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Dinah Washington Sings Fats Waller (1957)

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catalog number: CDFS576

weight in Kg 0,100


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Dinah Washington: Sings Fats Waller (1957)

(2010/FRESH SOUND) 21 tracks - 24bit mastering.


Dinah Washington - Sings Fats Waller (1957) Medium 1
1: Honeysuckle Rose  
2: Ain´t Misbehavin´ (I´m Saving My Love For Y.)  
3: I´ve Got A Feeling I´m Falling  
4: Keepin´ Out Of Mischief Now  
5: Everybody Loves My Baby  
6: Black And Blue  
7: Christopher Columbus  
8: T´ain´t Nobody´s Bizness If I Do  
9: Someone´s Rocking My Dreamboat  
10: Jitterbug Waltz  
11: Ain´t Cha Glad?  
12: Squeeze Me  
13: Bonus Tracks:  
14: Blues Down Home  
15: I Remember Clifford  
16: Bad Luck  
17: Honky Tonk  
18: All Of Me  
19: Light  
20: Somewhere Along The Line  
21: Make Me A Present Of You  
22: Black Water Blues  


Artikeleigenschaften von Dinah Washington: Sings Fats Waller (1957)

  • Interpret: Dinah Washington

  • Albumtitel: Sings Fats Waller (1957)

  • Format CD
  • Genre Pop

  • Music Genre Pop
  • Music Style Pop Vocal
  • Music Sub-Genre 281 Pop Vocal
  • Title Sings Fats Waller (1957)
  • Release date 2010

  • SubGenre Pop - Vocal Pop

  • EAN: 8427328605762

  • weight in Kg 0.100

Artist description "Washington, Dinah"

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.


Various - Blowing The Fuse 1959

Classics That Rocked The Jukebox

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