Simply Torch • Simply Streisand

For some reason, when I was thinking about doing my Saturday Night Torch post, I remembered being a young boy in my earlyish teens, buying the early albums of Barbra Streisand. My sister Kathy enjoyed her, with the more contemporary sounds of 'The Way We Were' and 'Live Concert at the Forum', and, of course, 'Funny Girl' and 'On A Clear Day'. In many ways, these were the early days of my musical education. I started finding the early albums - I know, how stereotypical can you get. But I found the first, second, third, and so on, when Streisand sung the classics, making magnificent recordings of some of the greatest songwriters of the time. And I also remembered her ninth studio album, 'Simply Streisand', and just how good that album can still make me feel. So this evening, I thought I would shard some great songs off that album.

'Simply Streisand was released in the Fall of 1967, while Barbra was busy shooing her first film role. So while she was busy being Fanny Brice for director William Wyler, she had this and 'A Christmas Album', quite the double play for a young Jewish girl. Streisand was in exceptional voice for the album, and in the liner notes, received high praise from a noted composer. Richard Rodgers wrote "No one is talented enough to sing with the depth of a fine cello or the lift of a climbing bird. Nobody, that is, except Barbra."And it is easy to agree with him on that one. Her voice had a richness and robust quality, as you can easily hear when she sings "The Nearness of You" by Hoagy Carmichael and Ned Washington. This wonderful song was featured in the 1938 film, 'Romance in the Dark'. This is the 1967 recording by the one and only Barbra Streisand.

My next song was first heard in the 1951 Broadway musical 'A Tree Grows In Brooklyn', written by Dorothy Fields and Arthur Schwartz. "Make The Man Love Me" is a wonderful love song, and it is easy to see why many great women wanted to record it. I remember on exceptional job done by the incredible Barbara Cook. This is Barbra's take on the song, so very much her. This is "Make The Man Love Me".

This was a big favorite of mine for a long time, and I still think it amazing. "Lover Man (Oh Where Can You Be)" was written by Jimmy Davis, Roger Ramirez, and James Sherman for the magnificent Billie Holiday, and she did a great job. Billie and Barbra are two of nine performers I have singing the song in my collection, and the song still makes me happy. Barbra's more urgent, pining version remains a favrite. This is Brabra Streisand singing "Lover Man (Oh Where Can You Be)".

It is interesting, for my last song of the evening was written by Edward Eliscu, Billy Rose, and Vincent Youmans in 1929, and was first heard in the 1930 Broadway musical 'Great Day'. One of the more popular recordings was by Helen Morgan, who recrded it in the Fall of 1929. The song had lyrics by Billy Rose, who was the second husband of Fanny Brice, who Streisand was played on both stage and screen. And in the 1975 musical 'Funny Lady', a sequel to the film she was shooting, she recorded the song again. But in 1967, it was a track on the album 'Simply Streisand'. This is Barbra singing "More Than You Know".

You can purchase 'Simply Streisand' on iTunes and Amazon.

Ian Shaw • Lover Man (Oh, Where Can You Be?)

Since last night was Valentine's Day, I thought it only right to continue with the theme of love with a version of the iconic song "Lover Man (Oh Where Can You Be?)". The song was written in 1941 for Billie Holiday, who had a great hit with it. It was written by Jimmy Davis, Roger Ramirez, and James Sherman. British Jazz singer Ian Shaw first recorded the song for the 1995 album, 'Ghostsongs'. Being an out and proud gay man, Shaw left the pronouns in place, and just sang the song like he should. This live version heard here can be found on 'Live at Ronnie Scott's: The Best of Ian Shaw'. This is IAn Shaw singing "Lover Man (Oh, Where Can You Be?).

I just love it - and can't get enough of just about anything Ian sings. To learn more about Ian Shaw, visit his official website. You can also 'like' him on Facebook, and 'follow' him on Twitter. You can download a copy of 'Ghostsongs' from iTunes or Amazon, or you can download a copy of 'Live at Ronnie Scott's: The Best of Ian Shaw' from iTunes.

