Sunday, December 31, 2000

Kevin Gilbert: The Shaming of the True

First posted 3/11/2011; updated 12/25/2019.

The Shaming of the True

Kevin Gilbert


Buy Here:


Released: 2000


Recorded: 1984-1996


Charted: --


Peak: -- US, -- UK, -- CN, -- AU


Sales (in millions): -- US, -- UK, -- world (includes US and UK)


Genre: neo-progressive rock


Tracks:

Click on a song title for lyrics.

  1. Parade [3:44]
  2. City of the Sun [5:55]
  3. Suit Fugue (Dance of the A&R Men) [2:24]
  4. Imagemaker [3:38]
  5. Water Under the Bridge (Ferris/ Gilbert) [5:29]
  6. The Best Laid Plans [5:38]
  7. Certifiable #1 Smash (D’Virgilio/ Gilbert/ Parish) [7:20]
  8. Staring into Nothing [5:51]
  9. Fun (Baerwald/ Bottrell/ Gilbert/ MacLeod) [5:33]
  10. From Here to There [2:11]
  11. Ghetto of Beautiful Things (Bottrell/ Gilbert/ MacLeod) [4:53]
  12. A Long Day’s Life [7:28]
  13. The Way Back Home [4:55]
  14. Johnny’s Last Song [2:15]

Songs written by Kevin Gilbert unless noted otherwise.


Total Running Time: 67:27


The Players:

  • Kevin Gilbert (vocals/ bass/ keyboards/ piano/ percussion/drum programming)
  • Nick D’Virgilio (drums/ bass/ guitar/ keyboards/ backing vocals)
  • Brian MacLeod (drums)
  • Robert Ferris, Jennifer Gross, Skyler Jett, Claytoven, Sandy Sawyer, Jon Rubin, Tommy Dunbar (backing vocals)
  • Tommy Dunbar, Russ Parish, David Levita, Bill Bottrell (guitar)
  • The Le Petomane Ensemble (horns)

Rating:

4.551 out of 5.0 (average of 7 ratings)


Quotable: ”An epic, sweeping, complete work…from one of the brightest lights to emerge in the last 15 years” – Matthew Greenwald, All Music Guide


Awards:

About the Album:

At the time of his death, Kevin was working on “a life-long dream – to record a rock opera” MO-PA “in the style of Tommy by The Who, an album gave him so much enjoyment in his childhood.” KF Even though such animals were “resolutely out…Gilbert clearly didn’t care. He was intent on venting his rage and self-loathing in a carefully circumscribed series of closely connected first-person vignettes.” JS00

“You know the story; it’s been on VH1’s Behind the Music a million times. A star (insert name here) comes out of nowhere and becomes the biggest thing since sliced bread. Everyone lies to him from managers, to agents, to promoters. The people can’t get enough, and the record company continues to push the artist to the limit. Finally, the artist has had enough and takes a break, but with that, the fans move on to the next pre-made star and the industry chews you up and spits you out.” EP

That’s the premise for Gilbert’s “concept/semi-autobiographical project” MO-PA which details “the rise and collapse” IO of Johnny Virgil, “a boy from the sticks who goes to the big city to become a rock star.” RSI “In Johny Virgil, Kevin Gilbert created the perfect vehicle to voice his own frustrations, naiveté, hopes, and lessons learned.” UB He “travels through the music industry sausage grinder” MG and “battles the demons of stardom” MO-PA because “he desperately wants fame” EP and “the quick buck.” IO He “compromises his artistic vision to produce what the record companies and fans want.” EP He “is stripped of his integrity, his passion, his art, and his soul, and so naturally rises to unparalleled heights on the charts” UB before his “rock-star dreams crash on the shoals of A&R men, hangers-on, drugs and the whole Hollywood scene.” JS00 He “finally comes to peace with his life at the end.” MO-PA

Unfortunately, Gilbert died before finishing the album. He left a “brief handwritten note describing the current running order of the songs at the time” SM-S and a “massive collection of tapes with songs in progress, some dating back to the 80’s,” SM-S ”scattered in studio draws and bins with quality ranging from full 24 track masters to cassette tapes.” IO “The story of how this fresh sounding album was, in some cases, literally rescued from the trash can would…make a book in itself.” IO

