Verve Records known as The Verve Music Group, founded in 1956 by Norman Granz, is home to the world's largest jazz catalogue and includes recordings by artists such as Ella Fitzgerald, Nina Simone, Stan Getz and Billie Holiday, among others. It absorbed the catalogues of Granz's earlier labels, Clef Records, founded in 1946, Norgran Records, founded in 1953, material licensed to Mercury Records. Verve served as the original home of rock music acts such as The Velvet Underground, Frank Zappa and The Mothers of Invention; the restructured Verve Records is now part of the Verve Label Group, owned by Universal Music Group. This company is home to historic imprints including Verve Forecast Records, Impulse! Records and Decca Records. Norman Granz created Verve to produce new recordings by Ella Fitzgerald; the catalog grew throughout the 1950s and 1960s to include Charlie Parker, Bill Evans, Stan Getz, Billie Holiday, Oscar Peterson, Ben Webster, Lester Young. By 1960, Granz neared retirement. Milton Rudin, his attorney, knew that Sinatra wanted his own label.
Sinatra and Granz made a handshake deal, but negotiations broke down over price and Sinatra's desire that Granz remain head of the label. Granz sold Verve to MGM in 1961. Sinatra hired Mo Ostin, an executive at Verve, to run it. At Verve, Creed Taylor was made head producer. Taylor adopted a more commercial approach, he brought bossa nova to America with the release of Jazz Samba by Stan Getz and Charlie Byrd, Getz/Gilberto, Rain Forest by Walter Wanderley. Verve's notable arrangers included Oliver Nelson. According to Ogerman in Jazzletter, he arranged 60–70 albums for Verve from 1963–1967. In 1964, Taylor supervised the creation of a folk music subsidiary named Verve Folkways renamed Verve Forecast. Taylor left Verve in 1967 to form CTI Records. Aside from jazz, Verve's catalogue included the Righteous Brothers, the Velvet Underground, Frank Zappa & the Mothers of Invention, Rare Earth, the Blues Project, as well as a series of "Sound Impressions of an American on Tour" records, produced in cooperation with Esquire Magazine.
While the Velvet Underground's records did not sell well they went on to become a major influence in independent rock music. Their debut album, The Velvet Underground & Nico, is hailed as one of the greatest records of all time while their second album, White Light/White Heat, has a major cult following for its bold, noisy sound and poetically provocative lyricism. In the 1970s, Verve became part of PolyGram, incorporating the Mercury/EmArcy jazz catalog, which Philips, part owners of PolyGram, had earlier acquired. Verve Records became the Verve Music Group after PolyGram was merged with Seagram's Universal Music Group in 1999; the jazz holdings from the merged companies were folded into this sub-group.in 1990, British group Talk Talk signed to Polydor after conflicts with their previous label EMI regarding a lack of commercial allure on their fourth album, Spirit of Eden. Their fifth and final album, Laughing Stock, was released through Verve on September 16, 1991 and, while being divisive at the time, has since been reconsidered by critics and fans as their masterpiece and a precursor to the post-rock movement.
In the 1990s, as part of PolyGram Classics and Jazz, Verve signed Herbie Hancock, Wayne Shorter, Joe Henderson, Roy Hargrove, John Scofield, Shirley Horn, Betty Carter, Abbey Lincoln, Chris Botti, Jeff Lorber, Gino Vannelli, Art Porter, Will Downing, Incognito. When Universal and Polygram merged in 1998, Verve's holdings were merged with Universal's GRP Recording Company to become Verve Music Group. After forays into Americana and adult contemporary music, Verve was corporately aligned with Universal Music Enterprises, was no longer a stand-alone label within UMG; the Verve imprint itself manages much of the jazz catalog that once belonged to PolyGram, while the Impulse! Records imprint manages the portion of Universal's catalog, acquired from ABC Records, which itself includes the jazz catalog of the Famous Music Group, once owned by Paramount Pictures/Gulf+Western, but, sold to ABC in 1974. Meanwhile, GRP manages the rest of MCA/Universal's jazz catalog, including releases once issued on the Decca and Chess labels.