What's New • Torch with Linda Ronstadt

Linda Ronstadt has had a career that has spanned over five decades, and many different genres. It all started in the 1960s, when a an 18-year-old from Tuscon, Arizona, moved to Los Angeles, California, wanting to make a career in music. Soon she was playing with some guys, and they called themselves The Stone Poneys. The young Ronstadt wanted to blend the Rock she loved with the Folk she played as a teen in Tucson. In the fall of 1967, they released a song written by Michael Nesmith, better known as the Wool-capped guitarist for The Monkees. "Different Drum" became a hit for the the group, and started Ronstadt on a journey that would take several twist and turns few expected. That would include her time as a Country singer, making hits like "Silver Threads and Golden Needles". There was also her time as the Goddess of Rock, when her stunning good looks and amazing voice had her ruling the radio from the mid-1970s when she started to cross over to the mid-80s, with an endless string of hit songs and albums. She also took Broadway by storm, appearing in the New York Shakespeare Festival production of 'The Pirates of Penzance' and, later, a production of the opera 'La Boheme'. She also explored her Mexican heritage with a series of albums of Latin music, winning her several Grammy Awards. And, of course, there was the trilogy of albums she released that featured Jazz and Pop Standards, starting with the 1983 release, "What's New". Ronstadt worked with iconic conductor and bandleader Nelson Riddle. At a time when few were paying attention to Jazz, seeing it as the music of nostalgia, Ronstadt wanted to move in that direction, despite a record label unsure what she was thinking. But 'What's New' shocked everyone, becoming a huge hit, marking triple-Platinum sales and making it to #3 on the Billboard Album Chart, bested on by Michael Jackson's 'Thriller' and Lionel Richie's 'Can't Slow Down'. Tonight I offer you four songs sung by Ronstadt during the 'What's New' period. The first is the title cut off the album, written by Johnny Burke and Bob Haggart. Here is Linda Ronstadt singing "What's New".

How could you possibly record an album of Jazz standards and not include at least one song by George and Ira Gershwin? Well, you can't, and Ronstadt picked the epic song, "I've Got A Crush on You". The song was a perfect fit for her voice, allowing it to soar while maintaining her emotional connection to the lyrics. She managed to breathe new life into the song, yet remain respectful to the original versions. This is Linda singing "I've Got A Crush on You".

In 1941, Jimmy Davis, Jimmy Sherman & Roger "Ram" Ramirez wrote a song for the great Billie Holiday to sing that quickly became a standard. "Lover Man (Oh Where Can You Be)" seemed just the right song for Holiday, with an intense and emotional storyline we can all understand. While some might be intimidated by the song, Ronstadt was not. It was included on 'What's New', and she did an beautiful job with it. Please enjoy Linda Ronstadt singing "Lover Man (Oh Where Can You Be)".

While 'What's New' was her first released album of Jazz Standards, it was not her first recording. Ronstadt spent time in the recording studio with Jerry Wexler, who had made a name for himself as producer for such greats as Ray Charles, Aretha Franklin, and the Allman Brothers. They recorded several songs in 1981, but Ronstadt wasn't happy with the results, so the project was shelved. Her interest in making the Jazz recordings did not wane, and soon had hooked up with Nelson Riddle to make 'What's New'. The unreleased album was said to be naked after a song written by the great Fats Waller, "Keeping Out of Mischief Now". Waller wrote the song in 1929, more than 50 years before Ronstadt tackled the genre. When she was putting together a concert presentation of 'What's New', she included the Waller tune in the performances, which were thankfully captured on film. I love to watch Linda Ronstadt singing "Keeping Out of Mischief Now".

I suppose my renewed interest in Linda was the recent announcement she has Parkinson's Disease, and it has stripped her of her voice. I've been a fan since the 1970s, when I was buying 'Simple Dreams', 'Hasten Down The Wind', and just about any album she released. I guess I should be grateful to have so much amazing music available before the songbird was silenced. You can purchase 'What's New' from iTunes and Amazon.

Valentine Torch

Clockwise: Anita O'Day; Big Maybelle; Eartha Kitt; and Blossom Dearie.

