Category:Perry Como songs
Pages in category "Perry Como songs"
The following 68 pages are in this category, out of 68 total. This list may not reflect recent changes (learn more).
The following 68 pages are in this category, out of 68 total. This list may not reflect recent changes (learn more).
1. Perry Como – Pierino Ronald Perry Como was an American singer and television personality. During a career spanning more than half a century, he recorded exclusively for RCA Victor for 44 years after signing with the label in 1943, Mr. C. as he was nicknamed, sold millions of records for RCA and pioneered a musical variety television show. Como was seen weekly on television from 1949 to 1963, then continued hosting the Kraft Music Hall variety program monthly until 1967 and his television shows and seasonal specials were broadcast throughout the world. Also a popular recording artist, Perry Como released numerous hit records from the 1940s through the 1970s, Comos appeal spanned generations and he was universally respected for both his professional standards and the conduct in his personal life. Como was born in Canonsburg, Pennsylvania and he was the seventh of ten children and the first American-born child of Pietro Como and Lucia Travaglini, who both emigrated to the US in 1910 from the Abruzzese town of Palena, Italy. He did not begin speaking English until he entered school, since the Comos spoke Italian at home. The family had a second-hand organ his father had bought for $3, as soon as Como was able to toddle, he would head to the instrument, pump the bellows, and play music he had heard by ear. Pietro, a hand and an amateur baritone, had all his children attend music lessons even if he could barely afford them. He showed more talent in his teenage years as a trombone player in the towns brass band, playing guitar, singing at weddings. Como was a member of the Canonsburg Italian Band along with the father of singer Bobby Vinton, bandleader Stan Vinton, young Como started helping his family at age 10, working before and after school in Steve Fragapanes barber shop for 50¢ a week. By age 13, he had graduated to having his own chair in the Fragapane barber shop and it was also around this time that young Como lost his weeks wages in a dice game. Filled with shame, he locked himself in his room and did not come out until hunger got the better of him and he managed to tell his father what had happened to the money his family depended on. His father told him he was entitled to make a mistake, when Perry was 14, his father became unable to work because of a severe heart condition. Como and his brothers became the support of the household, despite his musical ability, Comos primary ambition was to become the best barber in Canonsburg. Practicing on his father, young Como mastered the skills well enough to have his own shop at age 14. One of Comos regular customers at the shop owned a Greek coffee house that included a barber shop area. Como had so much work after moving to the coffee house and his customers worked mainly at the nearby steel mills. They were well-paid, did not mind spending money on themselves, Perry did especially well when one of his customers would marry
2. Fly Me to the Moon – Fly Me to the Moon, originally titled In Other Words, is a song written in 1954 by Bart Howard. Kaye Ballard made the first recording of the song in 1954, since then it has become a frequently recorded jazz standard often featured in popular culture. Frank Sinatras 1964 version was associated with the Apollo missions to the Moon. In 1954, when writing the song which would become Fly Me to the Moon and he played piano to accompany cabaret singers but also wrote songs with Cole Porter, his idol, in mind. In response to a publishers request for a song, Bart Howard wrote a cabaret ballad in waltz time which he titled In Other Words. A publisher tried to make him some lyrics from fly me to the moon to take me to the moon. Many years later Howard commented that and it took me 20 years to find out how to write a song in 20 minutes. He used his position as a piano accompanist and presenter at the Blue Angel cabaret venue to promote the song, Kaye Ballard made the first commercial recording of In Other Words. It was released by Decca in April 1954, a brief review published on 8 May 1954 in Billboard said that In Other Words was A love song sung with feeling by Miss Ballard. This recording was released as the flipside of Lazy Afternoon which Kaye Ballard was currently performing as star of the stage show The Golden Apple. During the next few years jazz and cabaret singers released cover versions of In Other Words on EP or LP record albums including Chris Connor, Johnny Mathis, Portia Nelson and Nancy Wilson. Eydie Gormé featured the song on her 1958 album Eydie In Love which reached #20 in the Cashbox Album Charts and was nominated for a Grammy award. In 1960 Peggy Lee recorded the song made it more popular when she performed it in front of a large television audience on The Ed Sullivan Show. As the songs popularity increased, it better known as Fly Me to the Moon. In the early 1960s versions of the song were released under its new name by many well known singers, including Nat King Cole, Sarah Vaughan and Brenda Lee. Connie Francis released two versions of the song in 1963, in Italian as Portami Con Te and in Spanish as Llévame a la Luna. In 1962 Joe Harnell arranged and recorded a version in a bossa nova style. It was released as a single in late 1962, reached #14 on the Billboard Hot 100 chart in early 1963 and won Harnell a Grammy award
