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Vic Damone - Spotlight on Vic Damone

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Spotlight on Vic Damone

Vic Damone

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For some reason there wasn't really a Vic Damone revival during the lounge-crazed 1990s. Maybe Damone's voice was just too beautiful and a little square for the irony crowd. You knew that Dean Martin was in on the joke or that Sammy Davis, Jr.'s sincerity was just a little too sincere. The button-down Damone's voice, however, is closer to Mel Tormé's without the bop dexterity or Frank Sinatra's without the deep narrative perspective, perfect phrasing, or effortless swing. In short, Damone's voice is so gorgeous that he sounds like a front-line talent, but the more you listen, the less there is to discover. Like Johnny Mathis, Vic Damone made sincere makeout music, but Damone could also swing on occasion and Capitol Records made him swing much harder than he had at Columbia throughout the 1950s. So if Damone's singing lacked depth, he still cut a lot of good sides and his short tenure with Capitol Records stands out as his finest period. This strong collection highlights some of the best recordings that he made with the label, splitting the arrangements between Billy May and the underrated Jack Marshall (who's best known for his strong work with Peggy Lee). May helps out with some of his trademark monster swingers, but the bulk of his contributions come from a faux Polynesian ballad album that he cut with Damone. Marshall's numbers swing just as hard as May's and his strengths as a jazz guitarist find him placing the instrument front and center throughout many of these tracks. Damone sings beautifully throughout and this is a great place to start to those new to his Sinatra-in-the-suburbs sound. The collection also includes one of the few definitive readings of a standard that the vocalist ever cut -- the usually humorless Damone knocks the bedroom romp "After the Lights Go Down Low" right out of the park.
© Nick Dedina /TiVo

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Spotlight on Vic Damone

Vic Damone

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1
In the Still of the Night
00:02:23

Fred Parris, ComposerLyricist - Jack Marshall, Conductor - Dave Cavanaugh, Producer - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

2
Laura Remastered
00:02:23

Johnny Mercer, Author - Kevin Reeves, Mastering Engineer, StudioPersonnel - Ron McMaster, Mastering Engineer, StudioPersonnel - David Raksin, Composer - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1991 Capitol Records, LLC

3
Shangri-La
00:02:42

Carl Sigman, Composer - Billy May, Conductor - Robert Maxwell, Composer - Vic Damone, MainArtist - Matty Malneck, Composer

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

4
Close Your Eyes
00:02:09

Orchestra, Performer, AssociatedPerformer - Jack Marshall, Conductor - Bernice Petkere, ComposerLyricist - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

5
Let's Sit This One Out
00:03:08

Sammy Cahn, Composer - Jimmy Van Heusen, Composer - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1963 Capitol Records, LLC

6
Diane
00:02:14

Erno Rapee, ComposerLyricist - Lew Pollack, ComposerLyricist - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

7
After the Lights Go Down Low
00:02:22

Alan White, Composer - Vic Damone, MainArtist - Leroy Lovett, Composer

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

8
Ebb Tide
00:02:38

Carl Sigman, ComposerLyricist - Robert Maxwell, ComposerLyricist - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

9
Is You Is, or Is You Ain't (Ma' Baby)
00:02:14

Jack Marshall, Conductor - Louis Jordan, Composer - Vic Damone, MainArtist - Billy Austin, Composer

(C) 1995 Capitol Records, LLC ℗ 1963 Capitol Records, LLC

10
There! I've Said It Again
00:03:05

REDD EVANS, Composer - Vic Damone, MainArtist - Dave Mann, Composer

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

11
Little Girl
00:02:02

Robert Norberg, Mastering Engineer, StudioPersonnel - Francis Henry, ComposerLyricist - Madeline Hyde, ComposerLyricist - Billy May, Conductor - Bob Norberg, Mastering Engineer, StudioPersonnel - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

12
Poinciana (Song Of The Tree)
00:02:27

Billy May, Conductor - Vic Damone, MainArtist - Buddy Bernier, Composer - Nat Simon, Composer

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

13
Change Partners Remastered
00:02:30

Robert Norberg, Mastering Engineer, Remixer, StudioPersonnel - Irving Berlin, Composer - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1992 Capitol Records, LLC

14
I Could Write A Book
00:02:33

Peter King, Conductor - Richard Rodgers, ComposerLyricist - Lorenz Hart, ComposerLyricist - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1964 Capitol Records, LLC

15
Ruby
00:02:49

Heinz Roemheld, ComposerLyricist - Mitchell Parish, ComposerLyricist - Billy May, Conductor - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

16
The Hawaiian Wedding Song (Ke Kali Nei Au)
00:02:41

CHARLES E. KING, Composer - Al Hoffman, Composer - Dick Manning, Composer - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

17
Let's Face The Music And Dance
00:02:24

Irving Berlin, ComposerLyricist - Dave Cavanaugh, Producer - Vic Damone, MainArtist

(C) 1995 Capitol Records, LLC ℗ 1962 Capitol Records, LLC

18
Make This a Slow Goodbye
00:02:50

Vic Damone, MainArtist - F. Myers, Composer - J. Sher, Composer

(C) 1995 Capitol Records, LLC ℗ 1963 Capitol Records, LLC

Descripción del álbum

For some reason there wasn't really a Vic Damone revival during the lounge-crazed 1990s. Maybe Damone's voice was just too beautiful and a little square for the irony crowd. You knew that Dean Martin was in on the joke or that Sammy Davis, Jr.'s sincerity was just a little too sincere. The button-down Damone's voice, however, is closer to Mel Tormé's without the bop dexterity or Frank Sinatra's without the deep narrative perspective, perfect phrasing, or effortless swing. In short, Damone's voice is so gorgeous that he sounds like a front-line talent, but the more you listen, the less there is to discover. Like Johnny Mathis, Vic Damone made sincere makeout music, but Damone could also swing on occasion and Capitol Records made him swing much harder than he had at Columbia throughout the 1950s. So if Damone's singing lacked depth, he still cut a lot of good sides and his short tenure with Capitol Records stands out as his finest period. This strong collection highlights some of the best recordings that he made with the label, splitting the arrangements between Billy May and the underrated Jack Marshall (who's best known for his strong work with Peggy Lee). May helps out with some of his trademark monster swingers, but the bulk of his contributions come from a faux Polynesian ballad album that he cut with Damone. Marshall's numbers swing just as hard as May's and his strengths as a jazz guitarist find him placing the instrument front and center throughout many of these tracks. Damone sings beautifully throughout and this is a great place to start to those new to his Sinatra-in-the-suburbs sound. The collection also includes one of the few definitive readings of a standard that the vocalist ever cut -- the usually humorless Damone knocks the bedroom romp "After the Lights Go Down Low" right out of the park.
© Nick Dedina /TiVo

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