The Verve Label Group has expanded its output beyond jazz to include crossover classical music, progressive pop and show tunes. In 2016, the newly-formed Verve Label Group appointed industry veteran Danny Bennett as its president and CEO. Official site Article about Creed Taylor
Ray Brown (musician)
Raymond Matthews Brown was an American jazz double bassist known for extensive work with Oscar Peterson and Ella Fitzgerald. Ray Brown was born October 13, 1926 in Pittsburgh and took piano lessons from the age of eight. After noticing how many pianists attended his high school, he thought of taking up the trombone but was unable to afford one. With a vacancy in the high school jazz orchestra, he took up the upright bass. A major early influence on Brown's bass playing was Jimmy Blanton, the bassist in the Duke Ellington band; as a young man Brown became well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russell band. After graduating high school, having heard stories about the burgeoning jazz scene on 52nd Street in New York City, he bought a one-way ticket to New York, he arrived in New York at the age of 20, met up with Hank Jones, with whom he had worked, was introduced to Dizzy Gillespie, looking for a bass player.
Gillespie hired Brown on the spot, he soon played with such established musicians as Art Tatum and Charlie Parker. In 1948, Brown left Dizzy's band to start a trio with Charlie Smith. From 1946 to 1951, Brown played in Gillespie's band. Brown, along with the vibraphonist Milt Jackson, drummer Kenny Clarke, pianist John Lewis formed the rhythm section of the Gillespie band. Lewis and Jackson formed the Modern Jazz Quartet. Brown became acquainted with singer Ella Fitzgerald when she joined the Gillespie band as a special attraction for a tour of the southern United States in 1947; the two married that year, together they adopted a child born to Fitzgerald's half-sister Frances, whom they christened Ray Brown, Jr. Fitzgerald and Brown divorced in 1953, bowing to the various career pressures both were experiencing at the time, though they would continue to perform together. From 1951 to 1965, Brown was a member of the Oscar Peterson Trio; the trio included a guitarist until 1958. After Ellis left the group, Peterson decided to continue the trio with drummer Ed Thigpen.
Brown recorded extensively as a session musician for producer Norman Granz during the 1950s alongside Peterson. After leaving the Oscar Peterson Trio, Brown concentrated on studio work in Los Angeles. Brown guested as a bass player on "Razor Boy", the second track on Steely Dan's second album, Countdown to Ecstasy, released in 1973. From 1974 to 1982, Brown performed and recorded a series of albums with guitarist Laurindo Almeida and flautist Bud Shank, drummer Shelly Manne under the name The L. A. Four. In the 1980s and 1990s Brown continued to refine his bass playing style. In his years he recorded and toured extensively with pianist Gene Harris. In the early 1980s, Brown met Diana Krall in a restaurant in Nanaimo, British Columbia. According to Jeff Hamilton, in an interview recorded on the Diana Krall Live in Rio DVD, he first heard Krall play at a workshop and, impressed with her piano skills, introduced her to bassist John Clayton. Hamilton and Clayton both encouraged Krall to move to Los Angeles to study under others.
In 1990, he teamed up with pianist Bobby Enriquez and drummer Al Foster, for Enriquez's album, The Wildman Returns. Around the same time, Brown made seven albums with pianist André Previn when, after a hiatus of two decades, Previn returned to jazz to perform and record regurlarly again between 1989 and 2002: After Hours, Old Friends, Kiri Sidetracks; the Jazz Album, What Headphones?, André Previn and Friends Play Show Boat, Jazz at the Musikverein. Brown and Previn had recorded together before in the 1960s on 4 To Go! and Right as the Rain. An hour-long film, Together on Broadway; the Making of Sidetracks documents the work on the album Kiri Sidetracks. The Jazz Album. Brown played for a time with the "Quartet" with Monty Alexander, Milt Jackson, Mickey Roker. After that he toured again with his own trio, with several young pianists such as Benny Green, Geoffrey Keezer, Larry Fuller; the last edition of the Ray Brown Trio included drummer Karriem Riggins. With that trio, Brown continued to perform until his death in 2002.