3. Unchained Melody – Unchained Melody is a 1955 song with music by Alex North and lyrics by Hy Zaret. North used the music as a theme for the prison film Unchained. Todd Duncan sang the vocals for the film soundtrack and it has since become a standard and one of the most recorded songs of the 20th century, most notably by the Righteous Brothers. According to the songs publishing administrator, over 1,500 recordings of Unchained Melody have been made by more than 670 artists in multiple languages, the song and Do They Know Its Christmas are the only songs to reach number one in four different recordings in the UK. Of the hundreds of recordings made, it was the July 1965 version by the Righteous Brothers, performed as a solo by Bobby Hatfield and this version achieved a second round of great popularity when it was featured in the 1990 blockbuster film Ghost. In 2004, it finished at number 27 on AFIs 100 Years.100 Songs survey of top tunes in American cinema, in 1954, North was contracted to compose the score for the prison film Unchained. North composed and recorded the score, and then was asked to write a song based upon the movies theme, North asked lyricist Hy Zaret to write the lyric, but Zaret initially declined, saying he was too busy painting his house. North was able to him to take the job. Zaret refused the producer’s request to include the word unchained in his lyrics, the song eventually became known as the Unchained Melody even though the song does not actually include the word unchained. Instead, Zaret chose to focus on someone who pines for a lover he has not seen in a long, the 1955 film centered around a man who contemplates either escaping from prison to live life on the run or completing his sentence and returning to his wife and family. The song has a harmonic device as the bridge ends on the tonic chord rather than the more usual dominant chord. With Todd Duncan singing the vocals, the song was nominated for an Oscar in 1955, Todd Duncan sang the vocals for the film soundtrack. He performs a version in the film, playing one of the prisoners. Lying on a bed, he sings it accompanied by another prisoner on guitar while others listen sadly, bandleader Les Baxter released a version which reached number 1 on the US charts and number 10 in the UK. The words unchain me are sung repeatedly at the beginning and the lyrics are sung by a choir, Billboard ranked this version as the No.5 song of 1955. Al Hibbler followed close behind with a version, and it reached number 3 on the Billboard charts. He was quickly followed by Jimmy Young, whose version hit number 1 on the British charts, Jimmy Young also later re-recorded another version of his 1955 charttopper in early 1964 and that version charted at number 43 in the UK. Two weeks after Youngs version entered the top 10 of the British charts in June 1955 Liberace would score a number 20 hit, roy Hamiltons version reached number one on the R&B Best Sellers list and number 6 on the pop chart
4. I Think I Love You – I Think I Love You is a song composed by songwriter Tony Romeo in 1970. It was released as the single by The Partridge Family pop group, featuring David Cassidy on lead vocals. The Partridge Family version was a hit on the Billboard Hot 100 in November 1970. The alternative rock band Voice of the Beehive scored a hit version of their own in 1991. The single was produced by Wes Farrell and issued on Bell Records a month before the debut of the television musical sitcom The Partridge Family. During the shows first season the song was featured on the twice as it was climbing the actual Billboard charts. The single hit number one on the U. S. Billboard Hot 100 chart and in Canada on the RPM100 national Top Singles chart in November of that year and number 1 in Australia in 1971. The only cast members of the show to actually sing on the recording of the song were David Cassidy. The music on the song was played by studio musicians such as Hal Blaine, Larry Knechtel, Joe Osborne, Louie Shelton, Tommy Tedesco. Background vocals on this, and all other Partridge Family recordings, were provided by session singers, Ron Hicklin, John Bahler, Tom Bahler. The Partridge Family won a NARM award for the single of the year in 1970 for their hit I Think I Love You. On November 25,1970, I Think I Love You was recorded by Perry Como, with Nick Peritos orchestra, at the International Hotel in Las Vegas, Nevada. The song was released by RCA Victor Records on an album, Its Impossible, in December 1970, RCA also released the recording on an EP in Mexico in 1971. In 1991, the rock band Voice of the Beehive recorded a cover version of I Think I Love You for the groups second studio album Honey Lingers. It was released as the single from their album on London Records and was produced by Don Was. Their version of the hit number 25 on the UK Singles Chart in October 1991. The single also hit number 12 on the Australian singles chart in March 1992, Andy Williams released his version on 1971s Love Story. It was also released on the import The Very Best of Andy Williams in 2009, in 1971, a French-language cover by Georges Guétary was released, entitled Papa Je Taime, unlike the original version, this version is a salute to a childs father
