Weird. Blogger.com suddenly didn't recognize me. I had to sign in from scratch. It's... it's a plot, I tell you!
Had to try my user name twice, as I misremembered it on the first try. Like everyone else, I hate user names and passwords. But without them the Internet would be a lot less secure. Faster, yes, but less secure.
So, I guess I don't really hate them. (Yes, I do.) No, I don't. (Fun-ruiners. Pains in the ass.) No, no. They are needful. Necessary. (They suck.) Please--without them, the Net would be nothing but chaos. (Yeah, well, what is it now?) Shut up. (Make me.)
I'll continue this argument with myself away from the Dell. Maybe I can talk reason to me. Meanwhile, here are five super Freddy Martin tracks, beginning with yet another take on Chopin's Etude in E Major (Op. 10, No. 3). We last heard it in the form of No Other Love. This one, I believe, came first. It was the title song to a 1945 movie. Artie Wayne sings:
A Song to Remember (Stoloff-Chaplin-Cahn), Freddy Martin and His Orch. w. Artie Wayne, 1945.
Poor Chopin--just because he had no rights to his material, couldn't they have stuck his name in the credits just to be nice?
Next, Freddy Martin picks on Rachmaninoff. This kind of bullying, I approve of. Almost as awesome as Martin's treatment of Tchaikovsky. Arranged by Martin himself, says the label:
Rachmaninoff Concerto No. 2 (Arranger: Freddy Martin), Freddy Martin and His Orchestra, 1945.
Now, three by Merv Griffin. Of course. Like, I'd cover 1945-1952 Freddy without including Merv? Be serious.
Deep in a Dream (Van Heusen-De Lange), Freddy Martin with Merv, 1951.
The Aba Daba Honeymoon (Fields-Donovan), Freddy Martin with Merv, 1951.
The Good Humor Man (Worth-Sloan-Seussdorf), Freddy Martin with Merv, 1952.
And we close with a re-repost of Martin's magnificent treatment of Misirlou, from 1948. Stuart Wade sings, Barclay Allen tickles the old 88:
Misirlou (Wise-Leeds-Russel-Roubanis), Freddy Martin and His Orch. featuring Stuart Wade and Barclay Allen, 1948.
A great example of the style/genre dubbed "exotica." The credit for which at least one reviewer gave to Raymond Scott. Sounds likely. Scott invented everything, right?
Except rock and roll, which Elvis Costello invented. I mean, Lou Costello.