- catalog number: BCD15797
- weight in Kg 2.4
Doris Day: Que Sera, Sera (5-CD Deluxe Box Set)
This boxed set is the third in a series of collections from Bear Family which chronicle the entirety of Doris Day's recorded work as a solo artist for Columbia Records. By 1956 the rock and roll revolution had profoundly changed the popular music scene in America, but this same year also brought Doris Day the biggest hit of her career, Whatever Will Be, Will Be (Que Sera, Sera). Throughout the late `50s she continued her winning ways, working closely with legendary producer Mitch Miller, who in 1958 urged Doris to record 'Everybody Loves A Lover', another huge commercial success.
During this period Day remained a major motion picture star, and this collection contains selections from such favorite films as 1957's 'The Pajama Game' and 'Teacher's Pet' (1958). By the end of the decade, Doris Day's work in the classic farce 'Pillow Talk' helped to make her one of the biggest box office attractions in the world. Doris Day, Mitch Miller, and arranger Frank DeVol were all interviewed in the preparation of this comprehensive boxed set. Every note of all the wonderful music Miss Day made between 1956 and 1959, has been collected here for your listening pleasure. This set includes 128 songs on 5 CDs, a 96-page 12/12 hardcover book with a biography by Joseph Laredo & a discography by Nigel Burlinson, Larry Zwisohn & Richard Weize, with many rare pictures from the collection of Donald Chang.
Article properties: Doris Day: Que Sera, Sera (5-CD Deluxe Box Set)
|Day, Doris - Que Sera, Sera (5-CD Deluxe Box Set) Box set 1|
|01||Somebody Somewhere||Doris Day|| |
|02||We'll Love Again||Doris Day|| |
|03||Julie||Doris Day|| |
|04||Love In A Home||Doris Day|| |
|05||Gone With The Wind||Doris Day|| |
|06||The Song Is You||Doris Day|| |
|07||Don't Take Your Love From Me||Doris Day|| |
|08||The Gypsy In My Soul||Doris Day|| |
|09||Autumn Leaves||Doris Day|| |
|10||I Remember You||Doris Day|| |
|11||Hello, My Lover, Goodbye||Doris Day|| |
|12||Day By Day||Doris Day|| |
|13||But Beautiful||Doris Day|| |
|14||There Will Never Be Another You||Doris Day|| |
|15||But Not For Me||Doris Day|| |
|16||I Hadn't Anyone Till You||Doris Day|| |
|17||Today Will Be Yesterday Tomorrow||Doris Day|| |
|18||The Party's Over||Doris Day|| |
|19||Nothing In The World||Doris Day|| |
|20||Whad'ja Put In That Kiss||Doris Day|| |
|21||The Man Who Invented Love||Doris Day|| |
|22||Twelve O'Clock Tonight||Doris Day|| |
|23||Rickety Rackety Rendevous||Doris Day|| |
|24||Through The Eyes Of Love||Doris Day|| |
|Day, Doris - Que Sera, Sera (5-CD Deluxe Box Set) Box set 2|
|01||Once A Year Day!||Doris Day|| |
|02||Small Talk||Doris Day|| |
|03||There Once Was A Man||Doris Day|| |
|04||Seven And A Half Cents||Doris Day|| |
|05||Under A Blanket Of Blue||Doris Day|| |
|06||I See Your Face Before Me||Doris Day|| |
|07||Moon Song||Doris Day|| |
|08||Dream A Little Dream Of Me||Doris Day|| |
|09||You Do Something To Me||Doris Day|| |
|10||Wrap Your Troubles In Dreams||Doris Day|| |
|11||Close Your Eyes||Doris Day|| |
|12||Stars Fell On Alabama||Doris Day|| |
|13||The Night We Called It A Day||Doris Day|| |
|14||Soft As The Starlight||Doris Day|| |
|15||The Lamp Is Low||Doris Day|| |
