Saturday, July 15, 2006

Justin Timberlake released “SexyBack”: July 15, 2006

Originally posted July 15, 2012.

image from bornrich.com

“Even back in N Sync’s heyday, you always got the feeling that Timberlake was just a little bit…well, funkier than those other boy band singers.” MX Naysayers couldn’t help but ask who is “this skinny, pasty, curly-haired, girly-singing, Walt Disney World teeny-bopper to talk about bringing sexy back? And BACK? Back from where?” LR Who would have guessed “he could be this downright nasty?” MX

Doubters were “forced to sign off…on Justin’s hot, hot hit” LR when he proved he “can do no wrong. Two great albums after leaving a boy band, television and movie appearances where he’s proven to be pretty damn funny and a collaborator with many, he’s almost untouchable.” PD Kanye West said at one point that “Justin Timberlake should be the #1 artist on the planet (right before stating that he himself is actually that guy, of course).” PD

Timberlake told Observer Music Monthly, “The chorus is very James Brown-ish…It’s a very physical song, meant to provoke sexual dance. ‘Sex Machine’ is the closest reference.” SF He has also said he sang the song in a rock style instead of an R&B style, as if David Bowie and David Byrne were covering James Brown’s “Sex Machine.” WK He’s also said the song’s vocals were influenced by Prince. WK He said the result “doesn’t qualify as rock or straight funk” WK but that he liked it being described as “club funk.” WK

SexyBack

Andrew Murfett of The Age says the song “introduced a new phrase into the pop cultural lexicon.” WK Billboard’s Katy Kroll said that one “can almost feel beads of sweat rolling off” WK the track and that when Timberlake “claims to be bringing sexy back to pop music…indeed he is.” WK Entertainment Weekly amusingly wrote, “We didn’t eve know that sexy was missing until 2006. We’re just happy Justin brought it back safe and sound.” WK

The instrumental backing is built on “a pounding bass beat, electronic chords, and beat box sounds.” WK Instead of his “famous falsetto,” WK Timberlake’s voice is distorted on the track and features backing vocals from Timbaland, who also produced the track. He’d previously worked on Timberlake’s “Cry Me a River” and also produced Nelly Furtado’s #1 hit “Promiscuous.” SF PopMatters.com’s Quentin B. Huff called “SexyBack” a ‘fraternal twin” with “Promiscuous.” WK

Timberlake had top five hits with “Cry Me a River” and “Rock Your Body” from his previous album, 2002’s Justified, and hit #1 on the Billboard Hot 100 with *NSYNC on “It’s Gonna Be Me” from 2000. This, however, was his first #1 as a solo artist. The song also won a Grammy for Best Dance Recording, a People’s Choice Award for Favorite R&B Song, and and MTV Video Music Award for Male Artist of the Year.


Awards:


Resources and Related Links:

Friday, July 14, 2006

July 14, 1956: My Fair Lady cast album hit #1

Originally posted March 7, 2011. Last updated September 4, 2018.

My Fair Lady (cast/soundtrack)

Alan Jay Lerner/ Frederick Loewe (composers)

Opened on Broadway: March 15, 1956

Cast Album Charted: April 28, 1956

Soundtrack Charted: October 10, 1964


Sales (in millions):
US: 8.0 c, 1.5 s
UK:
IFPI: --
World (estimated): 8.0 c, 1.5 s


Peak:
US: 115-C, 4 S
UK: 119-C, 9 S
Canada: --
Australia: --

Quotable: “The most perfect stage musical ever” – Colin Larkin, Virgin All-Time Top 1000 Albums


Genre: show tunes


Album Tracks:

  1. Overture: Orchestra/ Why Can’t the English?
  2. Wouldn’t It Be Loverly? *
  3. I’m an Ordinary Man
  4. With a Little Bit of Luck **
  5. Just You Wait
  6. The Rain in Spain
  7. I Could Have Danced All Night
  8. Ascot Gavotte
  9. On the Street Where You Live
  10. You Did It
  11. Show Me
  12. Get Me to the Church on Time
  13. A Hymn to Him
  14. Without You
  15. I’ve Grown Accustomed to Her Face

* 2 versions back-to-back on cast album
** appears only on soundtrack


Singles/Hit Songs:

On the Street Where You Live
- Vic Damone (1956) #4
- Eddie Fisher (1956) #18
- Lawrence Welk (1956) #96
- Andy Williams (1964) #28

I Could Have Danced All Night
- Sylvia Syms (1956) #20
- Rosemary Clooney (1956) #49
- Dinah Shore (1956) #93
- Ben E. King (1963) #72
- Biddu Orchestra (1976) #72

I’ve Grown Accustomed to Your Face
- Rosemary Clooney (1956) #70
- Gordon MacRae (1956) #96

With a Little Bit of Luck
- Percy Faith (1956) #82
- Jo Stafford (1956) #85

Get Me to the Church on Time
- Julius LaRosa (1956) #89

As was common in the pre-rock era, multiple versions of a single song from a Broadway show would become hits. All chart positions are from the U.S. Billboard pop charts.

