#Mort Shuman

[haveyouseenthismovie-poll]

[rolloroberson]

“Sweeter than wine

Softer than the summer night

Everything I want, I have

Whenever I held you tight…” - Pomus-Shuman

[fidjiefidjie]

Bon Matin 💙😪🎙🤗

Mort Shuman🎶Sorrow

[themoonsaid]

– doc pomus and mort shuman, 1959

[genevieveetguy]

I can't accept the proximity of my face and my vagina.

A Real Young Girl (Une vraie jeune fille), Catherine Breillat (1976)

[france-cinema]

Mort Shuman et Dominique Labourier dans La Lune d'Omaha téléfilm réalisé par Jean Marbœuf le 26 octobre 1985.

[guessimdumb]

Camille "Lil" Bob - Stop (1969)

Howard Tate recorded the definitive version, but Camille “Lil” Bob’s rendition’s got that NOLA soul bounce.  Written by Jerry Ragovoy and Mort Shuman

[famousdeaths]

Mortimer Shuman was an American singer, pianist and songwriter, best known as co-writer of many 1960s rock and roll hits, including "Viva Las Vegas". He also wr...

Link: Mort Shuman

[filosofablogger]

♫ Save The Last Dance For Me ♫

It’s been over four years since I played this one by The Drifters … time for a redux, yes? This song tells the story of a couple at a dance. He tells his wife that she is free to dance and socialize with other men throughout the evening, but she should not forget that she is going home with him. Inspiration for the song came from a very personal experience. The songwriting team of Doc Pomus and…

[transpondster]

Nilsson, in the released version with band and orchestration, covering Save The Last Dance For Me

[the story goes that Nilsson was drinking way too much by this point and had blown out his voice during the making of the ‘Pussy Cats’ album, and the change in his voice between the demo version and this version is clearly audible, although the singing on this version is still excellent]

[wornoutspines]

The Wheel of Time (S2 Review) | The Show that Required The Ring Of Power's Budget.

After a great finale and a season re-watch I have some thoughts on S2 of The Wheel of Time.

#TheWheelOfTime #TwitterOfTime #SeasonReview #WheelOfTime #TVAdaptation #Review #TVTwitter #PrimeVideo

My journey into The Wheel of Time‘s world really started with the series Rafe Judkins created, I read “The Eye Of The World” before the Season One premiere but the TV series prompted my reading of the first book at the time. Even if Robert Jordan‘s books were sitting on my TBR for some time. The same happened with this season, I read “The Great Hunt” before the Season two premiere. What brought…

[hooked-on-elvis]

"I Met Her Today" (1961-1965)

Recorded on October 15, 1961 at RCA’s Studio B, Nashville · Release date: July 19, 1965 · Album: Elvis for Everyone! (compilation)

MUSICIANS Guitar: Jerry Kennedy, Scotty Moore. Bass: Bob Moore. Drums: Buddy Harman, D.J. Fontana. Piano & Organ: Floyd Cramer. Saxophone & Clarinet: Boots Randolph. Accordion: Gordon Stoker. Vocals: Millie Kirkham, The Jordanaires.

Illustrative pictures · (1) On Sunday afternoon, July 30, 1961, Elvis appeared at Weeki Wachee Springs Park in Florida, on the west coast where he was then filming "Follow That Dream"; (2) Elvis on movie set Frankie and Johnny June 10, 1965.

RECORDING SESSION · BACKSTORY Soundtrack Recordings for Mirisch Company’s "Follow That Dream" July 2, 1961: RCA’s Studio B, Nashville One thing seemed certain to the Colonel: It made sense to go into the studio for another singles-only session. The June 25 session proved that Elvis and his band could focus their attention better when they were all trying to cut a hit single; increasingly, too, scheduling was becoming a problem, and between the two Mirisch pictures there would only be time to arrange a short session. Once Freddy [Bienstock] understood the Colonel’s goal, he knew exactly where to turn for hit material — to his hot new team, Pomus and Shuman. Having gotten three cuts on the last session was more than enough motivation to propel the songwriters into action. Mort Shuman had a simple formula for writing hits — “Chorus, break, and gimmick” — and the two had noticed that Elvis was drawn to first-person songs; in no time, then, they came up with a stranger’s tale, a gimmick, and a Phil Spector – produced demo. The song, “Night Rider,” was just the kind of rocker Freddy was looking for, and he sent it off to Elvis along with two Tepper and Bennett compositions, “Just For Old Time Sake” and “For The Millionth And The Last Time,” as well as two others (“Ecstasy” and “You Never Talked to Me”) and the promise of “a couple of real strong songs in the next few days.”

