";s:4:"text";s:8043:" Dire Straits frontman Mark Knopfler got the idea for "Money For Nothing" after overhearing delivery men in a New York department store complain about their jobs while watching MTV. "Louie Louie" was first recorded in 1955 by an R&B singer named Richard Berry, and his lyrics are easy to understand. Mark's original 1998 obituary of Frank, "The Voice", can be found in the anthology Mark Steyn From Head To Toe, while you can read more on Sinatra in Mark Steyn's American Songbook. If you're a member of The Mark Steyn Club and you take issue with this article, then have at it in our comments section. Why Mother’s Best? "James," said Frank, "it's just brilliant. Ah, well. So he said: "We've got to cut it one more time and make it stronger on the bottom.". "With his memories in a trunk" - Bob Dylan - 50th Anniversary Collection 1969, From An Observer's Testament - "False Prophet", Bob Dylan 2020. For me, this set states Bob Dylan’s point once and for all: “Every time I hear Hank sing, all movement ceases. After several years of lawsuits the court ruled that the estate and the heirs of Hank Williams, Hank Jr (son of Hank and his first wife, Audrey) and Jett (daughter of Hank’s second wife, Bobby Jett, born five days after Hank’s death), was the rightful owners of the recordings. The greatest Hank Williams biographer of them all, Colin Escott, contributes a short essay about the recordings, concluding by celebrating the recording engineer who secured us the possibility to listen to this performances. But in 1966 O C Smith wasn't really a commercial proposition: I would imagine that, insofar as Sinatra knew him, it was from his stint as vocalist with the Count Basie band. As well as the songs were loved, the use of another name was a sign to Hank’s audience that this was something different from the honky tonkin’ songs. In her days with The Runaways, Joan Jett saw The Arrows perform "I Love Rock And Roll," which Alan Merrill co-wrote - that story and much more from this glam rock pioneer. Sinatra seemed to sense that this song could be a big hit, but that Nelson Riddle wasn't the guy to deliver it. "It's great, Frank," said Mo. This brings us to this year’s beautiful BMG release, “Pictures From Life’s Other Side”, the real reason for this post, and the real reason for you who’ve heard it all before, to listen again, and for you, that never heard this stuff, a reason to dig deep into the fabulous treasure chest of Hank Williams. There is a classic quality both in his lyrics and in his singing voice that both mirrors human nature and speak to our hearts &, today as it did fifty years ago. 'Let's do it,' he mumbled, and headed back out into the studio.
He first sang it for a TV special recorded in early June 1966, with a Nelson Riddle arrangement featuring a jazz organ and not dissimilar to the general territory Riddle was operating in for the tracks on Strangers In The Night.
Time Life, with license from the Hank Williams estate, released two 3 cd box sets, in 2008 and 2009, “The Unreleased Recordings” with three cd’s worth of Hank Williams singing both his own material and cover versions, and “Hank Williams Revealed”, combining three theme-based discs (one of Hits, one of Hymns and one compilation inspired or written by Hank’s alter ego, Luke The Drifter), each of them ending with a complete “Mother’s Best” radio show with Hank and His Drifting Cowboys. Frank sings: "I said That's Life"; Marion favors: "Yes indeedy, That's Life." Contemporary singers indifferent to In The Wee Small Hours or Swing Easy like the attitude in this number, without appreciating how hard it is to match. What drew her to the song was the singer standing up to male authority. About the performing artist - Bob Dylan. The new release, with the possibility to listen to Hank’s performances in a flow, with his own introductions, jokes and quick comments about the songs or about the band members, is a thrill through and through, and really is a unique document of Hank Williams, both as a performer and a person, in more than one way. This new release is the perfect occasion, both to remember Hank, to remember these historic recordings, and, most of all, to once again listen to this extremely talented twenty-seven year old artist, a young boy with a soul as old as mankind, with a genius affinity for finding simple words to grasp the deepest truth, with a voice that can lead us both to the highest mountain and to a room of the deepest sadness and loneliness, from hope to despair, from love to lost love and from joy to sorrow, from all kinds of pain and to glory. Thank God! No part of this website or any of its contents may be reproduced, copied, modified or adapted, without the prior written consent of Mark Steyn Enterprises. The mark of a true artist, and the reason for all the endless cover versions of his songs, from Tony Bennett and Ray Charles to Elvis, Rolling Stones, Norah Jones, John Prine, Van Morrison, Bob Dylan and many, many more, still counting.
When he was satisfied, he made two acetates. The other was for himself. I've been up and down and over and out and I know one thing "On Christmas leave I came home," said Kay, "and went down to what we called the rumpus room. As he tells the audience, "It's a good tune, and a lyric that gives you something to think about": I've been a puppet, a pauper, a pirate, a poet, a pawn and a king "James, I gotta get this thing done," he said. He told them he wanted them to "put some goddamn kick in it" - like David Rose's bump'n'grind hit of a few years earlier, "The Stripper": Never mind Frank, just keep driving it along. But in 1966 nobody knew or cared whether Marion Montgomery or O C Smith had had their ups and downs. In the fiasco of the CBS two-hour Sinatra tribute on Sunday night, "That's Life" was given to a chap called Usher - not the Gentleman Usher of the Black Rod, but some other Usher entirely - and he reduced it to vapid karaoke of no discernible merit. Submission of reader comments is restricted to Mark Steyn Club members only. He had been a puppet, tied to his Tommy Dorsey contract; a pauper, earning chump change as a singing waiter at the Rustic Cabin; a pirate, buccaneering through the wild life in Forties Hollywood; a poet, hymning his pain in the song he co-wrote, "I'm A Fool To Want You"; a pawn, in the hands of Ava ...and a king, in Rat Pack Vegas. Both sets included more than fifty tracks. Sinatra recorded the song after hearing an earlier cover of it by O.C. Four months after the TV recording, on October 18th, he went into the studio with the team that had given him a Number One with "Strangers In The Night" - producer Jimmy Bowen and arranger Ernie Freeman.