#Mack Gordon

[jazzdailyblog]

"A Portrait of Thelonious:" Bud Powell's Tribute to Monk and His Enduring Genius

Introduction: When jazz pianist Bud Powell recorded “A Portrait of Thelonious” on December 17, 1961, it represented both a homage to his longtime friend and fellow innovator Thelonious Monk and a personal statement of artistic resilience. Released in 1965 on Columbia Records, the album captures Powell’s profound understanding of Monk’s music while highlighting his distinctive style. Accompanied…

[rabbitcruiser]

Glenn Miller recorded “Chattanooga Choo Choo” for RCA on May 7, 1941.

[raynbowclown]

Chattanooga Choo Choo song lyrics

Song lyrics to Chattanooga Choo Choo (1941) written by Mack Gordon, composed by Harry Warren. Chattanooga Choo Choo was originally recorded as a big band/swing tune by Glenn Miller and His Orchestra and featured in the 1941 movie Sun Valley Serenade. It was the first song to receive a gold record. (more…) “”

[myegoicmind]

Happy Birthday to the sexy beast, Lee Mack!! 🥳

May you be forever smart, witty, sweet, and - as you have been doing already - continue to get hotter as time goes on 🔥🥂🍾

[gebo4482]

Spider-Man: Across The Spider-Verse

Artist: Dean Gordon / Dave BLEICH / Yuchung Peter Chan / Mack Sztaba

[petersonreviews]

The Mack, 1973

[nfcomics]

BATMAN & THE JOKER THE DEADLY DUO no.4 (of 7) • cover art • David Mack [Feb 2023]

TRAINing day! Batman and The Joker's ability to function as a team is put to the biggest test yet as they are dropped out of the sky and into a moving train! Will their alliance hold together, even if the speeding locomotive does not? Meanwhile, the Dark Knight has enlisted the help of Nightwing and Catwoman to help with his investigation, but with more pieces of Gordon being shipped to GCPD headquarters, by the time they find any clues, will there even be enough of the commissioner left to save?

(W) Marc Silvestri (A) Marc Silvestri (CA) David Mack

[schlock-luster-video]

On January 13, 2018 The Mack and Super Fly were screened as a double-feature on TCM Underground.

[star-dust-shark]

:/

Gordon Ramsey fursona reveal!

[whileiamdying]

IKE & TINA TURNER: THE GREAT RHYTHM & BLUES SESSIONS

The 1980’s have treated Ike and Tina Turner quite differently. Tina has become a contemporary superstar recording somewhat glossy “Pop” material (albeit of high quality). Ike, meanwhile, has struggled, having to deal with a variety of legal problems while seeing his personal problems with Tina dragged through the media incessantly. In the process, his once immense contribution to R&B history has been somewhat overshadowed.

There was an earlier time, though, before the general public was made aware of their personal trials and tribulations, when the Ike and Tina Turner Revue was one of the hottest, most durable, and potentially explosive of all rhythm and blues ensembles. Fronted by Tina, one of the rawest, most sensual, and impossibly dynamic voices in black music, the Ike and Tina Revue was an ensemble that dripped musical discipline while manifesting nearly unbearable tension, the combination eventually giving way to wave upon wave of catharsis. At their height, only the James Brown Revue could operate on the same level.

The Ike and Tina Turner story starts deep in the heart of the pre-World War II Mississippi Delta. It was in the jumping town of Clarksdale that Ike was born in the fall of 1931. As a child he was fascinated by the piano playing of blues man Pinestop Perkins (whom he heard via Helena, Arkansas’ King Biscuit Radio Show). Before he was eight the youngster could be heard rattling his own set of 88’s. Less than ten years later he had joined a large swing ensemble going by the name the Top Hatters and run by a local saxophone playing dentist.