Ray Brown married Ella Fitzgerald in 1947. The couple adopted a son, Ray Jr. but the marriage did not last long, as work kept them apart. Ray and Ella divorced in 1953, but remained friends and worked together. Brown died in his sleep July 2002, after having played golf, before a show in Indianapolis. In 1995, Brown was awarded an Honorary Doctorate of Music from Berklee College of Music. In 2001, Brown was awarded the Austrian Cross of Honour for Science and Art, 1st class and in 2003, he was inducted into the DownBeat Jazz Hall of Fame, he was awarded his first Grammy for his composition, "Gravy Waltz", a tune which would be used as the theme song for The Steve Allen Show. Brown, Ray. Ray Brown's Bass Method: Essential Scales and Exercises. Hal Leonard Corporation. ISBN 978-0793594566. List of jazz bassists Ray Brown at the Hard Bop Homepage Ray Brown Biogr
Richard Charles Rodgers was an American composer of music, with over 900 songs and 43 Broadway musicals, leaving a legacy as one of the most significant composers of 20th century American music. He is best known for his songwriting partnerships with the lyricists Lorenz Hart and Oscar Hammerstein II, his compositions have had a significant impact on popular music. Rodgers was the first person to win what are considered the top American entertainment awards in television, recording and Broadway – an Emmy, a Grammy, an Oscar, a Tony Award — now known collectively as an EGOT. In addition, he was awarded a Pulitzer Prize, making him one of only two people to receive all five awards. Born into a prosperous German Jewish family in Arverne, New York City, Rodgers was the son of Mamie and Dr. William Abrahams Rodgers, a prominent physician who had changed the family name from Abrahams. Richard began playing the piano at age six, he attended P. S. 166, Townsend Harris Hall and DeWitt Clinton High School.
Rodgers spent his early teenage summers in Camp Wigwam. Rodgers, Lorenz Hart, collaborator Oscar Hammerstein II all attended Columbia University. At Columbia, Rodgers joined the Pi Lambda Phi fraternity. In 1921, Rodgers shifted his studies to the Institute of Musical Art. Rodgers was influenced by composers such as Victor Herbert and Jerome Kern, as well as by the operettas his parents took him to see on Broadway when he was a child. In 1919, Richard met Lorenz Hart, thanks to a friend of Richard's older brother. Rodgers and Hart struggled for years in the field of musical comedy, they made their professional debut with the song "Any Old Place With You", featured in the 1919 Broadway musical comedy A Lonely Romeo. Their first professional production was the 1920 Poor Little Ritz Girl, which had music by Sigmund Romberg, their next professional show, The Melody Man, did not premiere until 1924. When he was just out of college Rodgers worked as musical director for Lew Fields. Among the stars he accompanied.
Rodgers was considering quitting show business altogether to sell children's underwear, when he and Hart broke through in 1925. They wrote the songs for a benefit show presented by the prestigious Theatre Guild, called The Garrick Gaieties, the critics found the show fresh and delightful. Only meant to run one day, the Guild knew they allowed it to re-open later; the show's biggest hit — the song that Rodgers believed "made" Rodgers and Hart — was "Manhattan". The two were now a Broadway songwriting force. Throughout the rest of the decade, the duo wrote several hit shows for both Broadway and London, including Dearest Enemy, The Girl Friend, Peggy-Ann, A Connecticut Yankee, Present Arms, their 1920s shows produced standards such as "Here in My Arms", "Mountain Greenery", "Blue Room", "My Heart Stood Still" and "You Took Advantage of Me". With the Depression in full swing during the first half of the 1930s, the team sought greener pastures in Hollywood; the hardworking Rodgers regretted these fallow years, but he and Hart did write some classic songs and film scores while out west, including Love Me Tonight, which introduced three standards: "Lover", "Mimi", "Isn't It Romantic?".
Rodgers wrote a melody for which Hart wrote three consecutive lyrics which either were cut, not recorded or not a hit. The fourth lyric resulted in one of their most famous songs, "Blue Moon". Other film work includes the scores to The Phantom President, starring George M. Cohan, Hallelujah, I'm a Bum, starring Al Jolson, and, in a quick return after having left Hollywood, starring Bing Crosby and W. C. Fields. In 1935, they returned to Broadway and wrote an unbroken string of hit shows that ended only with Hart's death in 1943. Among the most notable are Jumbo, On Your Toes, Babes in Arms, I Married an Angel, The Boys from Syracuse, Pal Joey, their last original work, By Jupiter. Rodgers contributed to the book on several of these shows. Many of the songs from these shows are still sung and remembered, including "The Most Beautiful Girl in the World", "My Romance", "Little Girl Blue", "I'll Tell the Man in the Street", "There's a Small Hotel", "Where or When", "My Funny Valentine", "The Lady Is a Tramp", "Falling in Love with Love", "Bewitched and Bewildered", "Wait till You See Her".