KG had “worked closely with Nick D’Virgilio on the project.” MO-KG Nick was a “long-time friend” SM-S and the drummer with prog-rock act Spock’s Beard. “At the beginning of their carreer, [Gilbert] was almost considered the sixth member of the band. [He was] a great friend, influence, and producer of their first two albums. The track ‘The Great Nothing’ on their…album V is said to have been inspired by Kevin’s story.” IO

Nick and others catalogued everything for Gilbert’s estate. Blair Lamb and John Cuniberti came in soon after to start work on the opera. D’Virgilio said that then “It was me and John C. going full bore…We re-recorded and mixed at the same time. It just depended on the song and how much it needed.’” SM-S Jon Rubin, KG’s “friend, ex-manager and executor of his estate” JS00 was also instrumental.

The “magnum opus” JS00 was completed in late 1999 and released in 2000 by KG’s estate and througwww.kevingilbert.com. MO-PA To no one’s surprise, it followed in the steps of its predecessor and paired great reviews with poor sales. However, it “won a Grammy for its elaborate packaging (the first issue of 1400 was in a beautiful 40 page hard-bound book).” MO-PA

As for the music, it “isn’t progressive rock per se,” CW but “several tracks feature plenty of meaty instrumental interplay, much that could be called progressive.” CW “There are guitar riffs and solos here that most guitarists can only dream of coming up with.” CW “The album goes a lot of places…pulsing grooves on some tracks bring Pink Floyd to mind, while multi-part harmonies on other tracks would make Freddy Mercury grin.” CW This is “anti-pop [with] grandly produced tracks and polished vocals that recall the prog-rock pop magnificence of…Genesis or Yes.” JS00 “Loaded with both pathos and humor as well as some rock-solid performances,” MG “this tortured masterpiece takes its place alongside other depictions of the cruelty of Hollywood such as Nathanael West’s The Day of the Locust or Billy Wilder’s Sunset Boulevard.”JS00

Parade

In the opening song, “Johnny Virgil’s desires are laid out.” EP “Johnny Virgil, perhaps sitting in his bedroom, [is] strumming his acoustic guitar singing a song full of hope and ambition.” IO “After a wash of orchestral keys that fade away, we just get Johnny and his acoustic guitar, a very self assured young man who knows he’s gonna be a star. The concept’s main musical theme is already present in this song.” KF

City of the Sun

“To reach his goal Johnny has to move to The City of the Sun (L.A.?). Here he moves through the regular ‘wanna be rock-star’ circles of dumps, sidewalks, bars to get acknowledgment.” KF There is “an excellent dialogue about meeting a would-be rock star gas station attendant.” EP This “is one of the proggy numbers, moving through a chain of musical ideas, some gently acoustic, others reminding one of King’s X before falling into the kind of sound that Yes might have come up with in their 80s incarnations.” CW

Suit Fugue (Dance of the A&R Men)

The third song “is a hilarious parody on how all these record executives are so phony.” EP This “Gentle Giantish track” CW appeared earlier on a tribute album for them. It “is nothing short of a masterpiece.” CW “The execution of the vocals is amazing,” EP showcasing “enormous talent in the studio, overlapping vocal after vocal to create the (mainly) acapella conglomeration of messages left by PR men, agents, and other musical lowlifes on Johnny’s answering machine.” SM-S “Johnny gets the advice to drop the band (they are in the way) and adopt an IMAGE: ‘No we need a sharper hook – like a scandal. Maybe you can rape a nun, or better still a priest.’” KF

Imagemaker

In this song, Johnny “gets a makeover. The song is a punchy guitar driven track” KF with “Pink Floydish moments,” CW or, as Bryan Beller, the bassist of the live performance of TSOTT at Progfest ’02, says, “‘a Peter Gabriel type of tune because a) he inflected his own vocal with that kind of delivery; b) he used a gated delay effect on the vocal that emulated the production perfectly.” BB-JM It is “the first of three songs from Giraffe, Gilbert’s band from the late 80’s,” SM-S recorded here as “more rocky and less percussive (mechanical) than the original.” KF

