"Blue Moon" is a popular song written by Richard Rodgers and Lorenz Hart in 1934 that has become a standard ballad. Early recordings included those by Connee Boswell and by Al Bowlly in 1935. The song was a hit twice in 1949, with successful recordings in the U.S. by Billy Eckstine and Mel Torm.
In 1961, "Blue Moon" became an international number-one hit for the doo-wop group the Marcels, on the Billboard 100 chart and in the UK Singles Chart, and later that same year, an instrumental version by the Ventures charted at No. 54. Over the years, "Blue Moon" has been covered by many artists, including Frankie Avalon, The Beatles (as studio jam[1]), Frank Sinatra, Jo Stafford, Ella Fitzgerald, Ray Stevens, Billie Holiday, Al Bowlly, Elvis Presley, Bobby Vinton, Sam Cooke, the Platters, the Mavericks, Dean Martin, Amlia Rodrigues, Yvonne De Carlo, The Supremes, Cyndi Lauper, New Edition, Bob Dylan, Chromatics, and Rod Stewart. Bing Crosby featured the song in a medley on his 1962 album On the Happy Side. Cowboy Junkies interpolated a version of the standard in "Blue Moon Revisited (Song for Elvis)", on the second and subsequent releases of their sophomore album The Trinity Session.[not verified in body] The song also serves as the anthem for the Premier League football club Manchester City.[2]
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Rodgers and Hart were contracted to Metro-Goldwyn-Mayer in May 1933. They were soon commissioned to write the songs for Hollywood Party, a film that was to star many of the studio's top artists. Rodgers recalled,
Hart wrote new lyrics for the tune, as the title song for the 1934 film Manhattan Melodrama: "Act One:/You gulp your coffee and run;/Into the subway you crowd./Don't breathe, it isn't allowed".[6] The song, also titled "It's Just That Kind of Play", was cut from the film before release, and registered for copyright as an unpublished work on March 30, 1934. The studio then asked for a nightclub number for the film. Rodgers still liked the melody, so Hart wrote a third lyric: "The Bad in Every Man" ("Oh, Lord ... /I could be good to a lover,/But then I always discover/The bad in ev'ry man"[6]), which was sung by Shirley Ross.
The song charted in the Variety Top Ten for 18 weeks, reaching No. 1 on January 26, 1935.[9] The song was also recorded by Glen Gray and the Casa Loma Orchestra for Decca Records in November 1934[10] and Connee Boswell for Brunswick Records in 1935. It subsequently was featured in at least seven MGM films, including the Marx Brothers' At the Circus (1939) and (as sung by Elvis Presley) Viva Las Vegas (1964).[5] While most versions of the song begin with the familiar "blue moon," there are two introductory verses in the original Robbins sheet music edition. Eric Clapton and Rod Stewart sang the first verse in their 2004 version of the song (Stardust: The Great American Songbook, Volume III). The last line of the first verse is: "Life was a bitter cup for the saddest of all men."[11]
On September 16, 2018, an article in The New York Times reported that documentary filmmaker Liz Roman Gallese claimed on her website a 1936 lawsuit alleging "Blue Moon" was written by her late father, Edward W. Roman. The family story was "that her father had sold the song for $900 to buy a car, or maybe that he had 'settled' with the rich and famous Rodgers and Hart for that amount." Ted Chapin, the chief creative officer of the Rodgers & Hammerstein Organization, said that he had not heard of Gallese's story and that it seemed "a little far-fetched."[12][13]
American swing era singer Billy Eckstine did a cover version of "Blue Moon" that reached the Billboard charts in 1949. It was released by MGM Records as catalog number 10311. It first reached the Juke Box chart on March 5, 1949, and lasted three weeks on the chart, peaking at number 21.[31][32]
American jazz singer Mel Torm did a cover version of "Blue Moon" that reached the Billboard charts in 1949. It was released by Capitol Records as catalog number 15428. It first reached the Best Seller chart on April 8, 1949, and lasted five weeks on the chart, peaking at number 20. The record was a two-sided hit, as the flip side, "Again", also charted.[31][33]
American country music group the Mavericks covered the song for the soundtrack of the 1995 film Apollo 13. Their version peaked at number 57 on the RPM Country Tracks chart in Canada.[34] It also charted on the RPM Adult Contemporary Tracks chart, peaking at number 15.[35] A music video was produced, directed by Todd Hallowell.
