Read my other comments for biographical detail on Tommy Sands.
Sands is one of the many otherwise convincing rockers who were encouraged to try their hand at trad pop, or at least, trad pop numbers with rockin’ rhythms in the late 1950s.
He had been at it since the mid-1950s playing countrybilly and rock numbers but had his first flush of success with some slick poppy teen oriented rock ‘n’ roll with “Teen-Age Crush” in 1957 (#2US).
His music career was being supplemented by an acting career and as his acting became more dominant his music became more broad and accessible.
The trend was, in any event, to try to deal with rock ‘n’ roll and emerging rock ‘n’ rollers by having them do Trad pop and Tin Pan Alley songs. I suspect it wasn’t a conspiratorial act against rock ‘n’ roll but a natural outcome of economic forces where profits are the goal. Social culture created the music but its marketing and promotion was something altogether different. The music had to sell. I mean the industry was controlled by middle aged west or east coast A&R men who had to make their companies money, which meant they had to reach an audience as broad as possible (including grownups who listened to albums a more than 45s) and needed a lot of new product quickly (and there was a lot of old tunes lying around reading to be repurposed).
Dusting down Trad Pop tunes they were familiar with and utilising the talents of arrangers, producers and musicians who were professional (and, no doubt, efficient) seems like a no brainer.
Rock ‘n’ Roll, or rather Rock “n” Pop, would, one day (and quite soon) create its own industry of musicians, producers with its own repertoire of writers and songs to draw from but this was still new (ish) territory in 1960.
Everyone was encouraged to go the Rockin Trad way (Elvis, Rick Nelson, The Everly Brothers, Bobby Rydell, Bobby Vee, Freddy Cannon, Frankie Avalon) and some embraced it (Pat Boone, Bobby Darin, Bobby Vinton, Connie Francis) whereas some retreated to other music genres (country for Jerry Lee Lewis, Johnny Cash, Charlie Rich) or stuck to their guns albeit with diminishing returns (Bill Haley, Gene Vincent).
Tommy embraced it and never really returned to his Rock ‘n’ Roll roots.
It probably seemed a good idea at the time.
I said this in relation to his "This Thing Called Love" album from 1959.
“Tin Pan Alley and trad pop songs are covered, and done relatively straight with orchestrations. The ballads are especially straight though the up-tempo numbers have some beat with more dominant electric guitar than normal for trad pop numbers.
I don't know (yet) if the next three albums he did were in the same paddock, but, two were with standards orchestrated by Nelson Riddle and another was a live set of (mainly) standards at the Sands Hotel.
With chart success (or lack of) hindsight the career as a trad pop singer and movie star was not a good move but, at the time, the same strategy was working well for Bobby Darin and Pat Boone.
So in some ways Tommy went from an Elvis inspired singer to a Bobby Darin inspired singer.
None of this is meant as criticism.
There are always a couple of touchstones who influence all those around them at any given time.
Tommy does have his own voice, a good voice, and does impart his personality on his music, but he just doesn’t get to do it enough”.
I also said this:
“Sands has a great voice which suits trad pop perfectly. It's nothing you haven't heard before but it would be perfect background music … and would have everyone guessing … I'm keeping it”.
This all applied here, on this album, two albums down the track and his fifth album (in two years) overall.
The liner notes say "Not influenced by previous renditions of the songs, Tommy's versions are strikingly fresh ….". Well, yes, sort of, though they don't necessarily surpass earlier versions either. What songs you prefer comes down to the song itself rather than Tommy's renditions. That's not to say he doesn't do a good job, he does, but these are familiar songs (that's, err, why they are standards) and it is hard to distinguish them. Any freshness comes from his relative youth and optimism (even his "sad songs" aren't totally broken hearted). A little surly or cynical rock 'n' roll attitude would have helped even more.
As was popular at the time the album is thematically tracked. One side has ‘love” songs whereas the other has “lost love” or “broken love” songs.
Nelson Riddle fresh from a series of Sinatra album successes provides perfect trad pop arrangements.
Tracks (best in italics)
Side One
- Hello, Young Lovers – (Richard Rodgers-Oscar Hammerstein II) – From the 1951 musical, "The King and I". It is sung by Gertrude Lawrence in the original Broadway production and by Deborah Kerr in the 1956 film version (although voiced-over by Marni Nixon). Other versions were done by Perry Como (#27 US Pop 1951), Frank Sinatra (1951), Andy Williams (1959). This is well sung and lush with Nelson Riddle's tasteful restraint (comparatively speaking).
- The Nearness of You – (Hoagy Carmichael-Ned Washington) – The song debuted in a 1940 recording by Glenn Miller and His Orchestra, with vocals by Ray Eberle (#5 US Pop, 1940). This has been done by everyone including: Bob Manning (#16 US Pop, 1953), Bing Crosby (on radio)(1954), Sammy Davis Jr. (1957), Joni James (1956) Sarah Vaughan (1949). A standard, and again very well sung though no different to any of the other versions.