In 1939, he wrote the ballet Ghost Town for the Ballet Russe de Monte Carlo, with choreography by Marc Platoff. Rodgers' partnership with Hart began having problems because of the lyricist's unreliability and declining health. Rodgers began working with Oscar Hammerstein II, with whom he had written songs, their first musical, the groundbreaking hit Oklahoma!, marked the beginning of the most successful partnership in American musical theatre history. Their work revolutionized the musical form. What was once a collection of songs and comic turns held together by a tenuous plot became a integrated piece; the team went on to create four more hits. Each was made into a successful film: Carousel, South Pacific, The King and I, The Sound of Music. Other shows include the minor hit Flower Dru
Jazz à Juan
Jazz à Juan is an annual jazz festival in Juan-les-Pins, France. New Orleans, Louisiana recognized as the "Birthplace of Jazz," is a sister city, as a result, carnival festivities in Juan-les-Pins, including both local and New Orleans jazz bands parading through the streets, have served for years to embody that connection. Along the Boulevard Edouard Baudoin, which runs behind the seaside stage that hosts the annual jazz festival, ceramic tiles containing handprints of more than 50 musicians who have played at the festival dot the sidewalk. Among those enshrined on the boulevard are Al Jarreau, B. B. King, Chick Corea, Clark Terry, Dave Brubeck, Dee Dee Bridgewater, Eddy Louiss, Elvin Jones, Fats Waller, Grant Green, George Benson, Hank Jones, Jack DeJohnette, Gary Peacock, Joshua Redman, Keith Jarrett, Little Richard, Milt Jackson, Oscar Peterson, Pat Metheny, Ravi Coltrane, Ray Charles, Richard Galliano, Roy Haynes, Shirley Horn, Sonny Rollins, Stéphane Grappelli, Stevie Wonder and Wynton Marsalis.
The Miles Davis album 1969 Miles – Festiva De Juan Pins was recorded at the 1969 edition of the festival. Jazz à Juan – official site Antibes Jazz Festival discography at Discogs
Stephen Valentine Patrick William "Steve" Allen was an American television personality, radio personality, composer, comedian and advocate of scientific skepticism. In 1954, he achieved national fame as the co-creator and first host of The Tonight Show, the first late night television talk show. Though he got his start in radio, Allen is best known for his extensive network television career, he gained national attention as a guest host on Arthur Godfrey's Talent Scouts. After he hosted The Tonight Show, he went on to host numerous game and variety shows, including his own The Steve Allen Show, I've Got a Secret, The New Steve Allen Show, he was a regular panel member on CBS's What's My Line?, from 1977 until 1981 wrote and hosted the award-winning public broadcasting show Meeting of Minds, a series of historical dramas presented in a talk format. Allen was a prolific composer. By his own estimate, he wrote more than 8,500 songs, some of which were recorded by numerous leading singers. Working as a lyricist, Allen won the 1964 Grammy Award for Best Original Jazz Composition.
He wrote more than 50 books, including novels, children's books, books of opinions, including his final book, Vulgarians at the Gate: Trash TV and Raunch Radio. In 1996 Allen was presented with the Martin Gardner Lifetime Achievement Award from the Committee for Skeptical Inquiry, he has two stars on a Hollywood theater named in his honor. Allen was born in New York City, son of Billy and Isabelle Allen, a husband and wife vaudeville comedy team, he was raised on the South Side of Chicago by his mother's Irish Catholic family. Milton Berle called Allen's mother "the funniest woman in vaudeville". Allen's first radio job was on station KOY in Phoenix, after he left Arizona State Teachers College in Tempe while still a sophomore, he enlisted in the U. S. Army during World War II and was trained as an infantryman, he did not serve instead spending his service time at Camp Roberts, California. He returned to Phoenix before deciding to move back to California. Allen became an announcer for KFAC in Los Angeles moved to the Mutual Broadcasting System in 1946, talking the station into airing his five-nights-a-week comedy show Smile Time, co-starring Wendell Noble.
