Decca Records is a British record label established in 1929 by Edward Lewis. Its U. S. label was established in late 1934 by Lewis, along with American Decca's first president Jack Kapp and American Decca president Milton Rackmil. In 1937, anticipating Nazi aggression leading to World War II, Lewis sold American Decca and the link between the UK and U. S. Decca labels was broken for several decades; the British label was renowned for its development of recording methods, while the American company developed the concept of cast albums in the musical genre. Both wings are now part of the Universal Music Group, owned by Vivendi, a media conglomerate headquartered in Paris, France; the US Decca label was the foundation company that evolved into UMG. The name "Decca" was coined by Wilfred S. Samuel by merging the word "Mecca" with the initial D of their logo "Dulcet" or their trademark "Dulcephone". Samuel, a linguist, chose "Decca" as a brand name; the name dates back to a portable gramophone called the "Decca Dulcephone" patented in 1914 by musical instrument makers Barnett Samuel and Sons.
That company was renamed the Decca Gramophone Co. Ltd. and sold to former stockbroker Edward Lewis in 1929. Within years, Decca Records Ltd. was the second largest record label in the world, calling itself "The Supreme Record Company". Decca continued to run it under that name. In the 1950s the American Decca studios were located in the Pythian Temple in New York City. In classical music, Decca had a long way to go from its modest beginnings to catch up with the established HMV and Columbia labels; the pre-war classical repertoire on Decca was select. The 3-disc 1929 recording of Delius's Sea Drift, arising from the Delius Festival that year, suffered by being crammed onto six sides, being indifferently recorded and expensive. However, it won Decca the loyalty of the baritone Roy Henderson, who went on to record for them the first complete Dido and Aeneas of Purcell with Nancy Evans and the Boyd Neel ensemble. Heinrich Schlusnus made important pre-war lieder recordings for Decca. Decca's emergence as a major classical label may be attributed to three concurrent events: the emphasis on technical innovation, the introduction of the long-playing record, the recruitment of John Culshaw to Decca's London office.
Decca released the stereo recordings of Ernest Ansermet conducting L'Orchestre de la Suisse Romande, including, in 1959, the first stereo LP album of the complete Nutcracker, as well as Ansermet's only stereo version of Manuel de Falla's The Three-Cornered Hat, which the conductor had led at its first performance in 1919. John Culshaw, who joined Decca in 1946 in a junior post became a senior producer of classical recordings, he revolutionised recording -- in particular. Hitherto, the practice had been to put microphones in front of the performers and record what they performed. Culshaw was determined to make recordings that would be'a theatre of the mind', making the listener's experience at home not second best to being in the opera house, but a wholly different experience. To that end he got the singers to move about in the studio as they would onstage, used discreet sound effects and different acoustics, recorded in long continuous takes, his skill, coupled with Decca engineering, took Decca into the first flight of recording companies.
His pioneering recording of Wagner's Der Ring des Nibelungen conducted by Georg Solti was a huge artistic and commercial success. Solti recorded throughout his career for Decca, made more than 250 recordings, including 45 complete opera sets. Among the international honours given Solti for his recordings were 31 Grammy awards – more than any other recording artist, whether classical or popular. In the wake of Decca's lead, artists such as Herbert von Karajan, Joan Sutherland and Luciano Pavarotti were keen to join the company's roster. However, Culshaw was speaking, not the first to do this. In 1951, Columbia Records executive Goddard Lieberson partnered with Broadway conductor Lehman Engel to record a series of unrecorded Broadway musical scores for Columbia Masterworks, including what Engel, in his book The American Musical Theatre: A Consideration, termed "Broadway opera", in 1951, they released the most complete Porgy and Bess recorded up to that time. Far from being a mere rendering of the score, the 3-LP album set used sound effects to realistically recreate the production as if the listener were watching a stage performance of the work.
