Ladies and Gentlemen...

Songs in the key of plaid.

Sister Act

 

 

Some have more of a natural affinity for it than others.

The Shadow of His Smile

JOHNNY MANDEL
November 23, 1925

As a musician, he played with Count Basie and Zoot Sims. As an arranger, he's won two Grammy Awards and worked with the likes of Peggy Lee, Tony Bennett and Barbra Streisand. As a composer, he's written some of the most gorgeous melodies of the post-Great American Songbook era (our favorites include "The Shining Sea," "A Time for Love," "Close Enough for Love" and "Quietly There"). But despite this accomplished list of achievements, it's for one single composition that Johnny Mandel will forever be remembered: "The Shadow of Your Smile."



Inarguably the best (and certainly the most tasteful) thing to come out of the bloated, would-be blockbuster The Sandpiper (1965), Mandel's haunting theme captured the hearts and imaginations of nearly everyone, becoming a massive hit even as the British Invasion, Motown and the early murmurings of psychedelia and acid rock were all but obliterating "middle of the road" pop from the charts and airwaves. Interestingly though, not one single version (and there were plenty to choose from, as we'll soon see) became the definitive, chart-topping rendition. Mandel's music had seduced the world, and such was the strength of the music, it seemed to matter little who was giving voice to it.


Still known as "Love Theme from The Sandpiper," the song first became a minor chart hit for Tony Bennett on Columbia - reportedly incensing Peggy Lee over at Capitol, who had recorded it months prior to Bennett; hers was probably the first cover of the theme, recorded literally days after the film's June 1965 premiere and rush-released soon after. (Lee's single didn't chart, but it made an appearance on her Then Was Then, Now is Now album a few months later.) Lou Rawls, La Lee's Capitol labelmate, recorded a souled-up version which first gained Mandel's ballad entrez to the R&B chart in early 1966. Perhaps sensing overkill (or not wanting to steal Bennett's thunder), the good folks at Columbia curiously withheld Barbra Streisand's uncharacteristically demure rendition as a single - except, of course, in Japan.





Unfortunately, the film itself didn't receive the same kind of rapturous reception as its swoonsome theme song (which ultimately won the Best Original Song Oscar, as well as the Song of the Year Grammy Award), though not for lack of trying. One of the many tie-in promotions featured co-star Eva Marie Saint with her smartly-matched American Tourister luggage - all ready for a chic yet quick getaway from the deadly reviews.


One of the more amusing promotional campaigns was a Saks Fifth Avenue collection "inspired by the "dramatic story and scenic beauty" of The Sandpiper. The youthful, chic clothing was indeed "very Saks Fifth Avenue," as the ads would say, and designed by Lynn Stuart; the sight of the increasingly zaftig Mrs. Burton in her Irene Sharaff painter's smocks in the actual film reminded one wag more of Lane Bryant.






Meanwhile, "The Shadow of Your Smile"'s juggernaut continued unabated, with new singles, and album tracks, and albums titled after the song hitting the shelves weekly. It became the one mandatory song for every Adult Contemporary vocalist of the generation to record, with one glaring exception: the Chairman of the Board never made a studio recording of it, although he did include a quick, two-minute performance on his Sinatra at the Sands (1966) live album.








And what would the creator of all this think? Surely, it must be gratifying to have one's work, albeit just a 3 minute portion of it, so celebrated and loved and universally known. On the flip side, what of all the other work (some of it far better), which has gone relatively unnoticed, consumed by the huge, looming Shadow? Since he's described as one of the nicest, most generous guys in the business, we'll assume that Johnny Mandel has taken it all in stride, and with typical graciousness. Happy Birthday, Mr. Mandel. And just between us, even though you call Diana Krall your favorite singer (well...even geniuses are entitled to inexplicable quirks), we'd love for you to revisit a 1982 album by one SSUWAT's favorites, Miss Sue Raney. She's as lovely as your music, and the match is one made in heaven.

Close Enough For Love - Sue Raney With The Bob Florence Group

If You Want to Get to Heaven, Shout!

Provided that heaven is a bandstand; sugar at suppertime; and wonderful! wonderful!

It's Plaid, Dad! Redux

We suspect that the "thing" that Miss Mathis and Mrs. Jones had going on was a Simplicity Patterns sewing circle.

They're Your Dreamgirls, They'll Make You Happy

Music legends abound in today's birthday lineup!

To honor Miss Debbie Allen (September 30, 1953) and Miss Marilyn McCoo (September 30, 1943) on their birthday, here are re-posts of two legendary clips. In the first, behold the genius that is Debbie Allen as she performs a fabulous/insane medley from Dreamgirls, featuring lots of dry ice and stunt gays -- a Debbie Allen Speciality Number if there ever was on. In the second, Miss McCoo and two rather spindly chorus boys camp and vamp their way through "Muscles," the Michael Jackson-penned Diana Ross hit.

La Ross herself pays tribute to rock and R&B pioneer Frankie Lymon (September 30, 1942 - February 27, 1968) with her perky rendition of his classic hit, "Why Do Fools Fall in Love." Then, crooner extraordinaire (and out homo) Johnny Mathis (September 30, 1934) serenades us with a selection from Guys & Dolls, and even gets in a few terpischorean turns. Finally, the magnificent Cissy Houston (September 30, 1933) -- mother of Whitney, aunt to Dionne, industry legend and singer's singer -- turns The Ronettes' "Be My Baby" into a soulful tour de force.