After Allen moved to CBS Radio's KNX in Los Angeles, his music-and-talk half-hour format changed to include more talk in an hourlong late-night format, boosting his popularity and creating standing-room-only studio audiences. During a show's segment, Allen went into the audience with a microphone to ad lib on-air for the first time, it became a commonplace part of his studio performances for many years. His program attracted a huge local following, as the host of a 1950 summer replacement show for the popular comedy Our Miss Brooks, he was exposed to a national audience for the first time. Allen's first television experience came in 1949 when he answered an ad for a TV announcer for professional wrestling. Although he knew nothing about wrestling, he watched some shows to gain insight, discovered that the announcers did not have well-defined names for the wrestling holds. So, when he got the job he created names for many of the holds. After the first match got under way, Allen began ad-libbing in a comedic style which had audiences outside the arena laughing.
An example: Leone gives Smith a full nelson now, slipping it up from either a half-nelson or an Ozzie Nelson. Now the boys go into a double pretzel bend with variations on a theme by Yolanda. After CBS radio gave Allen a weekly prime time show, CBS television believed it could groom him for national TV stardom and gave him his first network show; the Steve Allen Show premiered at 11 a.m. on Christmas Day, 1950, was moved into a thirty-minute, early evening slot. This new show required him to uproot his family and move from Los Angeles to New York due to technological limitations; the show ran until its cancellation in 1952, after which CBS tried several shows to showcase Allen's talent. He achieved national attention when he was pressed into last-minute service to guest host the hugely popular Arthur Godfrey's Talent Scouts when Godfrey was unable to appear, he turned one of Godfrey's live Lipton tea and soup commercials upside down, preparing tea and instant soup on camera pouring both into Godfrey's iconic ukulele.
With the audience laughing uproariously and entertained, Allen gained major plaudits both as a comedian and a host. Variety magazine editors who had seen the show wrote, "One of the most hilarious one-man comedy sequences projected over the TV cameras in many a day.... The guy's a natural for the big time."Allen was a regular on the popular panel game show What's My Line? from 1953 to 1954, returned as a panelist until the series ended in 1967. Steve was sometimes jokingly referred to as the son of fellow panelist Fred Allen, but the two men were unrelated. Leaving CBS, Allen created a late-night New York talk/variety TV program that debuted in June 1953 on local station WNBT-TV; the following year, on September 27, 1954, the show went on the full NBC network as The Tonight Show, with fellow radio personality Gene Rayburn as the original announcer. The show ran from 11:15 p.m. to 1 a.m. on the East Coast. While Today developer Sylvester "Pat" Weaver is credited as the Tonight creator, Allen pointed out that he had created it earlier as a local New York show.
Allen told his nationwide audience that f
William Thomas Strayhorn was an American jazz composer, pianist and arranger, best remembered for his long-time collaboration with bandleader and composer Duke Ellington that lasted nearly three decades. His compositions include "Take the'A' Train", "Chelsea Bridge", "A Flower Is a Lovesome Thing", "Lush Life". Strayhorn was born in Ohio, his family soon moved to the Homewood section of Pennsylvania. However, his mother's family was from Hillsborough, North Carolina, she sent him there to protect him from his father's drunken sprees. Strayhorn spent many months of his childhood at his grandparents' house in Hillsborough. In an interview, Strayhorn said that his grandmother was his primary influence during the first ten years of his life, he first became interested in music while living with her, playing hymns on her piano, playing records on her Victrola record player. Strayhorn returned to Pittsburgh, attended Westinghouse High School attended by Erroll Garner and Ahmad Jamal. In Pittsburgh, he began his musical career, studying classical music for a time at the Pittsburgh Music Institute, writing a high school musical, forming a musical trio that played daily on a local radio station, while still in his teens, composing the songs "Life Is Lonely", "My Little Brown Book", "Something to Live For".
While still in grade school, he worked odd jobs to earn enough money to buy his first piano. While in high school, he played in the school band, studied under the same teacher, Carl McVicker, who had instructed jazz pianists Erroll Garner and Mary Lou Williams. By age 19, he was writing for Fantastic Rhythm. Though classical music was Strayhorn's first love, his ambition to become a classical composer was shot down by the harsh reality of a black man trying to make it in the classical world, which at that time was completely white. Strayhorn was introduced to the music of pianists like Art Tatum and Teddy Wilson at age 19; these musicians guided him into the realm of jazz. His first jazz exposure was in a combo called the Mad Hatters. Strayhorn's fellow students, guitarist Bill Esch and drummer Mickey Scrima influenced his move towards jazz, he began writing arrangements for Buddy Malone's Pittsburgh dance band after 1937, he met Duke Ellington in December 1938, after an Ellington performance in Pittsburgh.