After Turner served a stint in the capacity of disc jockey for Clarksdale’s WROX, a number of former Top Hatters came together under a new guise, Ike Turner and the Kings of Rhythm. By March 1951 the Kings of Rhythm, through the intercession of B.B. King, cut four sides for Sam Phillips’ Memphis Recording Service. Phillips, in turn, leased the recordings to Chess Records in Chicago who issued two of them under saxophone player/vocalist Jackie Brenston’s name. Part boogie and part incipient rock and roll, “Rocket 88” by Jackie Brenston and the Delta Cats became a number one R & B hit in the spring of 1951. Ironically, Ike Turner’s first taste of Success didn’t even mention his name.

From late 1951 to 1956 Ike proceeded to play the role of talent scout and producer [or the California-based Modern Recording Company (taking a brief timeout in 1953 to record a few tracks by Billy “the Kid” Emerson, Johnny O’Neal and himself for Sam Phillips’ fledgling Sun label). During his tenure with Modern he waxed sides by the likes of Elmore James, B.B. King, Rosco Gordon, the King Biscuit Boys, Johnny Ace, Junior Parker and, of course, the Kings of Rhythm.

Having moved his base of operations to East St. Louis in 1955, Ike also changed record company affiliations, recording the Kings of Rhythm and producing others for Cincinnati’s King/Federal complex. Perhaps the most notable record he was associated with at King was Billy Gayles’ incendiary “I’m Tore Up.” By 1958 Turner had moved his activities to Eli Toscano’s Chicago-based Cobra and Artistic labels. A couple of records were Issued by Toscano before Turner recorded two further releases for a local St. Louis label, Stevens Records, under the name Icky Renrut in 1953 (the pseudonym was a device designed to circumvent outstanding contractual obligations elsewhere).

It was at this point that Tina entered the picture. Born Anna Mae Bullock in Nutbush, Tennessee in November 1939, Tina spent the first fourteen years of her life living in a number of small, largely rural western Tennessee hamlets with names such as Brownsville, Ripley, and Spring Hill. Her mother had moved to St. Louis in 1950. Five years later Tina followed suit. There she met Ike and the other Kings of Rhythm at what had become the band’s home base, the Club Manhattan in East St. Louis. Her sister, Alline Bullock, was dating drummer Gene Washington. Anna Mac Bullock was all of sixteen.

After a few months of nightly inveterate Kings of Rhythm worship, Tina got up and sang with the band. Astonished by her combination of emotion and up-against-the-wall power, Ike Turner let her take the occasional spot with the band. Soon he offered Anna Mac Bullock a job. Still in high school, she had acquired a new vocation.

In 1960 the Kings of Rhythm cut a demo of the Ike-penned “A Fool In Love”. Copies were dutifully sent to all the important independent record companies then recording R & B. Only one, Juggy Murray’s Sue label, expressed interest. Murray was sure he smelled a hit and, in his mind, Anna Mae Bullock was the key. After flying to St. Louis and impressing this notion upon Ike, he signed the band to a four-year deal. Ike, wisely, changed the name of Anna Mae to Tina, and the Kings of Rhythm became the Ike and Tina Turner Revue. A new age had dawned in the lives of all concerned.

“A Fool In Love” climbed its way to the #2 R & B slot while stopping at #27 Pop. Other hits quickly followed on Sue over the next four years including “I Idolize You”, “It’s Gonna Work Out Fine”, “Poor Fool” and “Tra La La La La”. All were Top 10 R & B and all also saw some Pop action, “it’s Gonna Work Fine” being the most successful going all the way to #14.

The Ike and Tina Turner Revue had arrived. Ike, though, unfortunately combined an acute sense of impatience with a workaholic personality. The result meant that Ike subscribed to the John Lee Hooker school of doing business; i.e. record at any opportunity for anyone who happened to be willing to put cash on the barrel head, regardless of their taste in packaging or their ability to promote or distribute the product. The results were threefold: Ike and Tina are perhaps the most over recorded R & B ensemble of all time; the various records issued under their name tend to be uneven, at times suffering from substandard material; and sorting the various recordings out tends to be problematic. That said, they still managed to place twenty-five records on the R & B charts for nine separate companies between 1960 and 1975.

