhood rec- ever since I’ve roamed about the earth.” Unfortunately, there were studio politics ollections were of the songs that got away, to contend with, and no less a songwriter than Pat Boone ended up writing the lyrics wonderful lyrics that had to be compro- to the iconic tune. Anyone remember them? mised, or pieces that would have become In 1960, the movie A Summer Place was a success, and the instrumental standards but were rejected outright for “Theme From A Summer Place,” composed by Percy Faith, was the biggest hit one reason or another. record of the year. Percy and Carl were very close friends and had written many In 1953, my father wrote a spiritually in- songs together, including the 1950 smash “My Heart Cries For You.” So it was nat- fluenced lyric to the beautiful German tune ural for dad to get the assignment. He delivered a terrific lyric called “I Grew Up

CARL AT THE PIANO AT HIS FLORIDA HOME. HIS THREE SONS, RANDY, MICHAEL AND JEFF, 1957. JENNY — A LOVE STORY Last Night.” All systems room contemplating alterna- seemed go, and no one alive tives, but couldn’t get any LYRIC BY CARL SIGMAN today can remember exact- ideas. Then he turned to my ly what happened, but next Mom and said, “where do I be- Sudden summer rain thing we knew another lyric gin,” and the rest is history. (In- That cools the pavement with a patent leather shine was approved. So Dad explicably, Shirley Bassey’s ver- A breath of sweetness all too quickly left behind wrote his own tune to the sion contains one line from the A moment’s richness in the mystery of time lyric and Leslie Uggams re- original lyric — “Sudden sum- So Jenny came . . . leased it. mer rain, That cools the pave- Leaves of April green In 1970, my father got ment with a patent leather that greet the morning as they hold their heads up high the biggest assignment of shine,” a line actually con- So full of promise as they try to touch the sky his career, writing the lyric tributed by my mother!) Too soon they flutter to the ground and have to die for Francis Lai’s “Theme Two years later, Paramount So Jenny came . . . From Love Story.” His ini- was preparing the all-time clas- So Jenny came — A very special girl tial effort (reproduced here) sic film . After the She shared with me her very special world was rejected by Paramount worldwide success of “(Where She brushed my life with all her love as too sad (and also too Do I Begin) Love Story,” it was- Then suddenly was gone like summer showers sexually suggestive — they n’t surprising that Dad got a call She fluttered down like leaves in autumn objected to the phrase from Famous Music, Paramount’s publishing arm, to get started on a lyric to I reach for her hand “Jenny came”!). Initially fu- Nino Rota’s now-legendary theme. When he arrived at the lobby of the Gulf + West- but Jenny’s gone rious, Dad refused to ern Building for the initial meeting, however, the shakily-constructed skyscraper How long should it last rewrite what he thought was literally swaying from the heavy winds and had to be evacuated. But some- Can love be measured by the hours in a day was just the right wedding thing else was apparently in the wind that day, because Dad never heard back from And is it over when one lover slips away of words to music, but cool- Paramount again! Or does it really live forever as they say er heads prevailed. He As Dad used to say when the Yankees didn’t win the World Series, you can’t But Jenny’s gone paced around our living win ‘em all. But as this collection reveals, the few losses were far outweighed by © MajorSongs a lifetime’s worth of winners. e