- Always – (Irving Berlin) – Probably sung first by Henry Burr (1926), then by others including Deanna Durbin (1944) and Frank Sinatra (1947). I can't disassociate this song from Sinatra's great version.
- I'm Glad There Is You – (Paul Madeira-Jimmy Dorsey) – First recorded by Jimmy Dorsey and His Orchestra (with Bob Eberly on vocals) in 1942. This has become a jazz standard and has been covered by Frank Sinatra (1954), Ella Fitzgerald (1954), Johnny Mathis (1957), The Four Freshmen (1960) and many others.
- It Had To Be You – (Isham Jones-Gus Kahn) – First recorded by Sam Lanin and his Orchestra (1934) it has been done in many films including Priscilla Lane 1939 (in "The Roaring Twenties"), Dooley Wilson 1942 (in "Casablanca"), Ginger Rogers and Cornell Wilde 1947 (in "It Had To Be You") and Joanne Dru who sang a portion of it in 1955's "Hell On Frisco Bay". It has been recorded by Danny Thomas (1951), Doris Day (1951), Bing Crosby (1952), Billie Holiday (1955), and Ray Charles (1959), and many more since. A great song and this is a good version.
- What A Diff'rence a Day Made – (Maria Grever-Stanley Adams) – Written in Spanish the first version as "Cuando vuelva a tu lado" was by Orquesta Pedro Via (1934). Eydie Gormé & Trio Los Panchos recorded it in Spanish in 1964. "What a Diff'rence a Day Made", also recorded as "What a Diff'rence a Day Makes" had English supplied by Stanley Adams. It was first recorded in English by Cleveland crooner Jimmie Ague (1934) and was popular by the Dorsey Brothers and then recorded by Vaughn Monroe (1955), and then later by Bobby Darin (1964), Dean Martin (1962) and others. The most popular version is by Dinah Washington (#8 US Pop, #4 US R&B 1959).
Side Two
- I'll Remember April – (Raye-De Paul-Johnston) – This classic song has been recorded by hundreds of artists. It made its debut in the 1942 Abbott and Costello comedy "Ride 'Em Cowboy", being sung by Dick Foran. Chart versions include: #1 for Bing Crosby (#1 US 1944), Tommy Dorsey and His Orchestra (vocal by Frank Sinatra) (#4 US 1944), the Poni-Tails (#87 US 1959), the Five Satins (#79 US 1960), and #58 for Frank Sinatra in October 1961 (#58 US Pop 1961). It has also been done by Chet Baker (1953), Shirley Bassey (1959), June Christy (1958), Bing Crosby (1944), Bobby Darin (1959), Miles Davis (1954), Doris Day (1958), Erroll Garner (1955), Stan Getz (1954), Eydie Gormé (1959),Julie London (1956), Carmen McRae (1956), Gordon MacRae (1959), Charles Mingus Quintet & Max Roach (1955), Dinah Shore (1958), Frank Sinatra (1962), and Dinah Washington (1954). I think you need to be older to do this song.
- Fools Rush In – (Rube Bloom-Johnny Mercer) – First done by Bob Crosby and His Orchestra (1940) and then done by everyone including Glenn Miller with Ray Eberle (1940), Tommy Dorsey with Frank Sinatra (1940), Sinatra alone (1949), Doris Day (1962) Billy Eckstine (1947). The Ricky Nelson version from 1963 was an enormous hit (#12 US Pop) and featured guitarist James Burton. Elvis Presley, with Burton as guitarist, followed Ricky Nelson's style in 1971 featured on the 1972 album "Elvis Now". I love this song, and this is a good (straight) version.
- Say It Isn't So – (Irving Berlin) – First sung by Rudy Vallée, who had a hit with it in 1932, and then done by everyone. including Julie London (1955) and Andy Williams (1959). Okay.
- More Than You Know – (Youmans-Rose-Elisco) – It was popularized by Jane Froman in 1932 and then by everyone including Perry Como (1946) and Bing Crosby (1956). More okay.
- I Get The Blues When It Rains – (Harry Stoddard-Marcy Klauber) – First recorded by Guy Lombardo and His Royal Canadians (# 8 US Pop 1929) and then vocal duo Ford Rush and Glenn Rowell (# 16) in the same year. Amongst the many covers Rusty Draper (1957), Roy Hamilton (1959), Jerry Lee Lewis (1969). Roy's version is the best but his is excellent also.