Water Under the Bridge

Now “we see Johnny making his first compromises. He [asks] ‘What’s a drop of water in an ocean of compromise?’” KF “The song is one of the highlights, a beautiful ballad that brings out the best in Kevin’s voice” KF and “has an ear catching melody.” EP It “captures the type of pseudo progressive sound that allowed Pink Floyd to cross into the mainstream and make a killing.” CW It also “features some excellent drumming by D’Virgilio. Tommy Dunbar contributes a Beatlesque guitar solo to the song, giving it just the right touch.” SM-S

Best Laid Plans

Here “we get a glimpse in the kitchen of the corporate music business. Here careers are made and broken and you can sell your soul for thirty silver pieces.” KF This is “one of the best tracks on the record” EP – “another up-tempo rock song in Who style” KF with “a dose of note perfect Quadrophenia.” UB It could also be a “supercharged Billy Joel” CW or “early ‘70s Elton John.” SM-S Beller concurs that the song “‘sounds like it could be right off of a mid-‘70s Elton John record. Well, that’s because he got the exactly correct piano and electric guitar sounds.” BB-JM It “features a pounding groove that’ll make auto drivers press the pedal to the metal.” CW It ‘has ‘hit’ written all over it.” SM-S

Certifiable #1 Smash

It all pays off for Johnny when he lands the big hit – his certifiable #1 smash. The song is “a wicked look at the way stars will do anything to sell a record and get attention.” EP “Gilbert’s anger and discontent with the music business…is in full bloom here.” SM-S In particular, “the video idea section is quite hilarious,” KF “told from the narrative of a video director selling Johnny Virgil on his ideas.” EP With an obvious “poke at the video ‘Like a Prayer,’” EP “it appears Madonna is the target of Gilbert’s diatribe.” EP

Musically, “Smash” is “another guitar driven punchy track in the prog meets MTV era guitar rock mould.” KF In addition to the “insanely great guitar work, [there is] “a wonderfully nasty funk section the likes of which hasn’t been heard since Sly and the Family Stone’s ‘I Want to Take You Higher’ at Woodstock.” CW “It’s quite spooky with cool use of Mellotron” KF and, “once again, D’Virgilio’s drumming is spectacular.” SM-S Also of note – “since Gilbert died before he was able to lay down a vocal track for the song, his vocals…were lifted from an earlier performance at the Troubadour…You can still hear the crowd in places, but in the end, it just adds more character to the song.” SM-S

Staring into Nothing

This “brings us to the place where Virgil is now successful but is feeling totally empty.” EP “This sudden fame and continuous touring wears our hero out” KF “Success has not brought him happiness, and fame has made him miserable. He is just going through the motions, not caring about what is going on around him.” EP “It’s at this point in the story where we find that Johnny’s quitting the music business, due to exhaustion;” SM-S Virgil “is staring into the bright lights and feels lonely and empty.” KF

The song was “originally recorded with [KG’s] pre-Giraffe band, NRG. Parts…sound like your typical 80’s fare, but Kevin turns in a great, flanged bass line on the song.” SM-S It also “harkens back to the hypnotic sounds of early Genesis” UB and “there’s an obvious Yes influence permeating throughout the song, due in part to the use of the acoustic guitar and mellotron.” SM-S

Fun

At this point, “Johnny has a lot of time on his hand and a lot of dispensable cash. He dives heavily into the good life of coke, sex and other earthly pleasures. All he wants to do is have some fun. In passing, we get introduced to several celebrities Johnny meets on his partying, like Arsenio and Sheryl,” KF “all fictional, according to D’Virgilio.” SM-S It “is probably the darkest song on the album,” KF with “a groovy bass driven tune that’s very funky” KF and “an ultra cool arrangement, making it one of the best tracks on the CD.” SM-S

