But seriously, no one sang "The Night We Called It A Day" like Sinatra with a Gordon Jenkins arrangement. (Album: Where Are You?) The best version by a female was Doris Day's rendition with Paul Weston's arrangement. (Album:Day By Night).
The great songwriters usually start with a title, and I love the title of this song. The writing is spare and superb. Say what you will, but Bob knows a great song when he hears one. As for the current rendition; its surprisingly listenable with deft performances by his band.
Nice homage to the black & white noir, but the footage is a little too high definition. Those black and white films of the 40’s and 50’s are so awesome. So many films hold up really well after 60 years. Black and white works well with a concise story. The lighting and filming is less demanding, so actors and settings always look good. Color is great for big spectacle films, but it’s distracting when all you need to see is Burt Lancaster or Robert Mitchum slugging a guy.
A nice reminder of how good that song is but the images degenerate into silliness. It inevitably reminded me of that movie starring Jack Nicholson and Angelica Huston where they are each lovers and assasins, finally killing each other in a slightly more believable final scene. Awsome realistic collapse by the femme fatale.
Strange parallels. It seems that Althouse and I followed the same inspiration to different destinations.
Monday evening I attended a birthday celebration for an old friend. In the conversation my old friend pointed out to me that 2015 is Frank Sinatra's centenary year, which inspired me to make familiar a famous artist's CV, a corpus that I had heretofore mostly ignored. So just this Tuesday morning I downloaded the RCA Victor Frank Sinatra & Tommy Dorsey Greatest Hits collection, both volumes. Much of my work today was done with Ole Blue Eyes crooning the Great American Songbook in the background.
One of the tunes that struck a meaningful chord was "The Night We Called It a Day," which got repeated numerous times. It seems to me inevitable that at the very moment I was appreciating this song Althouse was also appreciating it, though interpreted by a different artist via a different medium. Strange parallels.
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14 comments:
Zimmy gets away with it. Musically, too. The arrangement is very good, and the ragged voice fits the song. The video provides a good distraction.
Bob should stop with the hair dye.
"But mommie, that man is naked!"
I loved it!
Bob makes it new!
But seriously, no one sang "The Night We Called It A Day" like Sinatra with a Gordon Jenkins arrangement. (Album: Where Are You?)
The best version by a female was Doris Day's rendition with Paul Weston's arrangement. (Album:Day By Night).
Maybe I'll be able to appreciate it in a few years, but now, it's painful for me to listen to his off-key moaning those fine tunes.
The other actor in this video, Robert Davi, also performs Sinatra covers. Guess they have that, and murder, in common.
Somebody still misses the loves he left behind.
The man in the moon is the result of ancient lava flows.
News you can use.
The great songwriters usually start with a title, and I love the title of this song. The writing is spare and superb. Say what you will, but Bob knows a great song when he hears one. As for the current rendition; its surprisingly listenable with deft performances by his band.
Nice homage to the black & white noir, but the footage is a little too high definition. Those black and white films of the 40’s and 50’s are so awesome. So many films hold up really well after 60 years. Black and white works well with a concise story. The lighting and filming is less demanding, so actors and settings always look good. Color is great for big spectacle films, but it’s distracting when all you need to see is Burt Lancaster or Robert Mitchum slugging a guy.
A nice reminder of how good that song is but the images degenerate into silliness. It inevitably reminded me of that movie starring Jack Nicholson and Angelica Huston where they are each lovers and assasins, finally killing each other
in a slightly more believable final scene. Awsome realistic collapse by the femme fatale.
Pretty sure the guy eating a sandwich in the hallway is Delaney Williams, best known for playing Jon Landsman in "The Wire".
Strange parallels. It seems that Althouse and I followed the same inspiration to different destinations.
Monday evening I attended a birthday celebration for an old friend. In the conversation my old friend pointed out to me that 2015 is Frank Sinatra's centenary year, which inspired me to make familiar a famous artist's CV, a corpus that I had heretofore mostly ignored. So just this Tuesday morning I downloaded the RCA Victor Frank Sinatra & Tommy Dorsey Greatest Hits collection, both volumes. Much of my work today was done with Ole Blue Eyes crooning the Great American Songbook in the background.
One of the tunes that struck a meaningful chord was "The Night We Called It a Day," which got repeated numerous times. It seems to me inevitable that at the very moment I was appreciating this song Althouse was also appreciating it, though interpreted by a different artist via a different medium. Strange parallels.
Breaking up with the Left?
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