Dick Haymes - Complete Capitol Collection
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Artist: Dick HaymesEdition: Music CD
Format: Import
CD Release Date: 2006-09-11
Music Label: Emd Int'l
Soundtracks:
Music CD 1
- It Might As Well Be Spring
- The More I See You
- The Very Thought Of You
- You'll Never Know
- If There Is Someone Lovelier Than You
- How Deep Is The Ocean
- The Nearness Of You
- Where Or When
- Little White Lies
- Our Love Is Here To Stay
- Love Walked In
- Come Rain Or Come Shine
- I Never Get Enough Of You
- C'est La Vie
- Love Is A Great Big Nothin'
- Two Different Worlds
- Now At Last (Out-Take)
- Now At Last
- Rainbow's End (Out-Take)
- Rainbow's End
- If I Should Lose You
- You Don't Know What Love Is
- Imagination
- Skylark
- Isn't This A Lovely Day (To Be Caught In The Rain?)
- What's New
- The Way You Look Tonight
- Then I'll Be Tired Of You
- I Like The Likes Of You
- Moonlight Becomes You
- Between The Devil And The Deep Blue Sea
- When I Fall In Love
- Never Leave Me
- New York's My Home
- My Love For Carmen (Out-Take)
- My Love For Carmen
Music reviews of Complete Capitol Collection
Music Review: Rediscovering an American Original
Rating: 5 Stars
A handsomely packaged, informative, well-documented and value-priced two-CD set comprising Haymes' major work for Capitol, viz. "Rain or Shine" and "Moon Dreams." As this collection demonstrates, Haymes--despite the turbulence within and about him--evidenced little if any damage to his voice, which retained its full, rich and vibrant sound until the very end. (I recall a stunning appearance by him on Johnny Carson's show in the '70s.) Rarely if ever could it be said that the voice sounded tired, rough, or even aging. However life treated him, he treated his instrument with the tenderness that it was capable of expressing, avoiding the sense of "strain" that accounted for the engaging tension in Sinatra's voice on one occasion, and the weathered and weary quality on another.
Some of Haymes' champions compare his vocal quality to Nat Cole's or Johnny Hartman's. I don't find it that velvety and luxuriant, as rich and expressive as it is. At first, a newcomer may notice a tightly spinning vibrato (also true of Doris Day, who is admittedly a wonderful singer) that may initially be distracting. On the "Moon Dreams" collection, it's leveled out, as he introduces the first two ballads--"If I Should Lose You" and "You Don't Know What Love Is"--with sotte voce dynamics, producing an intriguing and quiet intensity that grows on you, a marked contrast to the full-throated angst of Sinatra's readings of what he called "suicide songs." If he had received the same breaks in the '50s, there's sufficient evidence on the basis of this last major recording to suggest he might have produced sequels on the order of Sinatra's "In the Wee Small Hours," "No One Cares," "Only the Lonely," "Where Are You," "September of My Years," "Point of No Return," "Close to You" and "All Alone" (though the scarcity especially of these last two priceless sessions makes you wonder if the public is subjecting Sinatra to the same fate as Haymes).
It's probably best to approach each singer as sui generis. Sinatra was "driven" to build operatic breath reserves and to take risks--in the length of his phrases, the pushing of both extremes of his range, and his bold approach to phonetic elocution (no softening of consonants, vowels or diphthongs)--and he admittedly falls short on occasions, or at least is uneven. Haymes views the ballad differently, is seeking a different effect, and employing a more conservative means to attain that effect. He sings with intelligence, unfaltering good taste, remarkable consistency, and a fullness, warmth and suppleness that were his alone.
For a change, the inclusion of out-takes is a most welcome addition, giving the listener an insider's glimpse of the mentality of the recording industry in the '50s as well as of Haymes' congenial, forebearing personality.
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