5. Feelings (Morris Albert song) – Feelings is a 1974 song with lyrics written by Brazilian singer Morris Albert, set to the tune of Pour Toi, separately composed by Louis “Loulou” Gasté in 1957. Albert recorded Feelings as a single and later included it as the track of his 1975 debut album. The songs lyrics, recognizable by their whoa whoa chorus. Alberts original recording of the song was successful, performing well internationally. Feelings peaked at #6 on the pop charts and #2 on the Adult Contemporary charts in America, during a lecture at Chautauqua Institution, Julie Andrews stated that she considered this song too difficult to sing because it had no meaning behind it. At the time of Feelingss greatest commercial success, it was credited to Albert himself. In 1981, the French songwriter Loulou Gasté sued Morris Albert for copyright infringement, Gasté won the lawsuit, they now share the credits of the song. Recordings of the song have credited authorship variously to Albert alone, to Albert and Gasté, to Albert and Michel Jourdan, the last of these attributions is redundant, since the singers real name is Mauricio Alberto Kaisermann. José José recorded the song in Spanish entitled Sentimientos, it was included in his album Tan Cerca. Tan Lejos of 1975, andy Williams released a version in 1975 on his album, The Other Side of Me. Lindsay Wagner performed the song on the American television science fiction action series The Bionic Woman episode Bionic Beauty in 1975, israeli-born French pop star Mike Brant recorded a French version of the song entitled Dis-lui in 1975. In 1976, Dutch comedian Andre van Duin recorded the song in his own language as the roadblock-themed File, although its parent album Andre Andre was meant to include serious songs only, File can be considered a compromise. Japanese vocal group Hi-Fi Set released a Japanese-language version of the title in late 1976. Also in 1976, Italian singer Ornella Vanoni released an Italian-language version of the song, the 1977 live album A Man and a Woman by Isaac Hayes and Dionne Warwick features the song in a medley version. Monty Alexander Trio recorded an instrumental version at the 1977 Montreux Jazz Festival. The OJays released a version on their 1977 Travelin at the Speed of Thought album, a cover of the song appears on the Sesame Street 1977 album, Let Your Feelings Show, sung by Marry Banilow and the Muppettones. The song is first sung as normal, then is redone in a similar to Spike Jones with a bunch of sound effects. The Dutch DJ Theo Vaness made in his album Back to Music in 1978 a disco version of Feelings, perry Como included the song in his 1978 album, Where Youre Concerned. Roger Whittaker recorded a version on his 1978 album Imagine, tejano singer Selena Quintanilla-Pérez also recorded the song when she was a young girl
6. Here, There and Everywhere – Here, There and Everywhere is a song written by Paul McCartney, released on the Beatles 1966 album Revolver. McCartney includes it among his favourites of all the songs he has written. The composition has received praise from the Beatles producer, George Martin. In 2000, Mojo ranked it 4th in the magazines list of the greatest songs of all time, the Beatles recorded Here, There and Everywhere in June 1966, toward the end of the sessions for Revolver. Having recently attended a party for the Beach Boys Pet Sounds album. When discussing his song Here, There and Everywhere, Paul McCartney has frequently cited Brian Wilsons God Only Knows as his source of inspiration. The latter track appeared on the Beach Boys 1966 album Pet Sounds, on 17 May 1966, the day after the new Beach Boys album had been released in America, McCartney and John Lennon attended a private listening party for Pet Sounds held at Londons Waldorf Hotel. Deeply impressed by Wilsons songs, McCartney wrote Here, There and Everywhere two weeks later at Lennons house in Weybridge, while waiting for Lennon to wake up. McCartney recalled, I sat out by the pool on one of the sun chairs with my guitar and started strumming in E. And soon had a few chords, and I think by the time hed woken up, I had pretty much written the song, so we took it indoors and finished it up. Author Kenneth Womack describes Here, There and Everywhere as a ballad about living in the here and now. The verse is based on a major chord sequence, while the middle