Showing posts with label 1951. Show all posts
Showing posts with label 1951. Show all posts

Thursday, October 4, 2001

50 years ago: American in Paris soundtrack released

An American in Paris

George & Ira Gershwin (composers)


Composed: 1928


Soundtrack Released: October 4, 1951


Peak: 116 US


Sales (in millions): 0.5 US


Genre: classical


Tracks:

  1. Overture
  2. Embraceable You
  3. By Strauss
  4. I Got Rhythm
  5. Tra-La-La
  6. Love is Here to Stay
  7. I'll Build a Stairway to Paradise
  8. Concerto in F, Third Movement
  9. Tra-La-La/ Love Is Here to Stay
  10. 'S Wonderful
  11. “Something to Tell You…”
  12. An American in Paris (Ballet)
  13. Finale


Singles/Hit Songs:

These were covers of songs from this musical which became hits:

  • “I’ll Build a Stairway to Paradise” – Carl Fenton (#12, 1922)
  • “I’ll Build a Stairway to Paradise” – Paul Whiteman (#1, 1923)
  • “I’ll Build a Stairway to Paradise” – Ben Selvin (#8, 1923)
  • “’S Wonderful” – Frank Crumit (#5, 1928)
  • “’S Wonderful” – Ipana Troubadors (#12, 1928)
  • “Embraceable You” – Red Nichols (#2, 1929)
  • ”Embraceable You” – Jimmy Dorsey (#23, 1941)
  • ”An American in Paris” – Victor Symphony Orchestra featuring George Gershwin (#7, 1929)
  • ”An American in Paris (excerpt entitled ‘Blues’)” – Ralph Flanagan (#15, 1951)
  • ”Concerto in F, Parts 1 & 2” – Paul Whiteman (#10, 1929)
  • ”I Got Rhythm” – Red Nichols (#5, 1931)
  • ”I Got Rhythm” – Ethel Waters (#17, 1931)
  • ”I Got Rhythm” – Louis Armstrong (#17, 1932)
  • ”Love Is Here to Stay” – Larry Clinton (#15, 1938)
  • ”Love Is Here to Stay” – Red Norvo (#16, 1938)

Rating:

4.334 out of 5.00 (average of 9 ratings)


Awards: (Click on award to learn more).

About the Album:

The 1951 MGM musical An American in Paris was “inspired by the 1928 classical composition by George Gershwin. Starring Gene Kelly, Leslie Caron, and Oscar Levant, the film is set in Paris, and was directed by Vincente Minnelli from a script by Alan Jay Lerner.” WK The film “won a well-deserved eight Academy Awards, including Best Score.” RM

“The plot is interspersed with showstopping dance numbers choreographed by Gene Kelly and set to popular Gershwin tunes.” WK “The climax is an 18 minute ballet featuring Kelly and Caron and set to Gershwin’s An American in Paris. The ballet alone cost more than half a million dollars, a staggering sum in those days.” WK

“In its original form, the soundtrack album…ran 25 minutes on a 10" LP (also released on 78s and 45s).” WR That collection included “Kelly and/or co-star Georges Guetary warbling their way through the Gershwin favorites S’Wonderful, Love Is Here to Stay, I’ll Build a Stairway to Paradise, and I Got Rhythm.” WR

“Later reissues by CBS/Sony and Rhino vastly expanded that running time with outtakes and other bonus tracks.” WR Notably, “after 50 years, the soundtrack went out of copyright in Europe, enabling Britain’s Prism Leisure label, which specializes in unlicensed reissues, to come up with its own version,” WR which followed the original track listing “plus a 13-minute abridgement” WR of the aforementioned climatic ballet that closes the film. Also added were “42 minutes of bonus tracks not actually related to An American in Paris…[making it] more of a compilation of Gershwin movie music from the 1930s to the 1950s than a simple soundtrack recording.” BE

However, it is the two-CD Turner/Rhino set that “represents the ultimate musical resource for the MGM film.” BE “In the early ‘90s, Turner Entertainment undertook a major restoration of the movie and, in doing so, in addition to original film elements, unearthed a treasure trove of original audio masters and studio session recordings, including alternate takes, unused songs, and rehearsals. Some of these (which included many tracks by Georges Guetary) turned up on the 1992 vintage laser disc box, and now they’re here, remastered yet again, along with elements of the film’s underscore, which contained dozens of George Gershwin tunes that were never actually ‘featured’ in the movie.” BE

“The result is a two-hour celebration of Gershwin’s music that may hold up better than any of the other MGM songbook musicals of this period, thoroughly annotated for the serious listener and pleasingly, entertainingly packaged for the casual purchaser, for whom the only drawback may be the relatively steep price of the double-disc set.” BE

All the bonus material makes it the only “issue of the original soundtrack…that contains all of Gershwin's work on An American in Paris. According to Rhino Records, previous soundtrack albums have included abbreviated versions of songs, some of which were ruined by sound effects and dialogue overriding the music.” RM


Notes: There are multiple versions of this soundtrack available. You can see many at Soundtrack Collector.