From Here to There

Then “Johnny has a moment of clarity, realizes what he has become.” UB He knows “that his lifestyle will lead to his destruction and he needs a way back home.” KF He is “in an emotional state where he feels like a robot” KF so he “withdraws from the machine that made him a star.” UB It is “a genuinely unsettling ballad” UB as “things get a bit eerie at the end of the song as you hear someone quietly say, ‘my mind is quiet and still.’” SM-S This “is Gilbert at his emotive best as he builds walls of lush orchestral sound that seem to come crumbling down around him, all set to a rhythm track of eerie footsteps.” UB “This is another Giraffe tune from the second album and fits in perfect with the concept.” KF The song also “is a sort of prelude to ‘The Way Back Home.’” SM-S

Ghetto of Beautiful Things

“The pure anger…gets its point across.” EP It “is an aggressive manic track that [is a] preview of…the Kaviar project,” KF which Kevin was also working on when he died.

A Long Day’s Life

Here we get a glimpse of Johnny as “a vulnerable character” KF “in a much more reflective state of mind, detailing recent dreams he’s had.” SM-S He “takes a look back at his life so far and finds that at the end of a long day’s life he is lost and all alone.” KF It is “the longest song on the album” CW and “one of the most complex songs on the album.” SM-S It “is another proggy number that moves from great pop melodies into Pink Floydish territory.” CW and “will be a treat for any fans of Genesis’ Duke album.” UB “It starts…behind the piano and leads us through the track with tortured vocals” KF and “builds to a climax with some great guitar work.” KF It is “one of the…most beautiful” SM-S and “best-penned songs” KF “Gilbert has ever written.” SM-S

The Way Back Home

“You can tell the end is near.” SM-S “The story shows us Johnny, who sad and disillusioned, crosses the path of a man who claims to be ‘Jesus’; he finally shows Johnny ‘The way back home’: it’s love.” KF This, “the final tune…from Kevin’s back-catalogue…is quite different from the original” KF Giraffe tune. “It’s a percussive track reminding [one] of Peter Gabriel’s later work” KF or “Tears For Fears alterna-pop.” UB”According to Cuniberti, the only things they had to work with on this track were ‘drums, piano and a guide vocal’…Knowing the importance of the song in the opera, D’Virgilio took it upon himself to finish the track. David Levita was called in to lay down the guitar solo at the end of the song, and did a superb job.” SM-S

Johnny’s Last Song

This wraps up the tale. As John Cuniberti says, “Kevin wanted this last song to sound as down and out as Johnny Virgil must have felt” JC-KG so he “recorded it outside the studio…onto a portable cassette player” JC-KG “with an old, beat up guitar; effectively capturing Johnny’s desperation at this point in his career.” SM-S “Old and wise, he gives his advice to young wanna-be-musicians: Believe in what you’re doing, remember who you are. And who knows where you’ll go.” KF “The wash of orchestral keys returns before it’s drowned by” KF “the sound of falling rain and train whistles in the distance [that make] the song that much more poignant.” SM-S As Cuniberti says, “Kevin recorded the wonderful rain track himself. The faraway train whistle…was another stroke of brilliance on Kevin’s part.” JC-KG

“When you consider the brilliance of Shaming as a whole, it makes you appreciate the insight that D’Virgilio and Cuniberti had into the mind of Gilbert. But first and foremost, it shows Kevin’s potential in no uncertain terms” SM-S – it is “a flawless work of musical art.” CW “This is one of those rare albums that grabs you the first time you hear it, and then keeps getting better with each listen.” SM-S “Stellar musicianship. Passionate vocals. First class compositions. Top-notch production. This album has absolutely everything.” CW Former bandmate Chris Beveridge says, “Kevin went through some intense personal and professional struggles after he moved to LA, and it sounds like he was able to capture the essence of his experiences and lessons in music and lyric.” CB-KG “While he may be describing his personal nightmare, Gilbert never falters in his assurance, his belief in his own talent, and The Shaming of the True is his testament,”JS00 his “reigning masterpiece.” SM-S It is “a bittersweet farewell from one of the brightest lights to emerge in the last 15 years.” MG


Notes:

Some of these songs appeared in other forms on earlier Gilbert projects, including the groups NRG (“Staring into Nothing” - 1984), Giraffe (“Imagemaker” – 1987, “From Here to There” – 1988, “The Way Back Home” – 1988), Toy Matinee (“Best Laid Plans” – 1992), and Kaviar (“Ghetto of Beautiful Things” – 1996).