THE ORIGINAL, REJECTED LYRIC TO “LOVE STORY” ➾ Disc 1 1 Just Remember 10 Before Long 19 Don’t Ever Be Afraid BRIAN LAWRANCE & HIS LOUIS ARMSTRONG & HIS To Go Home LANSDOWNE ORCHESTRA 2:39 ALL-STARS 2:51 FRANK SINATRA 2:28 (C.S./Mercer) MajorSongs/LaSalle; (C.S./Catlett) MajorSongs; RCA (C.S./Hilliard) MajorSongs/Better Rex,1938 Victor, 1947 [A] Half; Columbia, 1952 [B] 2 Pennsylvania 6-5000 11 Crazy He Calls Me 20 My Heart Cries For You GLENN MILLER & HIS ORCHESTRA 3:11 BILLIE HOLIDAY 3:03 GUY MITCHELL 2:46 (C.S./Gray/Finegan) MajorSongs/ EMI (C.S./Russell) MajorSongs/Harrison; (C.S./Faith) MajorSongs/Universal Robbins; Bluebird, 1940 [A] Decca, 1949 [C] Polygram/Drolet; Columbia, 1950 [B] 3 It’s Square But It Rocks 12 No RangeTo Ride Anymore 21 Many Times COUNT BASIE & HIS ORCHESTRA; VAUGHN MONROE 3:43 EDDIE FISHER 2:29 HELEN HUMES, VOCALIST 2:29 (C.S./De Rose) MPL; RCA Victor,1950 [E] (C.S./Felix Stahl) Screen Gems-EMI (C.S./Slack) EMI Music; OKeh, 1941 [B] Music Inc; RCA Victor, 1953 [E] 4 Busy As A Bee 13 Enjoy Yourself (I’m Buzz, Buzz, Buzzin’) (It’s Later Than You Think) 22 Answer Me, Lord Above BENNY GOODMAN & HIS GUY LOMBARDO & HIS ROYAL (Mutterlein) ORCHESTRA; HELEN FORREST, CANADIANS; KENNY GARDNER, FRANKIE LAINE 2:36 VOCALIST 3:11 VOCALIST 3:16 (C.S./Rauch/Winkler) Bourne; (C.S./Russell/Meyer) MajorSongs/EMI (C.S./Magidson) MPL/Warner-Chappell; Columbia, 1953 [B] Decca, 1950 [C] Feist/Harrison; Columbia 1939 [B] 23 It’s All In The Game 5 Love Lies 14 Civilization TOMMY EDWARDS 2:58 TOMMY DORSEY & HIS ORCHESTRA; (Bongo, Bongo, Bongo) (C.S./Dawes) MajorSongs; MGM, 1951 FRANK SINATRA, VOCALIST 3:21 DANNY KAYE AND THE ANDREWS [C] (C.S./Freed/Meyer) MajorSongs/EMI SISTERS 3:01 Feist; Victor, 1940 [A] (C.S./Hilliard) Bourne/MPL; Decca,1948 [C] 24 Arrivederci Roma DEAN MARTIN 2:39 6 All Too Soon 15 The Thousand Islands Song (C.S./Garinei/Giovannini/Ranucci) MILDRED BAILEY 3:26 LOUIS PRIMA 2:37 MajorSongs/Jupri; Capitol, 1961 [D] (C.S./Ellington) MajorSongs/Famous; (C.S./Hilliard) Bourne/MPL; Dot, 1960 [C] Decca, 1941 [C] 25 There Is No Christmas 16 Hop Scotch Polka Like A Home Christmas 7 Come In Out Of The Rain (Scotch-Hot) PERRY COMO 3:15 THE KING COLE TRIO 2:55 (C.S./Addy) MajorSongs/WB; RCA (C.S./Russell) MajorSongs/Harrison; GUY LOMBARDO & HIS ROYAL CANADIANS; KENNY GARDNER, Victor, 1950 [E] Capitol, 1946 [D] VOCALIST 2:52 8 If You Could See Me Now (C.S./Rayburn/Whitlock) TRO, Decca, 26 Robin Hood SARAH VAUGHAN 2:49 1949 [C] DICK JAMES WITH STEPHEN JAMES (C.S./Dameron) EMI Music; Musicraft, & HIS CHUMS 2:29 (C.S.) MajorSongs; Parlophone, 1956 [D] 1946 [C] 17 Buona Sera LOUIS PRIMA 2:57 9 Passe (C.S./De Rose) MajorSongs/De Rose; MARGARET WHITING 3:07 Capitol, 1956 [D] (C.S./Delange/Geiringer/Meyer/Sablon) EMI Music/Shapiro-Bernstein; Capitol, 18 Careless Hands RICHARD GREEN, STAR OF THE MEL TORME 3:14 1946 [D] TV SERIES ROBIN HOOD. (C.S./Hilliard) Bourne/MPL; Capitol,1949 [D] ➾ Disc 2 1 Dream Along With Me 10 Shangri La 19 Shangri La (I’m On My Way To A Star) THE FOUR COINS 2:47 PEGGY LEE 2:29 PERRY COMO 2:52 (C.S./Malneck/Maxwell) EMI