Dinah Washington The Complete Volume 2 - 1946-1947 (CD)

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(The Official Record) 16 tracks more

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Dinah Washington: The Complete Volume 2 - 1946-1947 (CD)

(The Official Record) 16 tracks

Article properties: Dinah Washington: The Complete Volume 2 - 1946-1947 (CD)

Interpret: Dinah Washington
Album titlle: The Complete Volume 2 - 1946-1947 (CD)
Genre Blues
Artikelart CD
Label The Official Record
EAN: 0031287003521
weight in Kg 0.1

Washington, Dinah - The Complete Volume 2 - 1946-1947 (CD) CD 1
01	Embraceable You	Dinah Washington
02	I Can’t Get ed With You	Dinah Washington
03	When A Woman Loves A Man	Dinah Washington
04	Joy Juice	Dinah Washington
05	Oo-we Walkie Talkie	Dinah Washington
06	The Man I Love	Dinah Washington
07	You Didn’t Want Me Then	Dinah Washington
08	A Slick Chick (On The Mellow Side)	Dinah Washington
09	Postman Blues	Dinah Washington
10	That’s Why A Woman Loves A Heel	Dinah Washington
11	Mean And Evil Blues	Dinah Washington
12	Stairway To The Stars	Dinah Washington
13	I Want To Be Loved	Dinah Washington
14	You Satisfy	Dinah Washington
15	Fool That I Am	Dinah Washington
16	There’s Got To Be A Change	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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