There are two other songs that may have been part of the rock opera but were pulled at the last minute by Kevin. They are The Best of Everything and Miss Broadway.” JC-KG The former wouldn’t officially surface until 2009, when the Nuts and Bolts collections were released. The latter showed up on the 1999 Live at the Troubadour release, recorded in 1995.

Review Sources:


Related DMDB Link(s):

Saturday, December 16, 2000

Patti Page hit #1 for first of 13 weeks with “Tennessee Waltz” fifty years ago today (12/16/1950)

First posted 11/18/2011; updated 1/22/2020.

Tennessee Waltz

Patti Page

Writer(s):Pee Wee King/ Redd Stewart (see lyrics here)


First Charted: November 18, 1950


Peak: 113 US, 16 HP, 16 CB, 2 CW, 19 UK, 13 AU (Click for codes to singles charts.)


Sales (in millions): 6.0 US, -- UK, 10.0 world (includes US + UK)


Airplay/Streaming (in millions): 3.0 radio, -- video, -- streaming

Awards:

Review:

Pee Wee King and Redd Stewart played in a band called the Golden West Cowboys. Stewart was a singer and fiddler while King, who was born Julius Frank Kuczynski, brought accordion and brass into his music, which helped shape the merger of country and jazz in what has been called Western swing. While riding in Stewart’s truck one day in 1947, the pair scribbled out “Tennessee Waltz”, LW-91 modeling it after “Kentucky Waltz” by Bill Monroe.

In 1948, King’s recording of the song hit #3 on the country charts. Cowboy Copas’ recording hit the same peak and a version by Roy Acuff went to #12. However, when Patti Page, the best-selling female singer of the ‘50s, JA-190 put her stamp on the song, it marked the moment when country went mainstream. LW-91 With 13 weeks at #1 on the pop charts and sales of six million, it was the biggest hit of 1950 and one of the ten best sellers of the first half of the century. PM

At the end of World War II, the “Swing Era” of big-band-oriented music had given way to the “Sing Era”, which was more dominated by individual vocalists. However, record companies didn’t generally entrust the singers to find their own material. They enlisted A&R men for the task. It was Jerry Wexler, the man who later produced Aretha Franklin, who saw the song’s potential. Page was a dance band singer with a voice reminiscent of Ella Fitzgerald. LW-91 Page’s recording was significant for the use of multi-tracking. Even though audiotape wasn’t used yet in recording, Page sang four-part harmony with herself. SA

The song’s success encouraged other performers to turn to country for cover material as well. In addition, the song inspired more state waltzes. JA-190 King and Stewart’s composition became the official Tennessee state song in 1965. LW-91


Resources and Related Links:

  • Patti Page’s DMDB Encyclopedia entry
  • JA David A. Jasen. (2002). A Century of American Popular Music: 2000 Best-Loved and Remembered Songs (1899-1999). Routledge: Taylor & Francis, Inc. Page 190.
  • LW Alan Lewens (2001). Popular Song – Soundtrack of the Century. Billboard Books: New York, NY. Page 91.
  • SA David Sadowski (1999). Haven’t Named It Yet: A Rock ‘N’ Roll Prehistory, 1926-55.
  • TY Don Tyler (1985). Hit Parade 1920-1955. New York, NY: Quill. Pages 136 and 148-9.
  • PM Joel Whitburn (1986). Pop Memories 1890-1954. Menomonee Falls, WI; Record Research, Inc. Page 631.

Tuesday, December 5, 2000

O Brother, Where Art Thou? soundtrack released

First posted 3/30/2008; updated 9/27/2020.

O Brother, Where Art Thou? soundtrack

Various Artists


Released: December 5, 2000


Peak: 12 US, 135 CW, 20 UK, 3 CN, 15 AU


Sales (in millions): 8.18 US, 0.3 UK, 10.3 world (includes US and UK)


Genre: country/folk/Americana


Tracks:

Song Title (ACT) (date of single release, chart peaks) Click for codes to singles charts.