The track listing here is based on 1990 CBS Special Products release. Only charted versions of songs from that collection have been listed above.

However, it is the 2-CD, 47-track Rhino reissue that is the cream of the crop. For its full track listing, check out All Music Guide. That collection included many more well-known Gershwin tunes that had charted versions, including Someone to Watch Over Me, I’ve Got a Crush on You, Nice Work if You Can Get It, How Long Has This Been Going On?, But Not for Me, Biding My Time, Love Walked In, and Do, Do, Do.

Resources and Related Links:


Last updated 4/17/2022.

Saturday, June 2, 2001

Today in Music (1951): “Too Young” topped Your Hit Parade for the first of 12 weeks

Too Young

Nat “King” Cole with Les Baxter’s Orchestra

Writer(s): Sid Lippman (music), Sylvia Dee (words) (see lyrics here)


First Charted: April 14, 1951


Peak: 15 BB, 15 BS, 14 DJ, 14 JB, 112 HP, 17 CB, 112 UK, 19 AU (Click for codes to charts.)


Sales (in millions): 1.0 US


Airplay/Streaming (in millions): -- radio, 7.23 video, 9.8 streaming

Awards (Nat “King” Cole’s version):

Click on award for more details.


Awards (Toni Arden’s version):


Awards (Jimmy Young’s version):

About the Song:

On June 2, 1951, “Too Young” ascended to the top of the Your Hit Parade chart. By the time it finished its reigned, it had logged a dozen weeks at #1, making it the biggest song in the history of Your Hit Parade. The radio program launched in 1935 and evolved into a television program, running until 1958. The charts didn’t list specific artists as this was an era when it was common for multiple artists to record the same song. “Too Young” came about when lyricist Sylvia Dee mentioned to the song’s co-writer Sid Lippman that her brother was getting married but she thought he was too young. According to Sid they looked at each other and said, “Title?” MS

It was first recorded by Louanne Hogan with Victor Young & His Orchestra on November 22, 1950. MS It was Nat “King” Cole’s version, however, which was the first to chart and became the most successful. Nelson Riddle arranged the song – as he had also done for Cole’s version of “Mona Lisa” – but in both cases the credit was given to Les Baxter, who conducted the orchestra. MS Cole recorded his million-selling version on February 6, 1951 and it topped Billboard magazine’s three major pop charts – Best Sellers, Disc Jockey Hits, and Jukebox Hits. It also topped the Cashbox charts and reached #1 in the UK and Australia.

Other versions to chart in 1951 included Toni Arden (#15 US), Patty Andrews (#19 US), Fran Allison (#20 US), Richard Hayes (#24 US), and Jimmy Young (#1 UK). Bill Forbes revived the song in 1960 (#29 UK) and Donny Osmond – then fourteen years old – brought it back in 1972 (#13 US, #5 UK). Michael Jackson recorded it in 1973.

Cole once said this was perhaps his favorite of all the songs he recorded. MS Michael Winter, the host of “The Greatest Hits Explained,” called it “one of the most beautiful love songs ever.” MS Billboard magazine named Cole’s version the top song of 1951. MS


Resources:


Related Links:


First posted 9/8/2021; last updated 5/15/2025.