Until 1947, American Decca issued British Decca classical music recordings. Afterwards, British Decca took over distribution through its new American subsidiary London Records. American Decca re-entered the classical music field in 1950 with distribution deals from Deutsche Grammophon and Parlophone. American Decca began issuing its own classical music recordings in 1956 when Israel Horowitz joined Decca to head its classical music operations. To further American Decca's dedication to serious music, in August of 1950, Rackmill announced the release of a new series of disks to be known as the "Decca Gold Label Series", to be devoted to "symphonies, chamber music, opera and choral music." American and European arti
Saturday Night Fish Fry
"Saturday Night Fish Fry" is a popular song written by Louis Jordan and Ellis Lawrence Walsh, best known through the version recorded by Louis Jordan and His Tympany Five. The single was a big hit, topping the R&B chart for twelve non-consecutive weeks in late 1949, it reached number 21 on the national chart, a rare accomplishment for a "race record" at that time. Jordan's jump blues combo was one of the most successful acts of its time, its loose and streamlined style of play was influential. "Saturday Night Fish Fry" was first recorded by Eddie Williams and His Brown Buddies with spoken vocals by the song's composer, Ellis Walsh. Williams had a number 2 R&B hit with the song "Broken Hearted". "Saturday Night Fish Fry" was intended to be the band's next single, but the acetate found its way to Louis Jordan's agent instead. As Williams recalled, "They got theirs out there first."Jordan changed the song, taking a refrain, intermittent in Wiliams' version—"And it was rockin', it was rocking, you never seen such scuffling and shuffling till the break of dawn"—and making it the recording's hook, singing it twice after every other verse.
The Jordan band dropped the shuffling rhythm of original, accelerating the pace into a raucous boogie-woogie arrangement. At 5:21, the recording ran longer than a standard side of a 78 record, so it was broken into two halves, one on each side of the disc; the song's lyrics are in the first person and describe two itinerant musicians going to a fish fry on Rampart Street in New Orleans, Louisiana. The scene becomes a wild party, raided by the police, the narrator ends up spending the night in jail. Jordan's "Saturday Night Fish Fry" has been called one of roll records. Chuck Berry was quoted as saying, "To my recollection, Louis Jordan was the first one that I hear play rock and roll." The number has since been covered by many other artists, including Pinetop Perkins, Dr. Feelgood, B. B. King, Buddy Guy, The Coasters. Jordan himself re-recorded the song in 1973 for an album entitled I Believe In Music. BBC comedy-show host Stephen Fry adapted the song's title into a play on his own name and used the result for his six-part 1988 programme Saturday Night Fry.
American radio station WHRV, broadcasting from Norfolk, uses the song's name for its Saturday night early-jazz program hosted by Neal Murray
Rhythm and blues
Rhythm and blues abbreviated as R&B, is a genre of popular music that originated in African American communities in the 1940s. The term was used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, jazz based music with a heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, drums, one or more saxophones, sometimes background vocalists. R&B lyrical themes encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships and aspirations; the term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was applied to blues records. Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music.
In the 1960s, several British rock bands such as the Rolling Stones, the Who and the Animals were referred to and promoted as being R&B bands. Their mix of rock and roll and R&B is now known as "British rhythm and blues". By the 1970s, the term "rhythm and blues" changed again and was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B developed, becoming known as "contemporary R&B", it combines elements of rhythm and blues, soul, hip hop, electronic music. Popular R&B vocalists at the end of the 20th century included Prince, R. Kelly, Stevie Wonder, Chaka Khan, Whitney Houston, Mariah Carey. In the 21st century, R&B has remained a popular genre becoming more pop orientated and alternatively influenced with successful artists including Usher, Bruno Mars, Chris Brown, Justin Timberlake, The Weeknd, Frank Ocean and Khalid. Although Jerry Wexler of Billboard magazine is credited with coining the term "rhythm and blues" as a musical term in the United States in 1948, the term was used in Billboard as early as 1943.
It replaced the term "race music", which came from within the black community, but was deemed offensive in the postwar world. The term "rhythm and blues" was used by Billboard in its chart listings from June 1949 until August 1969, when its "Hot Rhythm & Blues Singles" chart was renamed as "Best Selling Soul Singles". Before the "Rhythm and Blues" name was instated, various record companies had begun replacing the term "race music" with "sepia series". Writer and producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music, made by and for black Americans", he has used the term "R&B" as a synonym for jump blues. However, AllMusic separates it from jump blues because of R&B's stronger gospel influences. Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.
Well into the 21st century, the term R&B continues in use to categorize music made by black musicians, as distinct from styles of music made by other musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, bass and saxophone. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow and hypnotic textures while calling attention to no individual sound. While singers are engaged with the lyrics intensely so, they remain cool, in control; the bands dressed in suits, uniforms, a practice associated with the modern popular music that rhythm and blues performers aspired to dominate. Lyrics seemed fatalistic, the music followed predictable patterns of chords and structure; the migration of African Americans to the urban industrial centers of Chicago, New York City, Los Angeles and elsewhere in the 1920s and 1930s created a new market for jazz and related genres of music.