|16||Moonglow||Doris Day|| |
|17||Cheek To Cheek||Doris Day|| |
|18||Nice Work If You Can Get It||Doris Day|| |
|19||I've Got My Love To Keep Me Warm||Doris Day|| |
|20||Let's Face The Music And Dance||Doris Day|| |
|21||Wrap Your Troubles In Dreams (alt)||Doris Day|| |
|Day, Doris - Que Sera, Sera (5-CD Deluxe Box Set) Box set 3|
|01||It Might As Well Be Spring||Doris Day|| |
|02||I'll Remember April||Doris Day|| |
|03||Three Coins In The Fountain||Doris Day|| |
|04||In The Still Of The Night||Doris Day|| |
|05||Soon||Doris Day|| |
|06||A Foggy Day||Doris Day|| |
|07||Love Is Here To Stay||Doris Day|| |
|08||Run Away, Skidaddle Skidoo (mono)||Doris Day|| |
|09||Teacher's Pet (mono)||Doris Day|| |
|10||Walk A Chalk Line (mono)||Doris Day|| |
|11||You'll Never Know||Doris Day|| |
|12||I Had The Craziest Dream||Doris Day|| |
|13||Over The Rainbow||Doris Day|| |
|14||Oh, But I Do||Doris Day|| |
|15||Easy To Love||Doris Day|| |
|16||That Old Black Magic||Doris Day|| |
|17||Pennies From Heaven||Doris Day|| |
|18||The Way You Look Tonight||Doris Day|| |
|19||Night And Day||Doris Day|| |
|20||Hooray For Hollywood||Doris Day|| |
|21||A Very Precious Love||Doris Day|| |
|22||Blues In The Night (My Mama Done Tol' Me)||Doris Day|| |
|Day, Doris - Que Sera, Sera (5-CD Deluxe Box Set) Box set 4|
|01||The Tunnel Of Love (take 1)||Doris Day|| |
|02||Instant Love||Doris Day|| |
|03||Posess Me (stereo)||Doris Day|| |
|04||The Tunnel Of Love (take 14)||Doris Day|| |
|05||Kissin' My Honey||Doris Day|| |
|06||That Jane From Maine (with train effect)||Doris Day|| |
|07||Steppin' Out With My Baby||Doris Day|| |
|08||The Lady's In Love With You||Doris Day|| |
|09||I Enjoy Being A Girl||Doris Day|| |
|10||Let's Fly Away||Doris Day|| |
|11||Why Don't We Do This More Often||Doris Day|| |
|12||Fit As A Fiddle (And Ready For Love)||Doris Day|| |
|13||Let's Take A Walk Around The Block||Doris Day|| |
|14||Makin' Whoopee||Doris Day|| |
|15||You're Driving Me Crazy (What Did I Do?)||Doris Day|| |
|16||Get Out And Get Under The Moon||Doris Day|| |
|17||I Feel Like A Feather In The Breeze||Doris Day|| |
|18||I'm Sitting On Top Of The World||Doris Day|| |
|19||Cuttin' Capers||Doris Day|| |
|20||Me Too (Ho-Ho! Ha-Ha!)||Doris Day|| |
|21||Love Me In The Daytime (double vocal)||Doris Day|| |
|22||Anyway The Wind Blows (double vocal)||Doris Day|| |
|23||Be Prepared||Doris Day|| |
|24||A Perfect Understanding||Doris Day|| |
|25||It Happened To Jane||Doris Day|| |
|26||He's So Married||Doris Day|| |
|27||Deck The Halls With Boughs Of Holly||Doris Day|| |
|28||Inspiration||Doris Day|| |
|Day, Doris - Que Sera, Sera (5-CD Deluxe Box Set) Box set 5|
|01||Roly Poly||Doris Day|| |
|02||Heart Full Of Love||Doris Day|| |
|03||The Sound Of Music||Doris Day|| |
|04||Oh! What A Lover You'll Be||Doris Day|| |
|05||No||Doris Day|| |
|06||A Fellow Needs A Girl||Doris Day|| |
|07||What Every Girl Should Know||Doris Day|| |
|08||Mood Indigo||Doris Day|| |
|09||What's The Use Of Wond'rin'||Doris Day|| |
|10||My Kinda Love||Doris Day|| |
|11||When You're Smiling||Doris Day|| |
|12||You Can't Have Everything||Doris Day|| |
|13||A Hundred Years From Today||Doris Day|| |
|14||The Everlasting Arms||Doris Day|| |
|15||Something Wonderful||Doris Day|| |