Thursday, March 29, 2001

50 years ago: The King and I opened on Broadway

The King and I

Richard Rodgers (music), Oscar Hammerstein II (lyrics)

Cast Album


Stage Debut: March 29, 1951


Charted: May 26, 1951


Peak: 2 US


Sales (in millions): --


Genre: show tunes


Soundtrack


Released: June 11, 1956


Peak: 11 US, 148 UK


Sales (in millions): 2.0 US


Genre: show tunes



Songs:

  1. Overture
  2. I Whistle a Happy Tune
  3. My Lord and Master
  4. Hello, Young Lovers
  5. March of the Siamese Children
  6. A Puzzlement
  7. Getting to Know You
  8. We Kiss in a Shadow/ I Have Dreamed
  9. Shall I Tell You What I Think of You?
  10. Something Wonderful
  11. Song of the King
  12. Shall We Dance?
  13. Something Wonderful (Finale)


Singles/Hit Songs:

As was common in the pre-rock era, songs from musicals were often recorded by artists not associated with the musical and released as singles. Here are some of the most notable hit singles resulting from the show:

  • “We Kiss in a Shadow” – Frank Sinatra (#22, 1951)
  • ”Hello, Young Lovers” – Perry Como (#27, 1951)

Rating:

4.440 out of 5.00 (average of 7 ratings for cast album and soundtrack combined)


Quotable: “One of the all-time greats among musicals.” – Daily Variety


Awards (Cast Album): (Click on award to learn more).


Awards (Soundtrack): (Click on award to learn more).

About the Show:

The King and I was the fifth collaboration for Rodgers and Hammerstein. The musical came about when Fanny Holtzmann, a theatrical attorney, was looking for a part for her client, Gertrude Lawrence. Holtzmann thought Margaret Landon’s 1944 novel Anna and the King of Siam, would be a perfect vehicle and contacted Rodgers & Hammerstein. WK

The novel was based on the memoirs of Anna Leonowens, a British widow and school teacher who, in the 1860s, served as governess to the children of King Mongkut of Siam. WK She was hired as part of the king’s effort to modernize his country WK and tutor him in how to become a cultivated English gentleman. DF The musical is marked by the conflict between the king and Anna and the love which neither can admit. WK

Rodgers was concerned that “the aging Lawrence had a voice of limited range and she was notorious for singing flat.” DF They’d also never written a show designed for a specific performer, and had tried to liberate Broadway of that very habit. DF However, Rodgers, later wrote, of some of the appealing elements of the story: “there was the contrast between Eastern and Western cultures…there was the intangibility of the attraction between teacher and king…there was the warmth of the relationship between Anna and her royal pupils; there was the theme of democratic teachings triumphing over autocratic rule.” DF

However, they were still challenged to find a worthy co-star. Rex Harrison played the part in a 1946 film based on Landon’s book – but he was unavailable. WK Alfred Drake and Noel Coward, Lawrence’s oldest and dearest friend, were also considered. DF They ended up holding auditions and the first candidate was an actor named Yul Brynner, whose only Broadway musical credit was in Lute Song, a failed 1946 show starring Mary Martin. DF Rodgers had never heard of him, but wrote about his first impression. He “was a bald, muscular fellow with a bony, Oriental face…He looked savage, he sounded savage, and there was no denying that he projected a feeling of controlled ferocity. When he read for us…Oscar and I looked at each other and nodded…we had our king.” DF

The musical debuted at Broadway’s St. James Theatre on March 29, 1951. WK Brynner was an overnight sensation and Lawrence “was once again the toast of Broadway.” DF They both won Tonys for their performances; The King and I was also given the Tony for Best Musical. With a run of nearly three years, it became, at the time, the fourth longest-running Broadway musical in history. WK

The 1956 film version was, at the time, the most expensive film to date for 20th Century Fox. DF Brynner was tapped to reprise his role, but Lawrence died of cancer on September 6, 1952, so was replaced by Deborah Kerr, at Brynner’s urging. DF “She had the gracious quality of an English lady, but her powerful performances in From Here to Eternity on the screen and Tea and Sympathy on the stage had the kind of sexual tension that Brynner wanted to emphasize in the relationship between Anna and the King.” DF

“Chemistry sizzled between…Brynner and…Kerr…, and the rich multilayered story had an emotional pull that was rare in film musicals. The film made breathtaking use of color and of a new widescreen photographic process called Cinemascope 55. The format’s enhanced sound quality provided a sumptuous setting for the Rodgers and Hammerstein score.” DF Daily Variety called it the “Blockbuster of the year. One of the all-time greats among musicals. Sure to wow all classes and nations. Socko in all departments: story, performances, production, score.” DF

The film was nominated for nine Academy Awards, winning nine – including Best Actor for Yul Brynner.

Resources and Related Links:

  • DF David Foil, liner notes from CD of The King and I soundtrack (1956/1993).
  • WK Wikipedia


Other Related DMDB Pages:


First posted 8/11/2008; last updated 12/22/2021.