The Ike and Tina Revue was always hyperactive, constantly playing shows (often a mind boggling three hundred plus a year), rehearsing and recording. The latter occurred virtually anywhere they found themselves with a few days to kill and an available studio. After sessions were completed, Ike would debate on who he would sell the tapes to. Such practices make it near impossible to precisely date these recordings but they appear to have taken place in 1967 or 1968, the sessions conducted in Memphis at the Royal Recording Studio, the same studio that Willie Mitchell and Hi Records would use to cut all of AI Green’s, Ann Peebles’ and Syl Johnson’s early seventies hits. They were originally issued over the course of a series of albums released in 1968 and 1969 on Ike’s Pompeii label, distributed at the time by the Atlantic subsidiary, Atco Records.

Ike took production credit and wrote a number of the songs. Also prominent in the composition department is one Mack Rice. A former member of The Falcons, Sir Mack Rice had scored big with “Mustang Sally” on Blue Rock in 1965. When Ike Turner ran into him in Memphis he was working for Stax Records both as an artist and writer. His “It Sho Ain’t Me” is closely modelled on the Stax sound developed by Otis Redding on ballads such as “I’ve Been Loving You Too Long”, the latter a song that Ike and Tina would do well with in 1969. In contrast, Rice’s “Betcha Can’t Kiss Me” is a mid-tempo chugger fueled by Tina’s ever impassioned vocal pyrotechnics. The Chipmunk effect on the backup vocals is just a little too cute. Asked about it in 1990, Mack Rice just laughed and said that was Ike’s idea.

Other highlights abound, where Tina’s concerned most notably with Ike’s own “I’m Fed Up” and Wayne Carson Thompson’s “You Got What You Wanted.” On these and other songs included here, Ike has created arrangements set in keys that at various points are nearly too high for Tina’s range. The result is a characteristic strain that manifests itself in much of what Tina sung in her years with Ike. It’s a technique that Isaac Hayes and David Porter used to great advantage with Sam and Dave at Stax. In recent years Tina has said that she didn’t like singing this way. That may be the case, but the results are undeniably chilling. Ike contributes his share as well, turning in strong bluesy stinging guitar lines on B.B. King’s “Rock Me Baby” and Bobby Blue Bland’s “I Smell Trouble.”

Three of the songs included here, “It Sho Ain’t Me”, “Too Hot To Hold”, and “Beauty Is Just Skin Deep” were released as forty-fives under three different monikers; Ike and Tina Turner, Tina Turner and the Ikettes respectively. Those listening closely will notice that it is not Tina singing on the latter; rather it’s a typically anonymous Ikette. Typically, anonymous because Ike felt that if people knew their names and they had hits, the individual Ikettes would be able to leave and start careers of their own. Instead, this way he owned the name “The lkettes,” paid the singers salary that entailed roadwork and sessions, and kept all the royalties himself. “Make ‘Em Wait” was the flip side of the “Beauty Is Just Skin Deep” and is definitely sung by one of the Ikettes and, to these ears, “Poor Little Fool” is also delivered by one of the backing girls.

None of these records were hits in the era of rampant psychedelia but such does not belie their eminent quality. Ike may have been a dubious businessman but nonetheless he was an absolute master of rhythm and blues guitar, he possessed a fine ear, a superb band and, in Tina, one of the great rhythm and blues voices of all time. Enjoy.

— Rob Bowman

Rob Bowman is a journalist/musicologist living in Toronto, Canada.

[f0restpunk]

[edsonjnovaes]

Chica Chica Boom Chic

Carmen Miranda – Chica Chica Boom Chic. CineLeonor – 10 de fev. de 2012 É carnaval no Leonor! O meu ganzá faz “Chica Chica Boom Chic”P’rá eu cantar “Chica Chica Boom Chic”Uma canção o “Chica Chica Boom Chic”meu coração faz “Chica Chica Boom Chic” E vem a saudade da BahiaOnde o samba tem, canjerê também numa batucadaChic Chic Boom (4x) É brasileiro o “Chica Chica Boom Chic”Com um pandeiro…

[rabbitcruiser]

The first gold record (for selling 1 million copies) was presented to Glenn Miller for "Chattanooga Choo Choo" on February 10, 1942.