eight. The introduction beginning To lead a better life opens in the key of G, the ♭III on I need my love to be here is a dissonant substitute for the more predictable VI that would normally lead to the ii chord. The verse opens strongly anchored on Here in the key of G and this repeats on Changing my life with a wave, but immediately after the song indeed changes on of her hand. It goes down six semitones from the IV to a ii then a V7 chord which briefly modulates towards a new tonic Em, McCartney mostly sings a B note over both F#m, where it is the eleventh, and the B7, where it is the tonic. When the sequence is repeated, McCartney sings both B and C natural over the F#m, the C natural producing a tritone, the harmonic fascination with the bridge segment beginning I want her everywhere is that at that point the key centre does go everywhere. It shifts via an F7 chord to a I-vi-ii chord progression in B♭ key and it then shifts again via a D7 chord to Gm key where we go through a i-iv progression. Finally the pivot of D7 takes us back to the G major tonic, the Beatles recorded Here, There and Everywhere towards the end of the sessions for their 1966 album Revolver
7. A House Is Not a Home (song) – The song was a modest hit in the United States for Warwick, peaking at #71 on the pop singles chart as the B-side of the top 40 single, Youll Never Get to Heaven. Another version of the song, by Brook Benton, which was the version that appeared in the film, was released at nearly the same time and it debuted two weeks earlier on the Billboard Hot 100. Bentons version split airplay with Warwicks, and ultimately peaked at #75, Warwicks version of A House Is Not a Home fared better in Canada, where it was a top 40 hit, peaking at #37. The ballad made the R&B top 10 in Cashbox by both Warwick and Benton, with neither artist specified as best seller. Despite its modest initial success, the song went on to greater renown through frequent recordings by other artists. The Warwick single was performed in the key of F major, the song was covered by R&B singer Luther Vandross on his 1981 debut album Never Too Much. The track, which was recorded at seven minutes long, was released as a single and became an R&B hit and his performance of the song at the 1988 NAACP Awards telecast would bring Warwick to tears. Vandrosss version was sampled on the 2004 Kanye West/Jamie Foxx/Twista hit Slow Jamz, following the original singles by Warwick and Benton, Bacharach himself covered the song on his 1965 debut Hit Maker. Burt Bacharach plays the Burt Bacharach Hits, the Anita Kerr Singers recorded an a cappella cover on their 1969 album Reflect. Stevie Wonder covered the song on his 1968 album Eivets Rednow, english rock duo The Marbles performed the song and was released on the groups 1970 self-titled album. Dusty Springfield performed the song with Bacharach on the 1970 television special Another Evening With Burt Bacharach, Barbra Streisand recorded a medley of the song with One Less Bell to Answer for her 1971 album Barbra Joan Streisand. Ronald Isley would record his own version with Bacharach, using essentially the same template as Luther Vandross, in 2001, Japanese reggae artists Reggae Disco Rockers, released a reggae version of the song that very closely follows the melodies and styles of the original. In 2002, Lynne Arriale covered the song on her album Inspiration, in 2005, Aretha Franklin covered the song for the tribute album So Amazing, An All-Star Tribute to Luther Vandross. The song won her the Grammy Award for Best Traditional R&B Performance at the 46th Grammy Awards, in 2007, Marcia Hines covered the song on her album Life. In 2012, Steps covered the song for their festive themed album, in 2014, Warwick released a duet version of the song with singer Ne-Yo on Feels So Good. Various jazz musicians have performed and recorded the song, and it has acquired the status of a jazz standard. Sonny Rollins recorded a version at the 1974 Montreux Jazz Festival, bill Evans recorded the song for his 1977 album I Will Say Goodbye in the key of B flat major In 1993, pianist Joe Sample covered the song on the album Invitation. In 1995, another instrumental rendition was released on saxophonist Nelson Rangells album Destiny, in 2004, Eliane Elias included the song in her album Dreamer