  1. Po’ Lazarus (JAMES CARTER)
  2. Big Rock Candy Mountain (HARRY McCLINTOCK)
  3. You Are My Sunshine (NORMAN BLAKE)
  4. Down to the River to Pray (ALISON KRAUSS)
  5. Man of Constant Sorrow (SOGGY BOTTOM BOYS/ DAN TYMINKSI) (3/17/01, 35 CW)
  6. Hard Time Killing Floor Blues (CHRIS THOMAS KING)
  7. Man of Constant Sorrow [instrumental] (NORMAN BLAKE)
  8. Keep on the Sunny Side (THE WHITES)
  9. I’ll Fly Away (ALISON KRAUSS/ GILLIAN WELCH)
  10. Didn’t Leave Nobody But the Baby (EMMYLOU HARRIS/ ALISON KRAUSS/ GILLIAN WELCH)
  11. In the Highways (LEAH, SARAH & HANNAH PEASALL)
  12. I Am Weary, Let Me Rest (COX FAMILY)
  13. Man of Constant Sorrow [instrumental] (JOHN HARTFORD)
  14. O Death (RALPH STANLEY)
  15. In the Jailhouse Now (SOGGY BOTTOM BOYS/ TIM NELSON)
  16. Man of Constant Sorrow [alternate take] (SOGGY BOTTOM BOYS/ DAN TYMINKSI)
  17. Indian War Whoop [instrumental] (JOHN HARTFORD)
  18. Lonesome Valley (FAIRFIELD FOUR)
  19. Angel Band (STANLEY BROTHERS)


Total Running Time: 61:24

Rating:

4.304 out of 5.00 (average of 10 ratings)


Quotable: “A powerful tribute not only to the time-honored but commercially ignored genres of bluegrass and mountain music.” – Evan Cater, All Music Guide


Awards:

About the Album:

“The critical consensus at the end of 2000 was that it had been one of the weakest film years in recent memory.” AMG However, “O Brother, Where Art Thou?, the Coen brothers’ delightfully warm and weird Depression-era re-telling of Homer’s Odyssey,” AMG was one of the bright spots – if not for the movie, then definitely for the soundtrack. “The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song.” AZ “People left theaters humming the prominently featured songs, rerecordings of hymns, and old-time laments that helped the Coens evoke the ethics and beliefs of a simpler time.” TM

“In order to capture the sound of Mississippi circa 1932, the Coens commissioned T-Bone Burnett, a masterful producer whose work with artists like Elvis Costello, Sam Phillips, Joseph Arthur, and Counting Crows has earned him a special place in the folk-rock hall of fame.” AMG He tapped “an impressive assembly of old-time country veterans (Fairfield Four, Ralph Stanley, the Whites) and talented newcomers (Gillian Welch, Alison Krauss, Emmylou Harris)” AMG to “re-create the country, bluegrass, folk, gospel, and blues of the era.” AMG

“There are no original compositions here (though Burnett is given a ‘music by’ credit usually reserved for composers), and the characters do not generally break into stylized song and dance numbers.” AMG However, “nearly every scene in O Brother is set to a period song, and the music frequently drives and defines the action.” AMG For example, “a significant segment of the plot hinges on the (utterly plausible) notion that Dan Tyminksi’s ebullient rendition of I Am a Man of Constant Sorrow could be a runaway hit.” AMG

In another example, “a memorable sequence involving three riverside sirens centers around an eerie version of Didn’t Leave Nobody But the Baby.” AMG As “the album’s spiritual centerpiece” AZ this “gospel lullaby” AZ finds Krauss, Welch, and Harris sounding “like a chorus of Appalachian angels.” AZ

The material is featured “in arrangements that are either a cappella or feature bare-bones accompaniment.” AZ “Nothing mucks up these homespun tunes” TM “which were made without the meddling clarity of digital technology” AMG but instead in a style “reminiscent of the single-microphone, wax-cylinder recordings of the 1930s.” TM They “give the film much of its power and authenticity.” AMG Every song was recorded for the film with the exception of “a stunning 1955 Alan Lomax recording of a black prison chain gang singing Po Lazarus, and Harry McClintock’s Big Rock Candy Mountain.” AMG