Music; (C.S./Maxwell/Malneck) EMI Music; (C.S.) MajorSongs; RCA Victor, 1956 [E] Epic, 1957 [B] Capitol, 1964 [D] 2 Ebb Tide 11 The Day The Rains Came 20 It’s Crazy ROY HAMILTON 2:39 JANE MORGAN 2:57 BOBBY SCOTT 2:44 (C.S./Maxwell) EMI Music; Epic, 1954 [B] (C.S./Becaud/Leroyer) Universal (C.S./Scott) Jenny Music; Columbia, Music; Kapp, 1958 [F] 1968 [B] 3 It Worries Me 12 It’s All In The Game FRANK SINATRA 2:51 21 Crazy He Calls Me (C.S./Schulz/Verch) Bourne; Capitol, TOMMY EDWARDS 2:36 (C.S./Dawes) MajorSongs; MGM, ARETHA FRANKLIN 3:24 1954 [D] (C.S./Russell) MajorSongs/Harrison; 1958 [C] Atlantic, 1968 [I] 4 I Could Have Told You 13 Ebb Tide FRANK SINATRA 3:14 22 I Could Have Told You (C.S./Van Heusen) MajorSongs/Music THE PLATTERS 2:24 ESTHER PHILLIPS 2:41 Sales; Capitol, 1953 [D] (C.S./Maxwell) EMI Music; Mercury, (C.S./Van Heusen) MajorSongs/Music 1960 [C] Sales; Atlantic, 1965 [I] 5 Answer Me, My Love NAT KING COLE 2:36 14 Till 23 Around The Corner (C.S./Rauch/Winkler) Bourne; Capitol, THE ANGELS 2:28 BEN E. KING 1:57 1954 [D] (C.S./Buisson/Sananes) (C.S./Leoni/Pallavicini) Sony Warner/Chappell; Caprice, 1961 [G] ATV/Warner-Chappell; Atco, 1964 [J] 6 Ebb Tide 24 Ebb Tide FRANK SINATRA 3:13 15 You’re My World (C.S./Maxwell) EMI Music; Capitol, CILLA BLACK 2:56 THE RIGHTEOUS BROTHERS 2:48 1956 [D] (C.S./Bindi/Paoli) Warner/Chappell; (C.S./Maxwell) EMI Music; Philles, 1965 [C] Parlophone, 1964 [D] 7 All Too Soon 25 What Now My Love ELLA FITZGERALD 4:21 16 Losing You (C.S./Ellington) MajorSongs/Famous; SONNY & CHER 3:36 BRENDA LEE 2:31 (C.S./Becaud/Delanoe) MajorSongs/ Verve, 1957 [C] (C.S./Havet/Renard) MajorSongs/ BMG Songs; Atco, 1966 [J] Music France; Decca, 1963 [C] 8 Ballerina 26 It’s A Marshmallow NAT KING COLE 2:50 17 What Now My Love (C.S./Russell) Capitol, TRO/Harrison, World 1957 [B] SHIRLEY BASSEY 2:53 DARLENE LOVE, PRODUCED BY (C.S./Becaud/Delanoe) MajorSongs/ PHIL SPECTOR 2:23 9 Hand Me Down Love BMG Songs; Columbia (UK), 1962 [D] (C.S./De Rose) Shapiro-Bernstein; CLEO LAINE 2:58 Philles, 1963 [K] (C.S./Ellington) TRO/Famous; 18 How Will I Remember You Pye, 1957 ROSEMARY CLOONEY 4:18 THIS FLOATING GLOBE WAS USED (C.S./Gross) MajorSongs/Roger/ ON THE SHEET MUSIC FOR “IT’S A Weyman; Reprise, 1963 [H] MARSHMALLOW WORLD.” CARL ON THE COVER OF RECORD WORLD WITH FRANCIS ➾ Disc 3 LAI AND FAMOUS MUSIC CHIEF MARVIN CANE TO COMPILATION PRODUCED BY CELEBRATE THE SUCCESS OF “(WHERE DO I BEGIN) LOVE 1 (Where Do I Begin) 8 Careless Hands 16 Crazy She Calls Me STORY” IN 1971 Gregg Geller Love Story 1:58 TONY BENNETT 3:51 MASTERED BY ANDY WILLIAMS 3:10 (C.S./Hilliard) Bourne/MPL; RCA, (C.S./Russell) MajorSongs/Harrison; (C.S./Lai) MajorSongs/Famous; 1971 [N] Columbia, 1997 [B] Rick Rowe at Mediaforce Columbia, 1971 [B] 9 It’s All In the Game 17 If You Could See ART DIRECTION BY 2 The World We Knew VAN MORRISON 5:09 Me Now Bill Smith (Over and Over) (C.S./Dawes) MajorSongs; MEL TORME 4:47 Warner Bros., 1979 [H] EXECUTIVE PRODUCER FRANK SINATRA 2:46 (C.S./Dameron) EMI Music; (C.S./Kaempfert/Rehbein) Concord Jazz, 1995 [P] Michael Sigman MajorSongs/Screen Gems EMI; 10 (Where Do I Begin) Reprise, 1967 [L] Love Story 18 Answer Me, My Love SARAH VAUGHAN 5:20 JONI MITCHELL 3:21 SPECIAL THANKS TO 3 Lonely Is The Name (C.S./Lai) MajorSongs/Famous; (C.S./Rauch/Winkler) Bourne; Tinker Beatty, Ken Brisbin, SAMMY