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Dinah Washington What A Difference A Day Makes (1959)...plus

What A Difference A Day Makes (1959)...plus
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  • CD543300
  • 0.1
CD on POLYGRAM RECORDS by Dinah Washington - What A Difference A Day Makes (1959)...plus more

Dinah Washington: What A Difference A Day Makes (1959)...plus

CD on POLYGRAM RECORDS by Dinah Washington - What A Difference A Day Makes (1959)...plus

Article properties: Dinah Washington: What A Difference A Day Makes (1959)...plus

  • Interpret: Dinah Washington

  • Album titlle: What A Difference A Day Makes (1959)...plus

  • Label POLYGRAM

  • Genre R&B, Soul

  • Artikelart CD

  • EAN: 0731454330022

  • weight in Kg 0.1
Washington, Dinah - What A Difference A Day Makes (1959)...plus CD 1
01 I Remember You
02 I Thought About You
03 That's All There Is To That
04 I Won't Cry Anymore
05 I'm Thru With Love
06 Cry Me A River
07 What A Diff'rence A Day Made
08 Nothing In The World
09 Manhattan
10 Time After Time
11 It's Magic
12 A Sunday Kind Of Love
13 Time After Time (First Version)
14 Come On Home
15 It Could Happen To You
Dinah Washington What A Diff'rence A Day Makes Dinah Washington What A Diff'rence A... more
"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.

 

Various - Blowing The Fuse 1959

Classics That Rocked The Jukebox


Read more at: https://www.bear-family.de/various-blowing-the-fuse-1959-classics-that-rocked-the-jukebox.html
Copyright © Bear Family Records

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