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LET THERE BE MUSIC
by Neil Stevens

initially published in the Greater London Pensioner
 
Warner Bros

Have you noticed the music content of Warner Bros films? To the showing of Burbank Studios the music of composer Herman Hupfield's 1931 song that emerged from obscurity in 1942.   It's the now famously familiar: As Time Goes By so much a part of the Humphrey Bogart-Ingrid Bergman classic: Casablanca the film ran at Warner Theatre, Leicester Square, London from Jan 15 to end of March; ABC release from May 19. 1943.

For well over 60 years this perfect number has been beautifully interpreted by Shirley Bassey; Tony Bennett; Rosemary Clooney;

Bing Crosby; Vie Damone, Peggy Lee, Singers Unlimited, Anne Shelton first with Ambrose, then with the Wally Stott Orchestra.

Way back in WW2 alongside Ambrose, you would have heard Joe Loss with Harry Kaye; Carroll Gibbons with orchestra, piano and vocal, Victor Silvester; Eric Winstone with Julie Dawn, and still available the wonderful soundtrack version where Ingrid implores "Play it, Sam". Earlier in 1931 Jack Plant sang it in the UK with The Savoy Orpheans, but the big USA hit was for Rudy Vallee, successfully revived in 1942.

Music from two other 1940s films had to wait for lyrics.   The Bette Davis-Paul Henried-Claude Rains melodrama. Now, Voyager had a searing emotional theme from Max Steiner.  Film was at Warner Theatre from 8 Nov '43, the song in question It Can't Be Wrong. There were some great sides of same in 1943/44, Dorothy Carless wonderful as always with Geraldo Orchestra; Anne Shelton again with Ambrose. Later with superb sounding Wally Stott Orchestra. Number one in USA came from Dick Haymes, since joined by Bing Crosby and Bctte Davis herself.   Harry James trumpet and orchestra covered the song, so too British-made Vera Lynn and Denis Lotis.

Tip-top lyricist of them all, Johnny Mercer provided the   imaginative   words   to accompany by then fully-fashioned Laura, which played both New York (Roxy) and London   (Empire)   November   1944. Enigmatic Laura whose stunning portrait is all the audience sees at first, were gripped by mystery and breathtaking music of David Raksin, a melody which still haunts, it has an air of mysticism, something sensational but out of reach.

A few months after the film's first showings, Frank Sinatra recorded with Axel Stordhal, later there was Dick Haymes. In the UK Len Camber sang it with Geraldo; Canadian Paul Carpenter joined the Savoy Orpheans; Alan Kane with Eric Winstone. In America clarinet soloist, vocalist Woody Herman sold a million.   Since then it's become big time and a stayer in catalogues and record counters for Ray Anthony. Les Brown, Vie Damone, Billy Eckstine, Robert Farnon, Ella Fitzgerald, Mantovani, Paul Weston Orchestra. What a choice!

One of these days I'll get round to profiling Brighton music man. Ray Noble, who made it big in both UK and USA. Of his many songs one of my favourites is The Very Thought of You, which Ray recorded with The New Mayfair Dance Orchestra and singer Al Bowlly in 1934.   Terrifically prolific in 1934 when Sam Browne sang it with Ambrose, Les Alien with both Henry Hall and Harry Leader and their respective, respected bands, Peggy Dell with Roy Fox, also from the Joe Loss Band. Doris Day sings it in Young Man of Music.

Top names sing this British beauty among them Tony Bennett, Bing Crosby, Ken Dodd, Vince Hill, Ted Heath and Ken Mackintosh, adopted it as his signature tune, David Rose and Andy Williams. Above all others if only allowed just one I'd settle for the exquisite version by Nat 'King' Cole.

Completing this handful   (five)   of favourites. Cole Porter's devastatingly good Begin the Beguine. Written for a 1935 Broadway revue Jubilee, amazing that at the time it meant very little. Then along came arranger Jerry Gray, who for clarinet king Artie haw made a still much sought-after side; then in 1940

M-G-M and Fred Astaire gave it more life in Broadway Melody of 1940 and the song as they say, never looked back.

A 1940 version caused a dispute between vocalist Chick Henderson (who died at the end of WW2), his baritone vocal is an example of how a song should be delivered. I'm torn, if only allowed a single between Chick and still indestructible marvellous sounding Ella Fitzgerald, to be found on the Cole Porter Songbook with the just as marvellous backing by renowned Buddy Bregman Orchestra.   Let me know your musical favourites and I'll find space for you.