DAVIS JR. 3:14 Mainstream, 1973 [B] Reprise, 2000 [H] (C.S./Kaempfert/Rehbein) Edition Ilyce Dawes, Didier Deutsch, Doma; Reprise, 1968 [M] 11 Careless Hands 19 What Now My Love Joann Duran, Rob Finan, JERRY LEE LEWIS 2:55 PATRICIA KAAS 3:58 Robert Finkelstein, Karyn 4 A Day In The Life (C.S./Hilliard) Bourne/MPL; Ace, (C.S./Becaud/Delanoe) MajorSongs/ Friedland, Ralph Goldman, Of A Fool 1992 [O] BMG Songs; Columbia, 2002 [B] Elliot Goshman, Bob Grace, FRANK SINATRA 3:01 (C.S./Bonfa/DeMoraes) 12 It’s All In The Game 20 (Where Do I Begin) Cheryl Hawkins, Jeff Jones, MajorSongs/Ann-Rachel/Meridian; MERLE HAGGARD 3:46 Love Story Iris Keitel, Gene Lees, Reprise, 1969 [L] (C.S./Dawes) MajorSongs; SHIRLEY BASSEY 5:32 MCA, 1983 [B] (C.S./Lai) MajorSongs/Famous; [A] Originally recorded [F] Licensed by Universal tesy of Bristol Produc- Nola Leone, Bill Levenson, 5 Sleepy Shores Liberty, 2000 [D] prior to 1972. All rights Special Markets. tions Limited Partnership. Mark Leviton, Dan Levy, RAY CONNIFF & THE 13 Crazy He Calls Me reserved by BMG Music. [G] Caprice Records c/o [M] Produced under Courtesy of the RCA Original Sound Entertain- license from Rhino Kent Liu, Frank Lopez, Rhonda SINGERS 2:36 LINDA RONSTADT 3:32 21 Enjoy Yourself Victor Group, under (C.S./Russell) MajorSongs/Harrison; ment, 7120 Sunset Blvd., Entertainment Co. (C.S./Pearson) EMI Music; (It’s Later Than You Think) license from BMG Los Angeles, CA 90046. Malamud, Cary Mansfield, Asylum, 1983 [J] Special Projects. [N] Originally recorded Columbia, 1972 [B] THE SPECIALS 3:34 Phone (323) 851-2500, David McLees, Bob Merlis, [B] ©Sony Music Enter- prior to 1972. All rights (C.S./Magidson) MPL/Warner- fax (323) 851-8162, reserved by BMG Music. 14 The Saddest Thing tainment Inc. Under www.KillerOldies.com. Dave Nives, Gregg Ogorzelec, 6 It’s All In The Game Chappell; 2-Tone, 1980 [D] license from Sony Music Courtesy of the RCA Label Of All [H] Produced under Group Nashville, under Marty Olinick, Freddie Patterson, THE FOUR TOPS 2:49 Entertainment Inc. license from Warner (C.S./Dawes) MajorSongs; Motown, FRANK SINATRA 3:28 license from BMG Special 22 Civilization [C] Under license from Uni- Bros. Records Inc. Projects. Gilles Petard, Sheryl Scott, 1970 [C] (C.S./LeGrand/Leroyer/Ruault) versal Music Enterprises. Warner/Chappell; Reprise, 1975 [L] (Bongo, Bongo, Bongo) [I] Produced under [O] Courtesy of Dave Nick Shaffran, Jenny Shapiro, ELAINE STRITCH 3:26 [D] Under license from license from Atlantic Travis. The Copyright in 7 Till (C.S./Hilliard) Bourne/MPL; DRG, EMI-Capitol Music Recording Corp. this Sound Recording is Jeff Sigman, Randy Sigman, Special Markets. TOM JONES 2:17 15 My Mood Is You 2002 [Q] [J] Produced under owned by Dave Travis for Terry Sigman, Phil Spector, (C.S./Buisson/Sananes) LENA HORNE 3:06 [E] Originally recorded license from Elektra the World. p.1992. Dave Warner/Chappell; Parrot, 1971 [C] MPL; Blue Note, 1994 [D] prior to 1972. All rights Entertainment Group. Travis. Laurie Soriano, Dave Travis, reserved by BMG Music. Courtesy of the RCA [K] By arrangement with [P] Courtesy of Concord Alan and Pat Warner, Music Group, under Phil Spector Records, Inc. Jazz, Inc. license from BMG Special [L] ©Bristol Productions [Q] Courtesy of DRG Steve Weatherby, Kevin Wong Projects. Limited Partnership. Cour- Records Incorporated.