As it is Valentine's Day weekend, I thought I had to go with the love theme for the 'torch' post this week. Well, coming up with torch songs about love seems like shooting fish in a barrel, so I just decide to pick some of my favorite singers and go for it. I start with one of my favorites, the brilliant Anita O'Day, who manages to display both strength and vulnerability in her voice, often in the same line. She toys with rhythm with her syncopation, and her voice is another instrument. I just love to hear her sing, a master at work. "What Is This Thing Called Love" was written by Cole Porter in 1929, and been covered by some of the greatest voices of the last century, but Anita's cover remains a favorite of mine.

There is nothing about Big Maybelle I don't like. She can be soft and sweet in songs like "Candy", and she can be rough and tumble on others like "Ninety-Six Tears". But no matter what she was singing, she always sounded like Big Maybelle, totally original. For her this evening, I chose "Just Want your Love", written by Maybelle herself in the early 1950s. There is a bold strain of Blues at the base of this song, with an undercurrent of hurt. Hope you enjoy "Just Want Your Love".

Not only was Blossom Dearie an amazing talent in the sea of gifted artists in mid-century Manhattan, she maintained that place for several decades. There is an innocence in her voice, so soft, yet enduring. She is another total original, always making music that is true to herself, not trying to copy anyone else. I picked her singing "Lover Man (Oh, Where Can You Be)", a sweet song written by Jimmy Davis, Roger Ramirez, and James Sherman in 1941.

Finally, there is the incredibly unique Eartha Kitt. I don't know what more can be said about the woman, who had success on records, on the stage, and in the movies. She even had success on the small screen, playing Catwoman on the Batman series. From the 1950s until her death in 2008, she was a star who glowed brightly in the sky. In 1962, she recorded "Love For Sale", written by Cole Porter in 1930, for her album 'Bad But Beautiful'. She gives it her own special twist, starting sweet before she moved on to the saucy side of the song.

Hope your weekend is filled with love!

Happy Valentine's Day - The Communards

Richard Coles and Jimmy Somerville started to make music in 1984, when Jimmy left his very successful gig with The Bronski Beat. Coles, a classically trained pianist, offered a new and different sound to Somerville's former band. On their eponymous debut, they offered a version of a classic made famous by Billie Holiday, Lover Man in the 1940s. It offered up an interesting mix of Coles' trained musicianship, Somerville's inherent vocal gifts, and the vocal gifts of Sarah Jane Morris, who plumbed the bottom of her range to offer quite the sweet duet.



They also offered there own take on a pop love song on the second album, Red, when they released There's More To Love (Than Boy Meets Girl) in 1988. Unfortunately, this was as the band was coming to an end, and Jimmy and Richard went their separate ways. Before that, however, they did have this video.



Someville went on to have a successful solo career, which if I followed closely. In fact, I just purchased his latest EP, Bright Thing. Coles went on to work in the media, as both a journalist and narrator, including the voice work for the Style Council's film, JerUSalem. By the early 90s, he returned to school, earned a degree in Theology, and eventually became an ordained priest in the Church of England in 2005. But for a couple of years in the 80s, they ruled the charts and the dance floors with songs like Don't Leave Me This Way and Never Can Say Goodbye.

Like so many on a Friday afternoon, I will sometimes wistfully remember days long past, back to a day when I was actually asked out on dates. Or even just having a guy flirt with abandon. I remember rusing home from work on a Friday, putting some music on the stereo and jumping into the shower, giving myself plenty of time to fret over what I would be wearing to dinner, which could take some time, although always far less than I thought it would. Meeting him at the appointed time and place, there would be some consternation about what time to be out the door, not wanting to arrive too early nor late. So I'd sit on the sofa listening to music, programming it to be as relazing as possible, to avoid stirring up the butterflies in the stomach while ssitting there counting the seconds until it was time to leave. I would often resort to music from a bygone era, stories of great love, or love lost. Was it the wrong music knowing my state at the time, who knows? I just know that now, I will ask myself Lover Man(Oh Where Can You Be).



The music is by the Communards, although there is no video to show, and instead the images were created by the Sisters of Pertetual Indulgence of Bogata, Columbia, to a song from the selt-titled debut album from The Communcards. It was directed by Sister Opus Gay with the fabulous debut of Patty E. Patetik, and Santiago Echeverry.