|16||Not Only Should You Love Him||Doris Day|| |
|17||What Does A Woman Do||Doris Day|| |
|18||Everybody Loves A Lover(st. w/o 2nd voc, alt)||Doris Day|| |
|19||Run Away, Skidaddle Skidoo (stereo)||Doris Day|| |
|20||Teacher's Pet (stereo)||Doris Day|| |
|21||Walk A Chalk Line (stereo)||Doris Day|| |
|22||Posess Me (mono) (alt.)||Doris Day|| |
|23||That Jane From Maine (w/o train effect)||Doris Day|| |
|24||Makin' Whoopee (alt.)||Doris Day|| |
|25||Love Me In The Daytime (single vocal)||Doris Day|| |
|26||Anyway The Wind Blows (single vocal)||Doris Day|| |
|27||Be Prepared (alt.)||Doris Day|| |
|28||A Perfect Understanding (alt.)||Doris Day|| |
April 3, 1922 – May 12, 2019
Doris Day radiated goodness. On the silver screen, she represented the woman every man wanted, or at least should have wanted—smart, sweet, and beautiful. In her later years, Day’s energies were largely channeled towards the welfare of the animals she loved. And before she became one of America’s most bankable film actresses, Day, who died on Monday, May 12 in 2019 at the age of 97, was a popular recording artist whose career commenced as a singer with several notable big bands.
Doris Kappelhoff was her maiden name. She was born in Cincinnati on April 3, 1922 and initially cultivated an interest in dance, but that was curtailed by a 1937 auto accident that injured her leg. During her extended period of healing, Doris began singing along with the big bands she heard on the radio, just for fun (Ella Fitzgerald was her favorite singer). Her mother encouraged her, hiring a music teacher, Grace Raine, for her sidelined daughter. Before long, the newly minted chanteuse was appearing on local radio and at a Chinese restaurant that featured live music.
Local bandleader Barney Rapp hired the newcomer to replace his pregnant wife as his orchestra’s ‘girl singer.’ Rapp changed her surname to Day, inspired by one of the numbers she sang, Day After Day. After Rapp, Day took similar singing posts with the big bands of Jimmy James, Bob Crosby, and Les Brown and His Band of Renown. The latter was where Day got her big break: she fronted Brown’s orchestra on a 1945 rendition of Sentimental Journeyfor Columbia that became a huge seller. It wasn’t her only trip to the winner’s circle with Brown’s outfit—she also scored with My Dreams Are Getting Better All The Time(her second chart-topper),Till The End Of Time, and Aren’t You Glad You’re You?(several more hits with Brown transpired over the next couple of years). Since Brown was Bob Hope’s bandleader, there was plenty of radio exposure for the young vocalist.
Day segued into movies despite having no acting experience. Her first role came in director Michael Curtiz’s 1948 musical ‘Romance on the High Seas.’ Its soundtrack included Day’s first big solo seller, It’s Magic, the work of Jule Styne and Sammy Cahn (they had recommended her for her part in the film). A couple of months earlier, her duet with Buddy Clark, Love Somebody, had climbed to the peak of the pop hit parade. Day quickly developed into a major musical film star, lighting up the screen in ‘Tea For Two’ (1950), ‘On Moonlight Bay’ (1951), and the hugely popular ’51 release ‘I’ll See You In My Dreams,’ the film bio of songsmith Gus Kahn.
