Earl Grant - Singin & Swingin: Best of
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Canadian Music Store CD DetailsArtist: Earl GrantEdition: Music CD CD Release Date: 1998-10-20 Music Label: Mca Soundtracks:
Music reviews of Singin & Swingin: Best ofMusic Review: THE BEST "BEST OF CD" I'VE HEARD IN A LONG TIME
"THE BEST OF EARL GRANT" I purchased the CD last October when it first came out, played it and filed it away, being overwhelmed at the time by too many incoming Bear Family box sets. Well, I finally got around to the CD this week, and I find it to be, not only a pleasant surprise, and not only a gem, but perhaps the best new "best of" that I've heard in a long time! First the CD covers the requirement of any "best of" collection by including all the hits, and they all speak eloquently and positively for themselves. And in terms of the hits, with Earl Grant everything starts and ends with the most wonderful of recordings, "THE END" (7-October 58), but I was surprised and delighted the he also included in this CD his unreleased Italian language version. After all this time, almost 41 years, to hear this new, but original version, is a real music highlight of this year. His Italian version of "The End" was appropriate for the time period, the fall of 1958, because "Volare" (Nel Blu Dipinto Di Blu) (1(6)-Aug/Sept. 58) another Italian language song by Dominico Modugno was dominating the pop charts. In this CD he also records "VOLARE", and his version is a little faster, more irreverent and more swinging, but a decidedly welcome rendition. After getting The McGuire Sisters version of "Volare" just last week, in their new double anthology CD, this now gives me a fourth version, along with Dean Martin's secondary hit., and it is very much appreciated! His November 1956 recording of "GODNIGHT MY LOVE (PLEASANT DREAMS)" is a solid version of the McGuire Sisters and Jesse Belvin hit (23-January 57) and is typical of the sounds of that time period. It has such a great original, but dated, rock 'n roll sound with the pronounced big beat, the piano triplets, and the do-wah-wah background singers. "The End" was such a pop masterpiece that I thought it was impossible for him to ever approach matching it with a follow-up recording, impossible until now, until I heard for the first time his exquisite version of Della Reeses' hit "NOT ONE MINUTE MORE" (16-January 60). I just don't have adequate words to describe the wonderful poetry of the lyrics, the orchestration and vocal styling. Another new highlight for the year or any period! I also loved a great deal, the flip-side of "SWEET SIXTEEN BARS" (55-Oct. 62), his recording of Frank Sinatra's "LEARNIN' THE BLUES" (2(5)-July/Aug. 55). His swinging, big voice, big band version of the song is reminiscent of how Sammy Davis would have performed it. Another gem and another surprise! His up-beat jazz-vocal of "UNDER PARIS SKIES" reminded me of a 1940's Nat King Cole, and his pop version of the DeCastro Sisters' "TEACH ME TONIGHT (2(1)-December 54) reminded me of early 50's vocal stylists. His piano, sax, organ instrumental of "THE VERY THOUGHT OF YOU" and his piano intro, double sax solos, Ben E. King-kind-of-rhythm of "STAND BY ME" , and his Ray Charles-piano-style of Ray Charles' "Sweet Sixteen Bars" were highlights. Also his instrumental recordings of Frank Chacksfield's "EBB TIDE" (3-November 53) and Errol Garner's 1954 classic "MISTY" were very good. His 1967 and 1968 versions of contemporary hits "SPANISH EYES" (15-January 66 by Al Martino) and "THE LOOK OF LOVE" (4-July 68 by Sergio Mendes and Brasil '66) were solid efforts to remain relevant into the late 1960's. In conclusion, I think that the total range and depth of Earl Grant's displayed talent on this disk is remarkable and unparalleled, and deserves only the highest of ratings (5 of 5 stars).
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