These genres of music were performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the late-1920s and 1930s through the work of musicians such as the Harlem Hamfats, with their 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, T-Bone Walker. There was increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone. In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tympany Five, consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano and drums. Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues". Robert Palmer described it as "urbane, jazz-based music with a heavy, insistent beat".
Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, Wynonie Harris, is now referred to as jump blues. Paul Gayten, Roy Brown, others had had hits in the style now referred to as rhythm and blu
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
MacHouston Baker, known as Mickey Baker and Mickey "Guitar" Baker, was an American guitarist. He is held to be a critical force in the bridging of rhythm and blues and rock and roll, along with Bo Diddley, Ike Turner, Chuck Berry. Baker was born in Kentucky, his mother was black, his father, who he never met, was believed to be white. In 1936, at the age of 11, Baker was put into an orphanage, he ran away and had to be retrieved by the staff from St. Louis, New York City and Pittsburgh; the orphanage quit looking for him, at the age of 16 he stayed in New York City. He found work as a laborer and a dishwasher, but after hanging out in the pool halls of 26th Street, he gave up work to become a full-time pool shark. At 19, Baker decided to make a change in his life, he went back to dishwashing, was determined to become a jazz musician. The trumpet was his first choice for an instrument, but with only $14 saved up, he could not find a pawnshop with anything but guitars for that price, he found the learning pace too slow.
He resolved to teach himself, but gave up shortly afterwards. Six months he met a street guitarist who inspired him to start playing again, he continued taking private lessons from different teachers over the next few years. His musical style was influenced by saxophonist Charlie Parker. By 1949, Baker had his own combo, a few paying jobs, he decided to move west, but found that audiences there were not receptive to progressive jazz music. Baker was stranded without work in California. Baker said of the encounter: "I asked Pee Wee,'You mean you can make money playing that stuff on guitar?' Here he had a huge bus for his band. So I started bending strings. I was starving to death, the blues was just a financial thing for me then." He found a few jobs in Richmond and made enough money to return to New York. After returning east, Baker began recording for Savoy and Atlantic Records, he did sessions with Doc Pomus, The Drifters, Ray Charles, Ivory Joe Hunter, Ruth Brown, Big Joe Turner, Louis Jordan, Coleman Hawkins, numerous other artists.
Inspired by the success of Les Paul & Mary Ford, he formed the pop duo Mickey & Sylvia in the mid-1950s. Together, they had a hit single with "Love Is Strange" in 1956; the duo split up in the late 1950s, but sporadically worked together on additional tracks until the mid-1960s. It was around this time that he moved to France, where he worked with Ronnie Bird and Chantal Goya and made a few solo records, he would remain in France for the rest of his life. Up until the end of his life, Baker was without work. Baker appeared at the 1975 version of the Roskilde Festival; because Baker revealed few details about his private life, reasons for his move to France were never made clear. Some media sources claimed that Baker had grown tired of the business aspects of the commercial music industry in the United States, while others stated that the bi-racial Baker was angered by the growing rate of hate crimes in the southern United States during the burgeoning civil rights movement. In 1999, Baker received a Pioneer Award from the Rhythm and Blues Foundation.