“Highlights range from the aching purity of Krauss’ Down to the River to Pray to the plainspoken faith of the Whites’ Keep on the Sunny Side to Stanley's chillingly plaintive O Death.” AZ a cappella performance on the latter “sets a chilling tone for a climactic struggle at a Ku Klux Klan rally.” AMG

“Throughout, Burnett’s steady guiding hand is evident.” AMG The soundtrack is “chock-full of ol’-timey fun” ZS as “a great throwback to pickin’, grinnin’, fiddling, and knee-slappin’” ZS music, all a testament to “Burnett’s remarkable skills as a producer.” AMG It serves as “a powerful tribute not only to the time-honored but commercially ignored genres of bluegrass and mountain music.” AMG “Within a year the soundtrack had sold over five million copies, renewed interest in classic bluegrass and traditional American music, and spawned an extensive concert tour and a slew of subsequent releases. For a while, any performer with a speck of bluegrass in the back catalog was opportunistically riding the O Brother bandwagon.” TM


Notes: An August 2011 reissue added 14 tracks not on the original soundtrack, including a dozen unreleased cuts from the O Brother sessions. WK

Resources and Related Links:

Friday, November 24, 2000

November 24, 1950: Guys and Dolls opened on Broadway

Originally posted August 11, 2008. Last updated September 4, 2018.

Guys and Dolls (cast/soundtrack)

Frank Loesser (composers)

Opened on Broadway: November 24, 1950

Cast Album Recorded: December 3, 1950

Cast Album Released: January 8, 1951

Soundtrack Released: November 3, 1955


Sales (in millions):
US: --
UK: --
IFPI: --
World (estimated): --


Peak:
US: 1 1-C
UK: --
Canada: --
Australia: --

C cast album
S soundtrack

Quotable: --


Genre: show tunes


Album Tracks – Cast Album:

  1. Runyonland Music/ Fugue for Tinhorns/ Follow the Fold
  2. The Oldest Established
  3. I’ll Know
  4. A Bushel and a Peck
  5. Adelaide’s Lament
  6. Guys and Dolls
  7. If I Were a Bell
  8. My Time of Day
  9. I’ve Never Been in Love Before
  10. Take Back Your Mink
  11. More I Cannot Wish You
  12. Luck Be a Lady
  13. Sue Me
  14. Sit Down, You’re Rockin’ the Boat
  15. Reprise: Guys and Dolls

Album Tracks – Cast Album:

  1. Overture (JACK BLACKTON)
  2. Fugue for Tinhorns (STUBBY KAYE / FRANK SINATRA)
  3. Follow the Fold (JEAN SIMMONS)
  4. The Oldest Established Floating Crap Game in New York (STUBBY KAYE / JOHNNY SILVER / FRANK SINATRA)
  5. I’ll Know (MARLON BRANDO / JEAN SIMMONS)
  6. Pet Me Poppa (VIVIAN BLAINE)
  7. Adelaide’s Lament (VIVIAN BLAINE)
  8. Guys and Dolls (STUBBY KAYE / JOHNNY SILVER / FRANK SINATRA)
  9. Adelaide (FRANK SINATRA)
  10. If I Were a Bell (MARLON BRANDO / JEAN SIMMONS)
  11. A Woman in Love (MARLON BRANDO / JEAN SIMMONS)
  12. Take Back Your Mink (VIVIAN BLAINE)
  13. Luck Be a Lady (MARLON BRANDO)
  14. Sue Me (VIVIAN BLAINE / FRANK SINATRA)
  15. Sit Down You’re Rockin’ the Boat (STUBBY KAYE)
  16. Guys and Dolls Finale (JACK BLACKTON)

Singles/Hit Songs *:

A Bushel and a Peck
- Perry Como/Betty Hutton (1950) #3
- Margaret Whiting/Jimmy Wakely (1950) #6
- Doris Day (1950) #16
- Andrews Sisters (1950) #22
- Johnny Desmond (1950) #29

If I Were a Bell
- Frankie Laine (1950) #30

Luck Be a Lady
- Frank Sinatra (1965) --

* In the pre-rock era, it was common for multiple versions of Broadway songs to chart instead of the originals from the show itself. By 1964, musicals didn’t dominate the charts, but it was still more likely for a cover of a Broadway tune to chart than for the original.

