1) Flying Down to Rio (UK issue)
2) Flying Down To Rio (US issue)
3) Music Makes Me (UK issue)
4) Music makes Me (US issue)
5) Cheek to Cheek
6) No Strings
7) Isnít It a Lovely Day?
8) Top Hat
9) The Piccolino
10) Let Yourself Go
11) Letís Face The Music and Dance
12) We Saw The Sea
13) Iím Putting All My Eggs In One Basket
14) Iíd Rather Lead a Band
15) Iím Building Up To An Awful Let-Down
16) Pick Yourself Up
17) The Way You Look Tonight
18) Never Goanna Dance
19) Bojangles of Harlem
20) A Fine Romance
21) The Waltz in Swing Time
Listening to these recordings I remembered when I first
saw Fred Astaire in one of the films featured here. I had no idea then
that, despite his obvious talent, his name would become one to be remembered
as it has been. His films are still being repeated on TV and his songs
often heard on the radio and yet it might never have happened. At the
start of his career Fred was teamed with his sister Adele and he became
a potent force in musical comedy in the late twenties and thirties.
But it was talking pictures and the depression, together with his sisterís
retirement, that conspired to set a new career direction for Fred. He
was reported to have said he was bored and looking for a change as the
stage was beginning to worry him. Following a screen test the producer
David O. Selznick at RKO wrote a memo saying that although he was uncertain
about Fred he felt that in spite of his enormous ears and his chin line
his charm was tremendous. Newly married and armed with an RKO contract
the Astaires flew to Hollywood where RKO was trying to get a film put
together for him. But by then Selznick had gone to work for Louis B.
Mayer and since RKO wasnít ready to launch Astaireís film career MGM
did it. Selznick cast him in ĎDancing Ladyí where he performed two numbers
but these made the audiences sit up and take notice. He was then cast
in "Flying Down To Rio" alongside second-stringer Ginger Rogers
and the Astaire career ignited. What followed was, of course, perhaps
the most successful string of musicals in the history of movies. It
was the sessions with Johnny Green - conductor, composer and pianist
- that changed Astaireís recording career, particularly their collaboration
on "Top Hat, White tie and Tails". Green was elegant, graceful
and witty, a man who looked more comfortable when he was dressed in
white tie and tails sitting at the piano performing in a sprightly,
well-rehearsed style that matched Astaireís ability to do the hard things
and make them look effortless. What you will hear om this CD is Fred
Astaireís ascendancy into world-wide stardom.
His first two recordings from "Flying Down to
Rio" were recorded in London in December 1933 but the later American
versions of these same songs are included too. In both versions of the
title song you hear Astaire singing it rather tentatively. If I had
to choose I think the British version is better but there really is
little to choose from between either. Fred is not at his best in the
other song, "Music Makes Me", either. Obviously Astaire "completists"
will be glad to have both. Each time any monotony is broken by Fred
performing a few dancing steps for the microphone. Although easy to
listen to you soon realise that there was something lacking in Astaireís
voice early on.
Back in New York in 1935 he recorded "Cheek To
Cheek" by Irving Berlin. A familiar song, of course, but the difference
in Fredís singing now is amazing, and you realise that Brunswick, who
recorded him at that time, managed to find the perfect presentation
of the Astaire voice and personality. Fred sings as we are accustomed
to hear him when he is dancing in a film. His voice now is confident,
happy and light-hearted. My own feelings were that although this is
one of the numbers he is known for when dancing in a film it made no
difference to my enjoyment in just hearing him on record. Not so familiar
is "No Strings" recorded at the same time. Leo Reisman leads
in with a long introduction with perfect timing for Astaire to follow
with this lively, jolly number in which you hear Fred again performing
a tap dance. I loved this recording, and guessed Fred could now sing
any type of song.
Still in 1935 Astaire recorded Berlinís "Isnít
This A Lovely Day" with Johnny Green. Again the Orchestra plays
a long introduction before Fred enters and once again he sings with
confidence making you really believe it is that lovely day. You hear
Johnny Green on the piano playing in perfect harmony with him too. I
canít praise this number enough, itís a perfect Gem. The superb arrangement
of "Top Hat" was made in 1935 with Fred really showing what
a brilliant performer he was. Johnny Green and the orchestra play a
long introduction with many variations before Fred starts to sing and
when he does itís with complete abandon. As he sings you hear the sound
of him tap dancing again and his voice appears to be at one with his
tapping feet. The great Irving Berlin was responsible for writing many
of these songs for Astaireís films and the next one, "The Piccolino"
from "Top Hat" is an example of the great composer he was.
After the introduction Fred breaks in with a song that has almost a
surplus of melody changes but Fred happily loses himself in them as
he takes us with him in this catchy number.
The following four recordings are from "Follow
The Fleet". "Let Yourself Go" was made in Los Angeles
in January 1936. Fred performs a few tap dance steps before the orchestra
takes over for a time and taps away in the background in perfect time
until the music slows down and Astaire starts to sing. Following this
is "Letís Face The Music and Dance" where Johnnie Green excels
at the piano. It would be difficult not to view Fred as a sailor as
he sings "We Saw The Sea", jauntily telling us why he joined
the navy. Johnnie Green accompanies him in the same jaunty manner as
Fred sings this delightful number. The next recording finds Fred singing
as brilliantly as ever but more seriously as he tells us "Iím Putting
All My Eggs In One Basket". Next not as familiar a number but Astaire
and Green together ensure you will enjoy "Iíd Rather Lead a Band"
with Fred tapping away as he sings making this another good performance
from him and his few remarks at the end completes it. Another less familiar
number is "Iím Building Up To An Awful Let Down" which Fred
recorded in 1936. You do wonder when Astaire is going to sing, but he
does though not until towards the end. Nevertheless this is a simple,
easy song to listen to.
The next six recordings are all songs by Jerome Kern
from that spectacular film "Swing Time" . Johnny Green and
his orchestra and piano accompany on every one, of course. Starting
with "Pick Yourself Up" you can hear Fred singing as he dances
between steps. Itís wonderful how he judges the right moment to do this.
Next comes a great classic. How often I have heard and seen Fred sing
the smooth and languorous number, "The Way You Look Tonight".
A truly lovely recording this from Astaire with Johnny Green accompanying.
Next is "Never Gonna Dance", and Astaire tells you the reason
in the song. A straight song with no musical variations, and after hearing
Astaire tap dancing in most of his songs you realise what a difference
it makes when he doesnít. But in spite of that itís pleasant with the
Orchestra playing smoothly and in no way drowning him out. Great too
is the next recording, "Bojangles Of Harlem". First you hear
Johnny Green brilliantly playing the piano as usual, and with the Orchestra
playing many variations you hear Astaire join in and sing this great
number while the sound of him dancing on what I can only describe as
either a platform, or could even be without the steel taps on his shoes.
As to is the next recording "A Fine Romance" Astaire sings
of it being a romance with no kisses, although he doesnít sound particularly
bothered about it. It is a great number, of course, from a film full
of them and I loved the piano playing of Johnny Green yet again. The
orchestra brings a really melodious assortment of sounds. What better
way to end than "Waltz In Spring Time" ? Although you donít
hear Astaire sing, you hear in the background him tap dancing very quietly
in time with the music. A melodic way to end this excellent selection
of songs from "Swing Time" .
Those collecting this Astaire series will need no prompting
to buy it. For the rest there are some great songs here. The transfers
are all up to Naxos Nostalgiaís usual high standard.