[doyoulikethissong-poll]

Etta James - At Last 1960

"At Last" is a song written by Mack Gordon and Harry Warren for the 1941 musical film Sun Valley Serenade, and was performed in the film by Glenn Miller and his orchestra, with vocals by John Payne and Lynn Bari, dubbed by Pat Friday. It was deleted from the film, although instrumental versions remained. The vocal version was however included in the 1942 movie Orchestra Wives, which also featured the Glenn Miller orchestra. It was sung by Ray Eberle and Bari, again dubbed by Friday. Glenn Miller and his orchestra recorded the tune several times, with a 1942 version reaching number two on the US Billboard pop music chart. It spent a total of 17 weeks on the chart.

In 1960, rhythm and blues singer Etta James recorded an arrangement by Riley Hampton that improvised on Warren's original melody, for her debut album At Last! (1960). In April 1961, it became her second number two R&B hit single and crossed over to pop radio, reaching number 47 on the Billboard Hot 100. Despite its modest pop chart standing, the song is well-known and is still played regularly on oldies radio stations and has become a musical standard. Following James's death in 2012, the song reached the top 40 in the UK charts. In 2009, her version was inducted to the Library of Congress' National Recording Registry. In 2021, it was ranked at number 115 on Rolling Stone's "Top 500 Greatest Songs of All Time".

"At Last" received a total of 81,3% yes votes!

[billboard-hotties-tourney]

Round One Is Over

Thanks for participating in the first round of the Tantalizing Tunes Tourney! The surviving songs are:

“The Revolution Will Not Be Televised” by Gil Scott Heron

“Good Vibrations” by The Beach Boys

“La Vie En Rose” by Edith Piaf

“Let’s Get It On” by Marvin Gaye

“Mirror Freak” by Steve Harley and Cockney Rebel

“Barracuda” by Heart

“The Boys Are Back In Town” by Thin Lizzy

“Oh, What a Beautiful Mornin’” by Gordon MacRae

“Let’s Stay Together” by Al Green

“Because the Night” by Patti Smith

“Time of the Season” by The Zombies

“Moonlight Serenade” by The Glenn Miller Orchestra

“Nobody Does It Better” by Carly Simon

“Layla” by Derek and the Dominos

“Whole Lotta Love” by Led Zeppelin

“Bolero” by Maurice Ravel

“Si” by Gigliola Cinquetti

“Put the Blame on Mame” by Anita Ellis

“Simple Twist of Fate” by Joan Baez

“Love Hangover” by Diana Ross

“Ring of Fire” by Johnny Cash

“I Want to Be Evil” by Eartha Kitt

“Cracked Actor” by David Bowie

“I Only Have Eyes for You” by The Flamingos

“Foxey Lady” by The Jimi Hendrix Experience

“Beast of Burden” by The Rolling Stones

“Dancing Queen” by ABBA

“Black Magic Woman” by Santana

“Sexy Mama” by Laura Nyro

“Breakfast In Bed” by Dusty Springfield

“Crimson and Clover” by Tommy James and the Shondells

“You’ll Never Find Another Love Like Mine” by Lou Rawls

“C’mon Little Mama” by The Guess Who

“Candy and a Currant Bun” by Pink Floyd

“You Sexy Thing” by Hot Chocolate

“Light My Fire” by The Doors

“Sugar Sugar” by The Archies

“Venus In Furs” by The Velvet Underground

“I Put a Spell on You” by Nina Simone

“(You Make Me Feel Like) A Natural Woman” by Carole King

“I Heard It Through the Grapevine” by Marvin Gaye

“I Wanna Be Your Dog” by The Stooges

“You Make Me Feel (Mighty Real)” by Sylvester

“Sway” by Julie London

“Mack the Knife (Live)” by Ella Fitzgerald

“Lady Marmalade” by LaBelle

“Let’s Do It (Let’s Fall In Love)” by Ella Fitzgerald

“How Deep Is Your Love” by Bee Gees

“Beggin’” by The Four Seasons

“Love Machine” by The Miracles

“Magic Man” by Heart

“Puttin’ on the Ritz” by Fred Astaire

“The Jean Genie” by David Bowie

“Bewitched, Bothered, and Bewildered” by Ella Fitzgerald

“Chantilly Lace” by The Big Bopper

“You’re Getting to Be a Habit With Me” by Peggy Lee

“Moving In Stereo” by The Cars

“Sweet Transvestite” by Tim Curry

“Fever” by Peggy Lee

“I Just Want to Make Love to You” by Etta James

“I Want You (She’s So Heavy)” by The Beatles

“Voodoo Child (Slight Return)” by The Jimi Hendrix Experience

“Magic Carpet Ride” by Steppenwolf

“Summertime” by Ella Fitzgerald

“Jolene” by Dolly Parton

“December, 1963 (Oh What a Night)” by Frankie Valli and the Four Seasons

“Fire” by The Jimi Hendrix Experience

“At Last” by Etta James

“The Crystal Ship” by The Doors

“Born to Run” by Bruce Springsteen

“Walkin’ After Midnight” by Patsy Cline

“Heartbreak Hotel” by Elvis Presley

“Sunshine of Your Love” by Cream

“Nightclubbing” by Iggy Pop

“These Boots Are Made For Walkin’” by Nancy Sinatra

“Paradise By the Dashboard Light” by Meat Loaf

“Gimme! Gimme! Gimme! (A Man After Midnight)” by ABBA

“Summer Wine” by Nancy Sinatra and Lee Hazlewood

“Spring Affair” by Donna Summer

“Nights In White Satin” by The Moody Blues

“I Feel Love” by Donna Summer

“The Lemon Song” by Led Zeppelin

“I Don’t Know” by Ruth Brown

“I Was Made For Lovin’ You” by KISS

“Golden Years” by David Bowie

“La Vie en Rose” by Josephine Baker

“Get Down Make Love” by Queen

“One of These Nights” by Eagles

“Night Moves” by Bob Seger

“Misfire” by Queen

“I Put a Spell On You” by Screamin’ Jay Hawkins

“Why Don’t You Do Right?” by Peggy Lee

“Trampled Under Foot” by Led Zeppelin

“Crazy On You” by Heart

“Get Off” by Foxy

“Biding My Time” by Pink Floyd

“Daddy Cool” by Boney M

“Crazy Love” by Van Morrison

“Corazon Contendo” by Marisol

“Dream a Little Dream of Me” by Ella Fitzgerald and Louis Armstrong

“My Heart Belongs to Daddy” by Eartha Kitt

“Moondance” by Van Morrison

“Isn’t She Lovely” by Stevie Wonder

“Love to Love You Baby” by Donna Summer

“Smoke Gets In Your Eyes” by The Platters

“Stiletto” by Billy Joel

“Feeling Good” by Nina Simone

“(You Make Me Feel Like) A Natural Woman” by Aretha Franklin

“Baba O’Riley (Live)” by The Who

“Whatever Lola Wants (Lola Gets)” by Sarah Vaughan

“Use Me” by Bill Withers

“Here I Am (Come and Take Me)” by Al Green

“If I Can Dream” by Elvis Presley

“Distant Lover” by Marvin Gaye

“Master Song” by Leonard Cohen

“You Belong to Me” by The Doobie Brothers

“Son of a Preacher Man” by Dusty Springfield

“Since I've Been Loving You” by Led Zeppelin

“Por Una Cabeza” by Carlos Gardel

“20th Century Boy” by T. Rex

“Soul and Inspiration” by The Righteous Brothers

“Tell Me Something Good” by Rufus ft. Chaka Khan

“Rock Your Baby” by George McCrae

“Larks’ Tongues In Aspic, Pt. 2” by King Crimson

“The Masochism Tango” by Tom Lehrer

“Can't Help Falling In Love” by Elvis Presley

“You’ve Lost That Lovin’ Feelin’” by The Righteous Brothers

“My Melancholy Blues” by Queen

If you have something to say about any of these songs that you want featured in the Round Two polls, drop it in the inbox!

Round Two will begin on December 16th around midnight PST.