Review:

Guys and Dolls, based on the stories of Damon Runyon about New York gamblers, became a stunning success upon its Broadway opening in 1950. While Abe Burrows’ libretto was much praised, the show's main asset is Frank Loesser’s songs, which are unfailingly tuneful and which accurately represent the vernacular of Runyon’s characters, from Fugue for Tinhorns, a trio song full of horse racing slang, to Sit Down You’re Rockin’ the Boat, a revival meeting pastiche in which a gambler claims to have found salvation. Luck Be a Lady, a gambler’s ode to good fortune, became a standard.” WR

“Winning as these are, love songs such as I’ll Know and I’ve Never Been in Love Before are equally affecting. And that isn’t even to mention the songs that became contemporary hits, If I Were a Bell and A Bushel and a Peck.” WR

The show premiered on Broadway on November 24, 1950 and ran for 1200 performances. It won the Tony Award for Best Musical. It was selected as the winner of the 1951 Pulitzer Prize, but got vetoed because Abe Burrows had problems with the House Un-American Activities Committee. WK-C WR

The 1955 film adaptation starred Blaine along with Marlon Brando, Frank Sinatra, and Jean Simmons. Five songs from the stage musical were omitted from the movie and Loesser wrote three new songs for the film: Pet Me Poppa, Your Eyes Are the Eyes of a Woman in Love, and Adelaide. The last was written specifically with Sinatra in mind. WK-S


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Awards:


Tuesday, November 21, 2000

Eminem charts with “Stan”

Last updated 3/22/2020.

Stan

Eminem with Dido

Writer(s): Eminem, Dido, Paul Herman (see lyrics here)


Released: November 21, 2000


First Charted: October 7, 2000


Peak: 51 US, 31 RR, 36 RB, 11 UK, 27 CN, 11 AU (Click for codes to singles charts.)


Sales (in millions): 2.0 US, 1.47 UK, 5.0 world (includes US + UK)


Airplay/Streaming (in millions): -- radio, 412.4 video, -- streaming

Awards:

About the Song:

“There are few songs as blindly fascinating and striking as this” SY “compelling look at the pitfalls of fame, and the the danger of becoming obsessed with our heroes.” PD “Rapper Eminem cemented his artistic standing” AB’00 with this “fictional…but frighteningly real” PD story of a deranged fan who sends “a series of unhinged letters.” RS’09

This “creepy hit… encapsulated the dramatic flair that made Eminem so impossible to ignore in 2000.” RS’09 “Even now…[it is] funnier and more shocking than 99 percent of mainstream hip-hop.” MX It is a “raw, beautiful…tragedy without melodrama.” SY It was “instantly fascinating…on first listen [in] how it could take such a cute, pedestrian verse to symbolize an obsessive fan’s descent into madness and self-destruction [and] how Eminem’s rap could sound so realistic, like he’s a friend telling you this story.” SY

Malcolm McLaren’s 1984 song “Fans” appears to be the basis of “Stan” in both its structure and story, complete with an opera aria excerpt instead of the samples pulled from Dido’s song “Thank You,” a song which then became a hit in its own right. SF Em also references his own work when Stan says, “I drank a fifth of vodka, dare me to drive?,” a line from “My Name Is.” Stan also references an untrue rumor that Phil Collins’ “In the Air Tonight” was written by Collins when he witnessed a man stand by and do nothing while someone drowned. The legend says Collins invited the man to one of his concerts and sang it to him. SF

Eminem had to deal with charges of being anti-gay because in one of Stan’s letters, he writes about wanting to be with Eminem, who replies that it makes him not want to meet Stan. In response, Eminem enlisted the openly gay Elton John to play piano and sing Dido’s part at the 2001 Grammys. SF


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