RECORDING OF "I MET HER TODAY" Studio Sessions for RCA October 15, 1961: RCA’s Studio B, Nashville The “real strong songs” Freddy had mentioned in his note were two brand-new Don Robertson ballads. Elvis’s careful phrasing suggests that he’d done serious preparation on the first, “Anything That’s Part Of You,” but that didn’t stop him from working hard on it, running through six takes as Floyd Cramer worked to duplicate the slip-note fills Robertson had played on the demo. Years later Elvis would tell audiences that “I’m So Lonesome I Could Cry” was “probably the saddest song I’ve ever heard,” but he never portrayed abandonment more convincingly than on this cut. Among Elvis’s recorded ballads perhaps the only competition comes from some of the other Robertson songs recorded in 1961 and ’62. The second of his contributions, “I Met Her Today,” told a more hopeful story, but it proved harder to get right. After a promising first take Elvis paused to correct some problems with the song’s challenging octave-and-a half leaps, but as soon as he’d mastered that, band mistakes began to multiply. After twenty takes the group’s concentration had worn thin, and they agreed to stop, leaving take eighteen as the master. But the recording lay unused for four years until RCA resurrected it for Elvis For Everyone.

Excerpts: "Elvis Presley, A Life in Music: The Complete Recording Sessions" by Ernst Jorgensen. Foreword by Peter Guralnick (1998)

LYRICS Don Robertson/Hal Blair I told you that some day If you kept on being untrue Somebody else would come along And release me from you You'll be glad to know now Your fickle world Can have its own way For it finally happened I've met her today I used to think I just couldn't live A day without you In spite of the thousand doubts and tears That you put me through All at once I don't care as much for you I'm sorry to say For now there's another I met her today How I treasured each smile, each kiss You gave to me now and then Well, you needn't be kind to me now Oh no, not ever again Just when the last bit of pride in me was gone Someone heard me pray And sent me my angel I met her today I met her today

[kvetchlandia]

Kai Mort Shuman Paul Simon and ARt Garfunkel Performing at the Bitter End, Greeenwich Village, New York City 1964

[julio-viernes]

"Shakin´ All Over" de Johnny Kidd & the Pirates - una de las primeras grandes canciones del rock and roll británico, un auténtico tótem- es básicamente "Little Sister" de Elvis.

¿O es al revés? Miren que escuché veces y más veces las dos, y hasta hoy no me había percatado de su parentesco.

"Shakin´ All Over" es anterior, junio de 1960, "Little Sister" es de agosto de 1961.

¿Tal vez se fijaron en ese éxito autóctono UK los laureados compositores Doc Pomus & Mort Shuman? Es muy posible, lo cierto es que una está al lado de la otra, son canciones hermanas.

[tavolgisvist]

Billy J. Kramer came from Bootle, at the other end of the docks from Gerry Marsden’s Dingle. Like Gerry, though, he had a job on the railways, played at the Cavern and came under the gaze of Brian Epstein. He was really called Billy Ashton but found Kramer in a phone book. (The ‘J’ was a casual flourish.) Brian then went to Billy’s manager, one Ted Knibbs, and paid him £25 to secure the boy’s freedom. Brian teamed him with a Manchester backing band, the Dakotas, swopped his old school glitter jackets for the black Dougie Millings suits worn by the Beatles, and duly placed him at Parlophone with George Martin. Handsome, clean, well-grpomed in a slightly old-fashioned way (his hair was still combed back, not forward), Billy was not a rocker in the Lennon mould. Nevertheless it was John who recommended him to Brian and supplied his Erst hit, ‘Do You Want to Know a Secret?’ Soon Billy was at Number 1 with another Lennon and McCartney original, ‘Bad to Me’. As the third of Epstein’s Liverpool stable to reach the top - after Gerry and the Pacemakers and the Beatles - Billy J. Kramer’s success confirmed Merseybeat as a full-on phenomenon. Brian organised elocution lessons for the Bootle boy, hoping for opportunities in acting, though nothing transpired. He was lucky in having John and Paul around to supply their surplus songs, and scored again with ‘From a Window’ and ‘I’ll Keep You Satisfied’… He found his biggest song, however, in a spurt of independence, when he insisted on recording ‘Little Children’, by the gifted US writer Mort Shuman. He displayed taste, too, by covering Burt Bacharach’s ‘Trams and Boats and Planes’. His great mistake, however, was to turn down McCartney’s offer of ‘Yesterday’: ‘I said, I don’t like it, it’s boring, Paul. I want a rock’n’roll song.’ <…> Then there were the Fourmost. They suffered from a lack of Brian’s time and attention. On the other hand their NEMS connection brought the all-important link to Lennon and McCartney. When they asked John for a song, he gave them ‘Hello Little Girl’, saying he’d written it on the toilet: no writer’s block for the Beatles in 1963, clearly. It got them a Top 10 hit and gave them a career. The next, ‘I’m in Love’, was written by the Beatles especially for them. <…> Epstein’s touch, though spectacular, was not infallible. The evidence was a boy called Tommy Quickly (born Thomas Quigley). He went to the lesser-known Piccadilly label, and was therefore without the services of George Martin. His statutory Lennon and McCartney song, Tip of My Tongue’, was among their least distinguished. ‘He was an exciting stage performer,’ recalls Spencer Leigh, ‘and there is a live version of “I Go Crazy”, the James Brown song, which is very good. He was going to record a version of the Beatles’ “No Reply” but he messed it up and the session was aborted.’

(Liverpool - Wondrous Place by Paul Du Noyer, 2002)

Part (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII), (XIV), (XV), (XVI), (XVII), (XVIII), (XIX), (XX), (XXI), (XXII)