In 2003, he was listed at #53 on Rolling Stone's "100 Greatest Guitarists of All Time". His self-tuition method book series, the Complete Course in Jazz Guitar is a mainstay for introducing students of guitar to the world of jazz, they have remained in print for over 50 years. Baker guarded his personal life as much as possible, giving few interviews and only making sporadic public appearances. After moving to France, he left the country, made few trips to the United States. Baker was married six times. Among his wives were Barbara Castellano from the mid-1950s to the mid-1970s, Marie France-Drei, a singer with whom he stayed from the early 1980s until his death. Baker had two children: MacHouston, Jr. and a daughter, Bonita Lee. Baker died on November 27, 2012 near Toulouse, aged 87, his wife, said he died of heart and kidney failure. "Money Honey" - Clyde McPhatter with The Drifters, 1953 " He Treats Your Daughter Mean" - Ruth Brown 1953 "Shake and Roll" - Big Joe Turner, 1954 "Need Your Love So Bad" - Little Willie John, 1955 "Whole Lotta Shakin' Goin On" - Big Maybelle, 1955 "Love Is Strange" - Mickey & Sylvia, 1956 "Caldonia", - Louis Jordan, 1956 "It's Gonna Work Out Fine" - Ike & Tina Turner, 1961 Wildest Guitar But Wild Mississippi Delta Dues Take a Look Inside The Legendary Mickey Baker With Ruth BrownRuth Brown Miss Rhythm With Al HibblerAfter the Lights Go Down Low 100 Greatest Guitarists of All Time Everyguitarist.com Allmusic biographical notes Mickey Baker, NY Times Mickey Baker discography at Discogs
Milton Gabler was an American record producer, responsible for many innovations in the recording industry of the 20th century. Gabler was born in the son of Susie and Julius Gabler, his father was an Austrian Jewish immigrant, his mother's family were Jewish immigrants from Russia. At 15, he began working in his father's business, the Commodore Radio Corporation, a radio shop located on East 42nd Street in New York City. By the mid-1930s, Gabler renamed the business the Commodore Music Shop, it became a focal point for jazz fans and musicians alike. In 1933 Gabler began buying up unwanted copies of recordings from the record companies and resold them, making him the first person to deal in reissues, the first to sell records by mail order, the first to credit all the musicians on the recordings. Gabler started up a specialty label UHCA in about 1935 to reissue selected 78 r.p.m. Sides released by other companies, he was able to secure many important jazz records including the 1931 Joe Venuti-Eddie Lang all star session, Bessie Smith's final session, a number of Frank Trumbauer, Bix Beiderbecke, Miff Mole sides.
These reissues were from the original 78 stampers and were instrumental in spreading the concept of collecting classic performances from the past. A number of Paramount and Gennett sides were dubbed from clean copies and issued on UHCA and the sound was good for a dubbing. In 1937 he opened a new store on 52nd Street, set up a series of jam sessions in a neighbouring club, Jimmy Ryan's; some of these he began recording, setting up Commodore Records. His role as a music producer soon superseded his other activities and he recorded many of the leading jazz artists of the day. One regular customer, Billie Holiday, found her record company, resisting her appeals to release the song "Strange Fruit", so she offered the song to Gabler. After getting the necessary permission, he released her recording on Commodore in 1939, boosting her career and issuing what, 60 years on, Time magazine named Best Song of the Century; the success of Commodore Records led to an offer to join a major record label. Gabler was recruited to work for Decca Records in 1941, left his brother-in-law Jack Crystal to run Commodore.
Gabler was soon working with many of the biggest stars of the 1940s, producing a series of hits including Lionel Hampton’s "Flying Home", Billie Holiday’s "Lover Man" and The Andrews Sisters' "Rum and Coca-Cola", as well as being the first to bring Louis Armstrong and Ella Fitzgerald together on record. Put in charge of Decca’s subsidiary label Coral, he expanded his musical scope, producing hits for country singer Red Foley, the left-leaning folk group The Weavers, Peggy Lee, The Ink Spots, Sammy Davis Jr. In 1946 he produced and co-wrote Louis Jordan’s breakthrough single, "Choo Choo Ch'Boogie", a foretaste of the musical revolution around the corner. Gabler contributed a further slice of history when he signed Bill Haley and His Comets to Decca Records, he produced their initial recording session in April 1954, much of, spent cutting a song which the company thought the more hit of the two due to be recorded that day. Their efforts on "13 Women" left only ten minutes for the second song, which Gabler recorded with an unusually high sound level after the briefest of sound checks.
"Rock Around The Clock" was cut in two takes and changed the face of popular music. Gabler commented: "All the tricks I used with Louis Jordan, I used with Bill Haley; the only difference was the way. On Jordan, we used a balanced rhythm section from the swing era... but Bill had the heavy backbeat." Commodore Records was wound up in 1954. Bob Shad's Mainstream Records issued a series of albums of Commodore material in the early 1960s, keeping most of these recordings available. However, through the late 1950s and 1960s, Gabler continued to guide the direction of Decca, writing songs and producing hit singles including Brenda Lee’s “I’m Sorry” and albums including Jesus Christ Superstar. Gabler continued to produce all of the Comets' recordings for Decca until they left the label in 1959. Milt Gabler produced all studio-albums in Hamburg for Bert Kaempfert and his Orchestra from 1960 to the latter's death in June 1980, he wrote many lyrics for Kaempfert songs, like "L-O-V-E", a big hit for Nat King Cole, "Danke Schoen".