Day’s lengthy solo recording career at Columbia was filled with hits. Her biggest in 1949 was Again; Hoop-Dee-Doocracked the Top Ten the next year (it was but one of her seven chart entries in ‘50), and Day scored big in 1951 with Would I Love You (Love You, Love You)and Shanghai. Her eight ’52 hits included duets with Frankie Laine, Donald O’Connor, and Johnnie Ray and the solo #1 A Guy Is A Guy. 1953 brought seven more chart bows including two more duets with Ray. Day’s ’54 hit haul was led by her tender ballad Secret Love, a chart-topper not only at home, where she registered nine hits in all that year, but in Great Britain too. It hailed from her movie ‘Calamity Jane,’ where Day played the raucous title role.
‘Love Me Or Leave Me,’ Day’s starring turn in the dramatic 1955 bio of singer Ruth Etting, proved that she could do more than dazzle in frothy musicals. Although the advent of rock and roll slowed Day’s constant assaults to the upper reaches of the pop hit parade somewhat, she had a mammoth seller in 1956 with the lilting Que Sera, Sera (Whatever Will Be, Will Be), from the Alfred Hitchcock-directed thriller ‘The Man Who Knew Too Much,’ where she co-starred with James Stewart (the song won an Oscar). A couple of years later, Day had her last major hit record with the delightful Everybody Loves A Lover, but by then her film career had taken precedence anyway.
Day’s movie career struck its apex with a series of romantic comedies where she was teamed with Rock Hudson: ‘Pillow Talk’ (1959), ‘Lover Come Back’ (1961), and ‘Send Me No Flowers’ (1964). Hudson wasn’t her only notable leading man during this period; she shared the screen with David Niven in ‘Please Don’t Eat The Daisies’ (1960), Cary Grant in ‘That Touch Of Mink’ (1962), and with James Garner in ‘The Thrill Of It All’ and ‘Move Over, Darling’ (both 1963). ‘The Glass Bottom Boat’ with Rod Taylor was Day’s last major film success in 1966.
Day starred in a self-named CBS-TV sitcom from 1968 to 1973. She was deeply involved in animal rescue organizations from the ‘70s on, founding the Doris Day Animal League in 1987 and the Doris Day Horse Rescue and Adoption Center in 2011. Her son, Terry Melcher, produced major hits by The Byrds and Paul Revere and The Raiders for Columbia and was a member of the surf music-oriented Rip Chords on their ’64 smash HeyLittle Cobra, which he co-produced (Melcher died in 2004).
© 2019 Bear Family Records GmbH
Doris Mary Anne von Kappelhoff entered the world on April 3, 1924, in Evanston, a comfortable middle class suburb of Cincinnati, Ohio. Her first name was borrowed from her mother's favorite silent film actress, Doris Kenyon. Both of her parents were born in America to German immigrants, and she was their third and final child (one son, Richard, died at the age of two long before Doris was born.
The other boy, Paul, was three years her elder). Her father, Frederick Wilhelm von Kappelhoff (known as William), was a music teacher; church organist; and choral master with a pronounced affinity for classical music. Her mother, Alma Sophia Welz, was an earthy, gregarious woman with a predilection for hillbilly music and country and western tunes. Her parents' diverse musical tastes (neither of which exerted any lasting influence on young Doris) were symptomatic of a deeper rift between them, and they were divorced in 1936. Alma Sophia moved her children to the nearby suburb of College Hill, but retained her job in the Evanston Bakery, which helped to finance the dance lessons that Doris had pursued since kindergarten.
A disastrous "debut performance", during which her turn in a school minstrel show was abbreviated when she wet her pants, did nothing to deter the youngster's fascination with popular music in general and dancing in particular. She attended ballet school, learned to tap dance, and by the age of twelve had developed an act with a neighborhood boy named Jerry Doherty. In 1937 the duo won the five hundred dollar first prize in a local amateur contest.