8. The Way You Look Tonight – The Way You Look Tonight is a song from the film Swing Time, originally performed by Fred Astaire. It won the Academy Award for Best Original Song in 1936, in 2004 the Astaire version finished at #43 in AFIs 100 Years.100 Songs survey of top tunes in American cinema. The song was sung to Ginger Rogers as Penelope Penny Carroll by Astaire in character as John Lucky Garnett, the song was written by Jerome Kern with lyrics by Dorothy Fields, and has become a standard. Fields later remarked, The first time Jerry played that melody for me I went out, I couldnt stop, it was so beautiful. The song was released in 1936 as a duet between Bing Crosby and his then-wife Dixie Lee, billie Holiday recorded this song in the same year as the film, her version can be found on several collections including her Columbia box set from 2001. It was also a big R&B hit for Los Angeles-based, multiracial group, the song also gave The Lettermen their first hit in 1961, hitting #13 on the Billboard Hot 100 singles chart and #36 in the UK Singles Chart. In 2004, the song was recorded by Westlife in two versions on their album, Allow Us to Be Frank. During 2012, UK-based indie band Tellison released a cover of The Way You Look Tonight on NaimEdge Records, in 2013, the renowned Spanish actress & singer Natalia Dicenta released a version of the song on her album Colours. Other modern covers include versions by Bryan Ferry, Olivia Newton-John, Phil Collins, Harry Connick, the song has become a jazz instrumental standard, inspiring numerous interpretations by a variety of jazz artists. Jazz pianist Art Tatum has a recording which appears on the 1990 collection The Complete Pablo Solo Masterpieces. Oscar Peterson also recorded a version on his 1959 album, Oscar Peterson Plays the Jerome Kern Songbook, sonny Rollins and Thelonious Monk recorded it in 1954. Saxophonist Johnny Griffin covered this song in the hard bop jazz style on his 1957 A Blowing Session album, pianist Erroll Garners live version appeared on his One World Concert album in 1961. Vibraphonist Cal Tjader recorded a Latin jazz version in 1964, guitarist Joe Pass recorded the song in 1975, in a version published only in 2004 on the Virtuoso in New York album. Pianist Bradley Joseph performs his arrangement of The Way You Look Tonight on his 2006 album Piano Love Songs, in 2008, contemporary jazz guitarist, Thom Rotella, covered the song on his album, Out of the Blues. Edward Woodward performed the song on the Morecambe and Wise Christmas Show in 1970, the Way You Look Tonight is referenced in Harold Pinters 1971 play Old Times, in which two characters recite some of the lines. Greater use of The Way You Look Tonight is made in Brian Friels 1979 play Faith Healer, the playing of the Fred Astaire original is the beginning of Teddys monologue in act two. The song has also featured in numerous TV series. It is also sung by Allison Munn in the finale of the WB sitcom What I Like About You and was used in the Friends episode The One With Unagi
9. When You and I Were Young, Maggie – When You and I Were Young, Maggie is a famous folk song, popular song and standard. Margaret Maggie Clark was his pupil and they fell in love and during a period of illness, George walked to the edge of the Niagara escarpment, overlooking what is now downtown Hamilton, and composed the poem. The general tone is one of melancholy and consolation over lost youth rather than mere sentimentality or a fear of aging. It was published in 1864 in a collection of his poems entitled Maple Leaves and they were married in 1864 but Maggies health deteriorated and she died on May 12,1865. James Austin Butterfield set the poem to music and it became popular all over the world, George Washington Johnson died in 1917. The schoolhouse where the two lovers met still stands on the escarpment above Hamilton, and a plaque bearing the name of the song has been erected in front of the old building, in 2005, the song was inducted into the Canadian Songwriters Hall of Fame. Some claim that the song was first sung by Frank Dumont as the Duprez & Benedicts Minstrels programs, dated, the song was first recorded by Corinne Morgan and Frank C. Instrumental recordings of Butterfields melody are also numerous, and date as far back as the 1930s, notable recordings include those of jazzmen Benny Goodman, Fats Waller, Teddy Wilson and Sidney Bechet and ragtime pianist Johnny Maddox and Country guitar, Speedy Haworth. Maggie has been re-scored as When You and I Were Young, Maggie Blues, by Jack Frost, mills Music Inc. published this edition in 1922, and again in 1949 with Guy Lombardos picture on the cover. This was a 1951 hit for father and son Bing Crosby and Gary Crosby reaching the No.8 spot in the Billboard charts and for the team of Margaret Whiting. John W. Schaum arranged When you and I were young Maggie Boogie and had it published by Belwin Inc. in 1952, the song is also considered as a standard of dixieland. The song was used by Seán OCasey in his 1926 play The Plough and the Stars, Johnny McEvoy recorded it as Nora in 1968 and had a number one hit in Ireland. In 1983 Irish duo Foster and Allen reached number six in Ireland and 27 in the UK singles chart with their version and this led many people to think it was an Irish song. It was also recorded by De Dannan on the album Star-Spangled Molly, by Josef Locke on Let there be Peace, the Statler Brothers also recorded their harmonious rendition. In addition to Henry Burr, other Canadian performers such as Hank Snow, The Climax Jazz Band, tom Rush recorded a version on his CBS release Ladies Love Outlaws in 1974. American psychedelic rock band Magic Fern from Seattle recorded a version of this song entitled Maggie and that version is on the soundtrack for Adam Sandlers film Strange Wilderness