He retired from the front line of business activity when MCA consolidated Decca with its other labels and moved the merged MCA Records to Universal City, California in 1971, but continued to produce reissues and to collect recognition from the recording industry he helped shape. He was asked to return to MCA Records in 1973 to supervise the reissue of MCA's massive back catalogue. Gabler died July 2001, aged 90, at the Jewish Home and Hospital in Manhattan; the New York Times reported. In 1991, Gabler received the Grammy Trustees Award from The Recording Academy, for his significant contributions to the field of recording. In 1993, Gabler was inducted into the Rock and Roll Hall of Fame by his nephew, the comedian and actor Billy Crystal. In 2005, Crystal produced a documentary and CD release, both entitled The Milt Gabler Story, in tribute. Koester, Bob, "Milt Gabler & Commodore Records", Rhythm & News, Delmark Records From Ashley Kahn's liner notes to Billy Crystal Presents: The Milt Gabler Story.
- "Billy Crystal: My Uncle Milt" "Profile: Milt Gabler" - Rock and Roll Hall of Fame "Biography: Milt Gabler", Allmusic
Whatever Lola Wants
"Whatever Lola Wants" is a popular song, sometimes rendered as "Whatever Lola Wants, Lola Gets". The music and words were written by Richard Adler and Jerry Ross for the 1955 musical play Damn Yankees; the song is sung by Lola, the Devil's assistant, a part originated by Gwen Verdon, who reprised the role in the film. The saying was inspired by Lola Montez, an Irish-born "Spanish dancer" and mistress of King Ludwig I of Bavaria, who became a San Francisco Gold Rush vamp. Natacha Atlas Les Baxter Tony Bennett Ran Blake Lola Blanc Bob & Ray Les Brown Petula Clark Alma Cogan Annie Cordy - French version Tout ce que veut Lola Xavier Cugat Carla Boni Chiwetel Ejiofor Gracie Fields Ella Fitzgerald Gotan Project The Hi-Lo's - A Musical Thrill Molly Johnson Louis Jordan Stan Kenton - The Stage Door Swings Eartha Kitt Abbe Lane (with Tito Puente and His Orchestra Carmen McRae Amanda Lear: On album With Love Sophie Milman Bebe Neuwirth Caroline O'Connor Patti Page Perez Prado and His Orchestra Julius Pringles Della Reese Aldemaro Romero Dinah Shore Ruby Stewart Anthony Strong Mel Tormé Sarah Vaughan Gwen Verdon Baby Face Willette Marinella Reeve Carney Live at Molly Malone’s Dee Snider for the Dee Does Broadway album "Whatever Lola Wants" is the title of an episode of the 2005 television series Hot Properties and the title of an episode of ABC-TV's 1965 crime drama Honey West.
A film entitled Whatever Lola Wants, directed by Nabil Ayouch and starring Laura Ramsey as Lola, premiered on 11 December 2007 at the Dubai International Film Festival and was scheduled for release in France on 16 April 2008. The Lola Car company is named after this song when company founder Eric Broadley heard the line "What Lola wants, Lola gets" in 1959. Norman Bailey played the song as a trumpet solo on the first live television broadcast of The Lawrence Welk Show on July 2, 1955. Chiwetel Ejiofor sang the song for the 2005 film Kinky Boots; the song was used by Mario Lopez and his partner Karina Smirnoff in Season 3 of Dancing with the Stars. Their tango to it was voted the best celebrity dance by the judges of DWTS on their 100th Episode show. Several seasons Joanna Krupa and her temporary partner Maksim Chmerkovskiy performed an Argentine tango to the song, in Season 9; the song was featured in an episode of Nip/Tuck. The song can be found in a 2011 Diet Pepsi commercial featuring Sofia Vergara and David Beckham.
The song can be found in a 2014 Magnum Italian commercial, celebrating the 25th anniversary of the ice cream brand owned by the British/Dutch Unilever. Whatever Lola Wants - versions and originals on SecondHandSongs Whatever Lola Wants on IMDb Damn Yankees on IMDb Damn Yankees at the Internet Broadway Database Hot Properties episode plot summary on tv.com