It was decided to use this money to help finance a trip to Hollywood, where they might further develop their skills at the well known Fanchon & Marco dance school. The fledgling partnership was so buoyed by their four weeks of tutelage under the attentive eye of film choreographer Louis Da Pron that they decided, along with their mothers, to return to Cincinnati and gather their possessions for a permanent move to the West Coast.
On Friday the 13th, October, 1937, the night of a farewell party thrown by family friends, Doris was in the back seat of a car that collided with a train at a railroad crossing. Her right leg was shattered, the move to Hollywood was forgotten, and presumably Astaire & Rogers could breathe easier once again. It was during her lengthy recuperation, compounded by a fall that broke the knitting bones once again, that the events which turned Day into a singer were set in motion. "So you see, every 'break' is a good one!," she later noted wryly.
The long commute to school was unmanageable on her crutches, so Doris bided her time in the family's new apartment. It was upstairs from her Uncle Charley's tavern, and the music of the latest popular favorites from the juke box down below was constantly in the background. In her boredom she turned to the radio, which regularly featured remote broadcasts from the great dance bands of the era. She enjoyed Benny Goodman and the Dorseys and their ilk, though as she was later to note in her autobiography, "... the one radio voice I listened to above others belonged to Ella Fitzgerald.
There was a quality to her voice that fascinated me, and I'd sing along with her, trying to catch the subtle ways she shaded her voice, the casual yet clear way she sang the words." At this time Fitzgerald was singing with the band that brought her to stardom, Chick Webb and his Orchestra (together they enjoyed one of the most successful recordings of all time with A-Tisket, A-Tasket in 1938). Her influence on Day is very much in evidence on many of Doris's early recordings with the Les Brown band, as well as on the four small-group sides that open this collection.
In hopes that this newfound interest in singing might supplant dancing in her daughter's life, Day's mother brought her to vocal coach Grace Raine, the woman whom Doris today credits as the, "one person who had the greatest effect on the career that was in store for me. "Though not a vocalist herself, Raine was a gifted • teacher who impressed upon her young pupil the importance of sincerely feeling a song's lyrics, and communicating their meaning in an intimate, personal manner.
"The most important thing that Grace Raine told me," recalls Day, "was that when you sing, don't think of a big audience out there. Sing into someone's ear. A person. You're acting." Grace felt that Doris had so much potential that she was willing to accommodate her limited means and gave her three lessons a week for the price of one.
Raine was affiliated with Cincinnati radio station WLW, and to gauge how her protege might sound over the air, she arranged for her to appear on Carlin's Carnival, a local Saturday morning radio show that featured amateur talent. Doris performed Day After Day, the song that was to eventually provide her with...
Que sera, Sera
super schönes Set mit sämtlichen Aufnahmen von Doris Day inkl. "Que Sera,Sera" mit dem sie sich, wie Judy Garland mit "Somewhere over the Rainbow" unsterblich machte und nahezu jeder kennen dürfte - wenn man bedenkt, dass sie dieses Lied ursprünglich gar nicht singen wollte.
In der 8-Disc Box "MOVE OVER DARLING" gibt es eine weitere Version/Interpretation des bekannten Liedes.
Das Buch mit Bilder von Doris Day und auch zu ihren Filmen ist wiederum in LP Grösse schön aufgemacht.
Fazit: Qualität/Sound/Aufmachung ist TOP - für jeden wärmsten zu empfehlen, der Musik aus jeder Zeit mag
I love Doris Day
This is a really great appreciation of her musical work!
Ready to ship today, delivery time** appr. 1-3 workdays
Ready to ship today, delivery time** appr. 1-3 workdays
Ready to ship today, delivery time** appr. 1-3 workdays
Ready to ship today, delivery time** appr. 1-3 workdays