Here he first told, showed the band leader how he would have arranged one of Duke's own pieces. Ellington was impressed enough to invite other band members to hear Strayhorn. At the end of the visit, he arranged for Strayhorn to meet him. Strayhorn worked for Ellington for the next quarter century as an arranger, occasional pianist and collaborator until his early death from cancer; as Ellington described him, "Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, his in mine." Strayhorn's relationship with Ellington was always difficult to pin down: Strayhorn was a gifted composer and arranger who seemed to flourish in Duke's shadow. Ellington was arguably a father figure and the band was affectionately protective of the diminutive, mild-mannered, unselfish Strayhorn, nicknamed by the band "Strays", "Weely", "Swee' Pea". Ellington may have taken advantage of him, but not in the mercenary way in which others had taken advantage of Ellington.
Though Duke Ellington took credit for much of Strayhorn's work, he did not maliciously drown out his partner. Ellington would make jokes onstage like, "Strayhorn does a lot of the work but I get to take the bows!" On the other hand, Ellington did not oppose his publicists' crediting him without any mention of Strayhorn, despite the latter's attempts to hide his dissatisfaction, "Strayhorn revealed", at least to his friends, "a deepening well of unease about his lack of public recognition as Ellington's prominence grew."Strayhorn composed the band's best known theme, "Take the'A' Train", a number of other pieces that became part of the band's repertoire. In some cases Strayhorn received attribution for his work such as "Lotus Blossom", "Chelsea Bridge", "Rain Check", while others, such as "Day Dream" and "Something to Live For", were listed as collaborations with Ellington or, in the case of "Satin Doll" and "Sugar Hill Penthouse", were credited to Ellington alone. Strayhorn arranged many of Ellington's band-within-band recordings and provided harmonic clarity and polish to Duke's compositions.
On the other hand, Ellington gave Strayhorn full credit as his collaborator on larger works such as Such Sweet Thunder, A Drum Is a Woman, The Perfume Suite and The Far East Suite, where Strayhorn and Ellington worked together. Strayhorn often sat in on the piano with the Ellington Orchestra, both live and in the studio. Detroit Free Press music critic Mark Stryker concludes that the work of Strayhorn and Ellington in Anatomy of a Murder is "indispensable... too sketchy to rank in the top echelon among Ellington-Strayhorn masterpiece suites like Such Sweet Thunder and The Far East Suite, but its most inspired moments are their equal." Film historians have recognized the soundtrack "as a landmark -- the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an
I've Got You Under My Skin
"I've Got You Under My Skin" is a song written by Cole Porter in 1936. It was introduced that year in the Eleanor Powell musical film Born to Dance in which it was performed by Virginia Bruce, it was nominated for the Academy Award for Best Original Song that year. It became a signature song for Frank Sinatra, and, in 1966, became a top 10 hit for the Four Seasons. Louis Prima & Keely SmithThe Four Seasons Sinatra first sang the song on his weekly radio show in 1946 as the second part of a medley with "Easy to Love", he sang it with a big band in an arrangement by Nelson Riddle. Riddle said that this arrangement was inspired by the Boléro. Sinatra aficionados rank this as one of his finest collaborations with Riddle's orchestra; the slide trombone solo is by Milt Bernhart. Sinatra included the song in his concerts, —a tradition carried on by his son, Frank Sinatra Jr. Sinatra re-recorded "I've Got You Under My Skin" for the album Sinatra's Sinatra, an album of re-recordings of his favorites; this time the trombone solo was by Dick Nash.
A live version of the song appears on the 1966 album Sinatra at the Sands with Count Basie and his orchestra. Another version of the song is an electronically assembled duet featuring Sinatra and U2 lead singer Bono on Sinatra's 1993 Duets album. Neneh Cherry's hip-hop interpretation of the song in 1990 was the lead single for the Red Hot + Blue charity album, reached number 25 in the UK Singles Chart; the music video was directed by Jean-Baptiste Mondino. Cherry replaced most of the lyrics with a rap on AIDS victims. Of the original Cole Porter lyrics, she kept only the first four lines and "Use your mentality, wake up to reality". Lyrics of this song at MetroLyrics Cole Porter's "I've Got You Under My Skin" Piano Solo