Dinah Washington If You Don't Believe (LP)

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catalog number: LPJB1102
weight in Kg 0.21

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(Jukebox Lil) 16 tracks, gatefold cover more

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Dinah Washington: If You Don't Believe (LP)

(Jukebox Lil) 16 tracks, gatefold cover

Article properties: Dinah Washington: If You Don't Believe (LP)

Interpret: Dinah Washington
Album titlle: If You Don't Believe (LP)
Genre R&B, Soul
Geschwindigkeit 33 U/min
Vinyl record size LP (12 Inch)
Record Grading Mint (M)
Sleeve Grading Mint (M)
Artikelart LP
Label JUKEBOX LIL
EAN: 4000127728104
weight in Kg 0.21

Washington, Dinah - If You Don't Believe (LP) LP 1
01	Mean And Evil Blues	Dinah Washington
02	When A Woman Loves A Man	Dinah Washington
03	Big Deal	Dinah Washington
04	I'll Wait	Dinah Washington
05	Pillow Blues	Dinah Washington
06	Am I Really Sorry	Dinah Washington
07	If You Don't Believe I'm Leaving	Dinah Washington
08	I'm A Fool To Want You	Dinah Washington
09	Double Dealing Daddy	Dinah Washington
10	My Song	Dinah Washington
11	You Let My Love Grow Cold	Dinah Washington
12	Big Long Slidin' Thing	Dinah Washington
13	Silent Night	Dinah Washington
14	You Can't Love Two	Dinah Washington
15	Half As Much	Dinah Washington
16	Since My Man Has Gone And Went	Dinah Washington

Dinah Washington What A Diff'rence A Day Makes Dinah Washington What A Diff'rence A... more

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"Dinah Washington"

Dinah Washington

What A Diff'rence A Day Makes

Dinah Washington

What A Diff'rence A Day Makes

(G“Dinah was the reason they wanted me to take over Mercury’s New York office,” said Clyde Otis. “They introduced me to her, and I said, 'I respect what you do so much, I'm afraid to even suggest a change in direction, but I have this idea for you to do “What A Diff'rence A Day Makes.” Have you ever heard it?' She said she had, and she asked me if I wrote it [Otis’ predilection for his own songs was legendary in the business]. I said I hadn't, but I told her if she recorded it, it could be very successful for her. She said, 'You do huh, motherfucker.' That was how she talked. She said, 'I'll give you one take, motherfucker.' I knew she meant one take, too. On the session, she was getting her shit together in the bathroom, and I told Belford Hendricks the arranger to get all the kinks out of the arrangement. She came back, she said. 'Ready?' One take, and we got it.

I went to a product meeting [at Mercury HQ] in Chicago, and played them ‘What A Diff'rence.’ They hated it. Meantime, Arnold Shaw [professional manager at the music publisher E.B. Marks] heard it and thought it was a monster. Arnold said, 'I'll take this song on the road, and I believe we can get the dee-jays to support it.' He went out three months, and when he came back it was a hit.” In his book, Honkers And Shouters, Shaw adds that he actually brought the song to Otis. “When I suggested to Mercury executives that Dinah could sell pop, they patted me on the head and told me not to waste my company’s promotional budget,” wrote Shaw. “I was so excited when Clyde Otis cut [the song] that even though field promotion was the province of other members of staff, I went on the road. I spent nine weeks visiting disc-jockeys. Not R&B, but pop.”

Dinah changed the song’s tense. Originally written in Spanish circa 1934 by Maria Grever as Cuando Vuelva A Tu Lado, it was rendered into English that year by veteran Broadway tunesmith Stanley Adams as What A Diff’rence A Day MADE. It hadn’t been an especially big hit in 1934, although it was interpolated into the 1955 Kirk Douglas movie, 'The Racer'. In 1959, it became Dinah’s first pop hit of the rock ‘n’ roll era, and it was, by any criterion, an exquisite performance. In 1975, Esther Phillips took what was essentially Dinah and Belford Hendricks’ arrangement of the song back into the pop Top 20. By then, Dinah was twelve years dead.

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