British singer Rod Stewart recorded the song with Eric Clapton for Stewart's 2004 album Stardust: The Great American Songbook, Volume III. Their version was released as a single in early 2005 and peaked at number 23 on the Billboard Adult Contemporary chart in the US.[36]
Once upon a time, I thought of Celtic music as the stuff coming out of Ireland and Scotland. That definition expanded quite a bit over the years as my experience with Celtic music grew, but this job still throws me some new twists from time to time. The latest surprise to come my way is Blou, an Acadian band from Nova Scotia.Yes, I've been touting the remarkable music of the Maritimes for some time. But I wasn't exposed to the Acadian variant until my trip to Cape Breton in October 2000. For those who, like me, aren't familiar with the culture, I'll give you the short version here: The Acadians were French settlers who made their home in Nova Scotia long before America's little rift with the British. In fact, many Acadians were driven from their new homeland by the Brits and drifted south, creating a new French-American culture now known as Cajun. But some remained, and their musical traditions blended with the dominant Scottish traditions of the island to create a whole new subgenre.OK, enough cultural history. Let's talk about Blou. This music is fun.The album launches into immediate overdrive with the first track, the hard-driving "Le reel de la Nouvelle-Ecosse" which features some jammin' harmonica and the fiddle in a "The Devil Went Down to Georgia" blistering kind of way. By the end of the first 2 1/2-minute-long track, I was breathless. And awestruck.The mood shifts a little abruptly into a zydeco-like song, "Tu m'as fair brailler," sung in a mix of French and English. These boys can sing, too -- with pleasantly simple, undistracting lyrics (largely lines like "Baby, you make me cry" and "Baby, please come back"). "Passant par Paris," sung entirely in French, has an almost Appalachian-style urgency to the arrangement. "And if "Johnny peut pas danser" doesn't keep you on the dance floor, you need your pulse checked.Back to an instrumental track, "La gigue d'automne" has an almost plugged feel, with traditional instruments and styles augmented by a driving electric bass line and rockin' percussion. The song "La montagne" borders on high-stepping country. "Isabelle" is a gentle, lyrical love ballad. "Ma sweet jolie" is brings you back to quick-tempoed zydeco. And so on. If you haven't gotten the picture yet, I'll be more direct: Blou is a diverse, talented band who are shouting out at the world to draw attention to Acadia. If the world knows what's good for it, it'll take notice -- this music is too good to miss.The band is Patrice Boulianne on accordion, guitar and vocals, Len LeBlanc on percussion, guitar, harmonica, washboard and vocals, Jacques Livernoche on drums and percussion, Jeff Dery on electric bass, harmonica and vocals, and Harvey Marcotte on mandolin, guitar, fiddle and vocals.The liner notes are entirely in French, except for those few times when the band starts singing in English -- but so what? Like you were going to spend much time reading?If you haven't yet experienced the joys of Acadian culture, here's your starting point.
"Ghost Stories" is a collection of reimagined and newly completed songs that date back to Blue yster Cult's hit-making days of the late '70s and '80s. The tracks contain all original members, Eric Bloom, Donald "Buck Dharma" Roeser, Allen Lanier, Joe Bouchard and Albert Bouchard, (with one exception being a newer recording of the Beatles "If I Fell" from 2016).
With newer software that is able to "demix" these pre-production tracks, producers Richie Castellano and Steve Schenck were able to separate the mixed pre-production demos, and then record new tracks in order to complete the songs. For example, Joe Bouchard submitted a new lead vocal for "So Supernatural," and current BC guitarist/keyboardist Richie Castellano filled some other holes in the arrangements to complete the songs. Then all were remixed into the tunes you hear on this new release! For an in-depth look at how "Ghost Stories" was brought to fruition, watch this YouTube video where Schenck and Castellano explain the process. The album is available on CD, LP, Limited Edition Purple LP, as well as a blue vinyl LP offered by Newbury Comics, and digital formats.
"Don't Come Running To Me" is the second song released from the upcoming Blue yster Cult album "Ghost Stories," (releasing April 12) which features a collection of "lost gems" from the band's past, some that didn't make the album at the time, and others that were left unfinished back then, but were completed for this album.
George Geranios, the band's original audio engineer and an integral part of the band's golden years, co-produced the original 1978-83 recordings along with BC. All were originally recorded on reel-to-reel analog tape. They were later transferred to digital audio, which is when modern AI and magical musical talents met and the collection of vintage multi-track recordings was de-mixed, re-mixed, and produced by Steve Schenck and Richie Castellano to become 'Ghost Stories.'
Newbury Comics has announced a special limited edition vinyl release of Blue yster Cult's upcoming release, "Ghost Stories"! Limited to 300 copies, this blue vinyl version is available exclusively from Newbury Comics, and will be released on April 12, 2024. 152ee80cbc
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