- I'll Be Seeing You – (Sammy Fain-Irving Kahal) – Sung in the Broadway musical "Right This Way" in 1938 by Tamara Drasin. it was featured in the 1944 movie "I'll Be Seeing You" (performed off-screen by Louanne Hogan). Bing Crosby had a hit with it that year (#1 US Pop). The song became associated with Liberace, as the theme music to his television show of the early 1950s. Dozens of versions have been done including Frank Sinatra with Tommy Dorsey and His Orchestra (1940), The Five Satins (1959), The Four Freshmen (1952 and again in 1953), Johnny Mathis (1959), Jo Stafford (1959), Dean Martin (1965), Gene Pitney (1963), and Rod Stewart (2002). A good version, but a great song.
Links:
Hello, Young Lovers
https://en.wikipedia.org/wiki/Hello,_Young_Lovers_(song)
The Nearness of You
https://en.wikipedia.org/wiki/The_Nearness_of_You
Always
https://en.wikipedia.org/wiki/Always_(Irving_Berlin_song)’
I'm Glad There Is You
https://en.wikipedia.org/wiki/I%27m_Glad_There_Is_You
It Had To Be You
https://en.wikipedia.org/wiki/It_Had_to_Be_You_(song)
What A Dif 'rence A Day Made
https://en.wikipedia.org/wiki/What_a_Diff%27rence_a_Day_Made
I'll Remember April
https://en.wikipedia.org/wiki/I%27ll_Remember_April_(song)
Fools Rush In
https://en.wikipedia.org/wiki/Fools_Rush_In_(Where_Angels_Fear_to_Tread)
Say It Isn't So
https://en.wikipedia.org/wiki/Say_It_Isn%27t_So_(Irving_Berlin_song)
More Than You Know
https://en.wikipedia.org/wiki/More_Than_You_Know_(Youmans,_Rose_and_Eliscu_song)
I Get The Blues When It Rains
I'll Be Seeing You
https://en.wikipedia.org/wiki/I%27ll_Be_Seeing_You_(song)
And …
Good mood music – perfect for dinner parties or sitting around with a drink whilst chatting up a doll in a pencil skirt … I'm keeping it.
Chart Action
US
Singles
1959 I'll be Seeing You #51
Album
—
England
nothing
Sounds
Hello, Young Lovers
https://www.youtube.com/watch?v=dhvOkelK_B8
The Nearness Of You
https://www.youtube.com/watch?v=m975YaZmX0s
I'm Glad There Is You
https://www.youtube.com/watch?v=B1dy-F7rgTo
Fools Rush In
https://www.youtube.com/watch?v=HpNVurutM7M
I Get The Blues When It Rains
mp3 attached
I'll Be Seeing You
https://www.youtube.com/watch?v=lOp-pHup8us
Others
https://www.youtube.com/watch?v=JAtUFURCxso
https://www.youtube.com/watch?v=AZj2FPUoZkI
https://www.youtube.com/watch?v=zLPLwjtvqwY
Review
https://en.wikipedia.org/wiki/When_I%27m_Thinking_of_You
Bio
http://rockabillyhall.com/tommysands.html
Website
—
Trivia
- The album is sometimes said to have been released in 1960. I don’t have an official release date but I suspect it was released in 1959. The tracks were recorded in late 1958 and, in those days, there wasn’t much delay in the turnaround on music. The tracks with “Dream” were recorded after this. The “Dream” album is sometimes written as being released before this. Also, I note the back sleeve doesn't mention his "dream" album though it does mention his other four earlier albums.
- Sessions: 7 December 1958 [no 7458] Capitol Recording Studio, 1750 North Vine St., Hollywood, CA – Tommy Sands (Nelson Riddle Orchestra. Producer: Ken Nelson)
106 30754 THE NEARNESS OF YOU ST 1239
107 30755 I'LL REMEMBER APRIL ST 1239
108 30756 IT HAD TO BE YOU ST 1239
- 757 I'LL BE SEEING YOU F4259/ ST 1239
8 December 1958 [no 7460] Capitol Recording Studio, 1750 North Vine St., Hollywood, CA – Tommy Sands (Nelson Riddle Orchestra. Producer: Ken Nelson)
110 30758 MORE THAN YOU KNOW ST 1239
111 30759 FOOLS RUSH IN ST 1239 SN-4
112 30760 I'M GLAD THERE IS YOU ST 1239
113 30761 HELLO YOUNG LOVERS ST 1239
9 December 1958 [no 7463] Capitol Recording Studio, 1750 North Vine St., Hollywood, CA – Tommy Sands (Nelson Riddle Orchestra. Producer: Ken Nelson)
114 30766 I GET THE BLUES WHEN IT RAINS ST 1239
115 30767 WHAT A DIFF'RENCE A DAY MADE ST 1239
116 30768 ALWAYS ST 1239
117 30769 SAY IT ISN'T SO ST 1239
http://countrydiscoghraphy2.blogspot.com/2014/10/tommy-sands.html
- Arranged and conducted by (the great) Nelson Riddle. Produced by Ken Nelson (a veteran Capitol records producer of trad pop, country and early rock ‘n’ roll)
RIP: Ray Sawyer (of Dr Hook) 1937 – 2018
