Dinah Washington Sings Blazing Ballads (LP, 180g Vinyl, Ltd.)

Preview: Sings Blazing Ballads (LP, 180g Vinyl, Ltd.)

Sings Blazing Ballads (LP, 180g Vinyl, Ltd.)

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catalog number: LPSC037
weight in Kg 0.32

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(Supper Club ) 14 titres, vinyle 180g, édition limitée Blues, R&B and jazz singer Dinah... more

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Dinah Washington: Sings Blazing Ballads (LP, 180g Vinyl, Ltd.)

(Supper Club ) 14 titres, vinyle 180g, édition limitée

Blues, R&B and jazz singer Dinah Washington (1924-1963), the Grammy award-winning.

"Queen of the Black Jukebox" left her turbulent life behind due to an overdose at the tender age of 39. In that short time, a volatile mix of undeniable talent and deep-rooted insecurity led her to the heights of fame. Dinah Sings Blazing Ballads is a new compilation of her best ballads. Backed by musicians including Clark Terry, Cannonball Adderley, Wynton Kelly and orchestras conducted by Quincy Jones and Don Costa.

Article properties: Dinah Washington: Sings Blazing Ballads (LP, 180g Vinyl, Ltd.)

Interpret: Dinah Washington
Album titlle: Sings Blazing Ballads (LP, 180g Vinyl, Ltd.)
Genre Blues
Geschwindigkeit 33 U/min
Vinyl record size LP (12 Inch)
Record Grading Mint (M)
Sleeve Grading Mint (M)
Artikelart LP
Label Supper Club
EAN: 8435723700678
weight in Kg 0.32

Washington, Dinah - Sings Blazing Ballads (LP, 180g Vinyl, Ltd.) LP 1
01	If I Had You	Dinah Washington
02	Teach Me Tonight	Dinah Washington
03	You Don't Know What Love Is	Dinah Washington
04	I Could Write A Book	Dinah Washington
05	Blue Gardenia	Dinah Washington
06	Cry Me A River	Dinah Washington
07	Mad About The Boy	Dinah Washington
08	Easy Living	Dinah Washington
09	I'll Close My Eyes	Dinah Washington
10	What A Difference A Day Made	Dinah Washington
11	Let's Do It (Let's Fall In Love)	Dinah Washington
12	These Foolish Things	Dinah Washington
13	If It's The Last Thing I Do	Dinah Washington
14	This Bitter Earth	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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Read more at: https://www.bear-family.de/various-blowing-the-fuse-1959-classics-that-rocked-the-jukebox.html
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