Review:

My Fair Lady is “the crowning achievement” AZ for lyricist Alan Jay Lerner and composer Frederick Loewe. In fact, some consider it to be “the most perfect stage musical ever.” CL “It boasts a magnificent score…witty, intelligent, beautiful, and romantic.” NRR This is “a collection of performances that long ago became a ubiquitous and indispensable fixture of American musical theater.” AZ

Frederick Loewe and Alan Jay Lerner

After several productions in the 1940s, Lerner and Loewe first tasted major Broadway success with 1947’s Brigadoon. They next worked together on 1951’s Paint Your Wagon before adapting George Bernard Shaw’s Pygmalion into My Fair Lady. It was a story about “the mythic Greek figure who falls in love with his sculpture.” TM In My Fair Lady, the story focuses on “the relationship between an elocutionist” R-C and “pre-World War I London flower girl Eliza Doolittle, who aspires to a better accent and the social advantages that will come with it.” R-S

The show opened on Broadway on March 15, 1956. It ran for 2717 performances, closing on September 29, 1962. It had what was then the longest run in history for a major musical. W-M The production has been called “the perfect musical.” W-M

Julie Andrews was a “twenty-year-old revelation” ZS as “the fairest of all ladies,” ZS making the “loverly…score soar” ZS with her “glorious voice and emotional range.” ZS Rex Harrison is “effortlessly charming” ZS in his recreation of the stage role as “Professor Henry Higgins (he had also appeared in the film adaptation of…Pygmalion.” R-S He “enjoys every wink of his ironies: When he describes himself, in I’m an Ordinary Man, his exaggerated demeanor suggests his character is anything but ordinary. That Harrison caught this specific dynamic so early in what became a historic extended run is remarkable.” TM

“The show yielded an astounding number of songs that became standards, including the luminous I Could Have Danced All Night and I’ve Grown Accustomed to Her Face.” TM Among the other gems in this “embarrassment of riches,” AZ including The Rain in Spain, Wouldn’t It Be Loverly, Why Can’t the English?, and On the Street Where You Live.

As was common in the 1950s, the cast album “was recorded in one marathon fourteen-hour session on March 25, 1956.” TM “Producers tried to schedule the sessions as close to the opening of the musical as possible, thinking that the nuances of the work would be fresh in the performers’ minds.” TM This sometimes backfired, but here Harrison and Andrews “are beyond lively… and the supporting cast – which, as was often the case with Lerner and Loewe, got the meatiest songs – positively sparkles.” TM

“The recording established a new relationship between Broadway productions and record companies; the album’s critical success and popularity with the public were unrivaled at the time of its release.” NRR The cast album spent fifteen weeks atop the Billboard album chart, making it one of the biggest #1 albums in U.S. chart history. What’s incredible, however, is that those chart-topping weeks were spread out over four years time. Billboard magazine named it album of the year – in 1957 and 1958.

The album stuck around on the charts for a total of 480 weeks. Only Pink Floyd’s Dark Side of the Moon and Johnny Mathis’ Johnny’s Greatest Hits have logged more weeks.

For the film version, Harrison and Holloway were back, but since they were making their third recordings of the score, they didn’t have much to add…The result was an acceptable recording that did not surpass the Broadway or London cast albums.” R-S However, despite starring in the Broadway and London stage productions, Julie Andrews was deemed “not enough of a star to carry the movie. (Embarrassingly, by the time the movie opened, Mary Poppins had made her more than enough of a star to do so.) Instead, Audrey Hepburn stepped into the role.” R-S

Hepburn’s singing voice was dubbed by Marni Nixon, who “was an accomplished Hollywood voice ghost, having previously sung for Deborah Kerr in The King and I, Natalie Wood in West Side Story, and Rosalind Russell in Gypsy.” R-S She “was fine…lacked the flair that Andrews would have given it.” R-S

A “1965 Best Picture Oscar capped the show’s decade of prominence.” AZ


Review Sources/Related DMDB Links:
  • R-C All Music Guide review of cast album by William Ruhlmann
  • R-S All Music Guide review of soundtrack by William Ruhlmann
  • AZ Amazon.com review of the cast album by Jerry McCulley
  • CL Colin Larkin (1998). Virgin All-Time Top 1000 Albums. Virgin Books: London, England. Page 201.
  • TM Tom Moon (2008). 1,000 Recordings to Hear Before You Die. Workman Publishing Company, Inc.: New York, NY.
  • NRR National Recording Registry
  • ZS Zagat Survey (2003). Music Guide: 1,000 Top Albums of All Time. Coordinator: Pat Blashill. Music Editor: Holly George-Warren. Editors: Betsy Andrews and Randi Gollin. Zagat Survey, LLC: New York, NY. Page 170.

Awards:


Related DMDB Link(s):