Wow! What a range...
That Coke performance is so poor, Mario sounds so unprepared, unsure of what he's doing & his phrasing is sloppy. The ending is not the way to go with this song either, something he repeats in "The 7 hills of Rome" & it didn't work then either. I do love the instrumental bridge though, its actually one of my favourite Coke arrangements, it's a shame it doesn't involve Mario :-)The "Because You're Mine" take is sublime, Mario is definitely prepared here! Such lovely phrasing, changes of mood & atmospheric singing, Lee Ann your observation about intruding is spot on, you almost feel like a voyeur because of the intimacy of the singing... A beautiful recording! I Love it!The "Cavalcade of Show Tunes" take is what I call mature Mario, he is now polished, yes burnished, baritonal & in this post 1953 artist there were less erratic performances. Mario at this stage KNOWS this song inside out & this is a beautiful reading with a glorious ending, it's exactly the way this song should end, I love the chord on that last "are" which you lose on the the high endings.1951 "BYM" first place, 1956 a VERY close second & 1951 "Coke" in a definite last place.
Ahh, You are a tricky devil Derek. It’s hard to imagine this beautiful Jerome Kern song and the luscious voice of Lanza combining to produce a disaster. Only when judging against the high bar of Lanza’s capability can we hear separation in these versions:
The MGM version would have pleased if one never heard the later, 1956 recording. In some notes his breath control was not perfect and his voice sounded a little “raspy” to me. Some of the singing was “uneven” and much of his usual sweetness was missing. I rated this as good..
The #35 version was surprisingly good for a Coke performance even though it did not “flow” well in some parts. It also had a typical “Coke” more-power-than-needed ending. I rated this as a so/so (but definitely not as a disaster as in LOB disasters). everything considered, a passable rendition .
The 1956 version. Now we are talking about Mario on top of his game. His voice was velvety rich and smooth from beginning to end! An exciting Lanza signature ending but under control. Tough to find any flaws. Just wonderful!, a masterpiece(or close to it) methinks.
"There is an intimacy in the 1951 version. At times, it can feel almost intrusive to listen, marveling at the same time at the fluidity of the interpretation--the constant shift in light and shade, the nuance, the artistry."
All The Things You Are
What makes Mario so special to you? One of the most frequent answers is how he seems to be singing to each one of us alone. Indeed, we get the feeling that we are the most important person on earth and become spellbound at the sound of his voice. One song in particular that captivates me with this special intimacy is the Because You’re Mine recording of All The Things You Are.
Oh, I’ve always loved the 1956 Cavalcade version. It is a sweet and sincere declaration of love, full of beautiful phrasing and it is very satisfying. (I never listen to his CC one with that frightful high ending. It seems his radio audience required as rousing a finish as he could deliver?) Yes, I was quite happy with Mario’s interpretation until – I discovered the Rhino CD! I was immediately charmed by his tender and beguiling eloquence. His phrasing is very similar to the COST rendition, but his tone is more mellow and velvety. I believe it was purposely sung this way as it most likely was meant for a very special love scene in the film. Since it is so exquisite, I wonder if that scene was filmed and later edited out. Even if that were the case, all I can do is shake my head and wonder why the song was unheard for so many years.
We first hear Mario hum quietly, with only piano accompaniment. Then, “You are the promised kiss of springtime, that makes the lonely winter seem long.” An orchestra gradually joins in, but it stays quietly in the background. The voice and words are what we focus on. He goes along smoothly, but on the line, “Some day my happy arms will hold you….” he changes gears and volume, but, just as suddenly, reverses “…and some day I’ll know that moment divine…”. That latter “some day” line is so soft and hushed, it sounds like he is walking on a cloud.
Fast forward to the second verse. If he was walking on a cloud in the previous verse, then his “You are the angel glow that lights a star…” we hear the sun come shining through those clouds in all its glory!! He holds on to “glow” deliciously. Hear the luxuriant phrasing on: “The dearest things I know, (are what you are----Some day) my happy arms will hold you, and some day….. I’ll know that moment divine, when all the things you are,…..are mine.” Mario’s intensity increases and decreases as smoothly as satin in a gentle breeze all throughout the last line. His “mine” evaporates into the mist with the same tranquilly as his humming emerged. What an endearing song!