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Dinah Washington Through The Night With Dinah 2-CD

Through The Night With Dinah 2-CD
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Artikel-Nr.: CDJAS414

Gewicht in Kg: 0,200

16,95 € *

Dinah Washington: Through The Night With Dinah 2-CD



Dinah Washington - Through The Night With Dinah 2-CD Medium 1
1: I Wanna Be Loved
2: Baby Did You Hear ?
3: It Isn't Fair
4: I'm Crying
5: Fat Daddy
6: Stormy Wheater
7: Set Me Free
8: I Don't Hurt Anymore
9: I Cross My Fingers
10: Out In The Cold Again
11: T.V. Is The Thing
12: Lean Baby
13: Half Us Much
14: Only A Moment Ago
15: Be Fair To Me
16: Saturday Night
17: New Blowtop Blues
18: Don't Hold It Against Me
19: Time Out For Tears
20: Gambler's Blues
21: Our Love Is Here To Stay
22: I Apologize
23: Just One More Chance
24: Mixed Emotions
25: Blue Skies
Dinah Washington - Through The Night With Dinah 2-CD Medium 2
1: Fine Fine Dady
2: My Kind Of Man
3: Please Sent Me Someone To Love
4: I've Got Your Under My Skin
5: Never, Never
6: Crazy He Calls Me
7: Dreams
8: Darn That Dream  
9: Love For Sale  
10: I'm So Lonely I Could Cry  
11: I Won't Cry Anymore  
12: What's The Matter With Baby  
13: Ain't Nobody's Business If I Do  
14: Cold Cold Heart  
15: Come Rain Or Come Shine  
16: Bye Bye Blues  
17: Hey Good Looking  
18: I'm A Fool To Want You  
19: Don't Say You're Sorry Again  
20: If You Don't Think I'm Leaving  
21: I Let A Song Go Out Of My Heart  
22: When The Sun Goes Down  
23: Until Sunrise  


Artikeleigenschaften von Dinah Washington: Through The Night With Dinah 2-CD

  • Interpret: Dinah Washington

  • Albumtitel: Through The Night With Dinah 2-CD

  • Artikelart CD

  • Genre Pop

  • Music Genre Pop
  • Music Style Pop Vocal
  • Music Sub-Genre 281 Pop Vocal
  • Label JASMINE

  • Preiscode JAS
  • SubGenre Pop - Vocal Pop

  • EAN: 0604988041422

  • Gewicht in Kg: 0.200

Interpreten-Beschreibung "Washington, Dinah"

Dinah Washington

What A Diff'rence A Day Makes

Dinah Washington

What A Diff'rence A Day Makes

(G“Dinah was the reason they wanted me to take over Mercury’s New York office,” said Clyde Otis. “They introduced me to her, and I said, 'I respect what you do so much, I'm afraid to even suggest a change in direction, but I have this idea for you to do “What A Diff'rence A Day Makes.” Have you ever heard it?' She said she had, and she asked me if I wrote it [Otis’ predilection for his own songs was legendary in the business]. I said I hadn't, but I told her if she recorded it, it could be very successful for her. She said, 'You do huh, motherfucker.' That was how she talked. She said, 'I'll give you one take, motherfucker.' I knew she meant one take, too. On the session, she was getting her shit together in the bathroom, and I told Belford Hendricks the arranger to get all the kinks out of the arrangement. She came back, she said. 'Ready?' One take, and we got it.

I went to a product meeting [at Mercury HQ] in Chicago, and played them ‘What A Diff'rence.’ They hated it. Meantime, Arnold Shaw [professional manager at the music publisher E.B. Marks] heard it and thought it was a monster. Arnold said, 'I'll take this song on the road, and I believe we can get the dee-jays to support it.' He went out three months, and when he came back it was a hit.”  In his book, Honkers And Shouters, Shaw adds that he actually brought the song to Otis. “When I suggested to Mercury executives that Dinah could sell pop, they patted me on the head and told me not to waste my company’s promotional budget,” wrote Shaw. “I was so excited when Clyde Otis cut [the song] that even though field promotion was the province of other members of staff, I went on the road. I spent nine weeks visiting disc-jockeys. Not R&B, but pop.”  

Dinah changed the song’s tense. Originally written in Spanish circa 1934 by Maria Grever as Cuando Vuelva A Tu Lado, it was rendered into English that year by veteran Broadway tunesmith Stanley Adams as What A Diff’rence A Day MADE. It hadn’t been an especially big hit in 1934, although it was interpolated into the 1955 Kirk Douglas movie, 'The Racer'. In 1959, it became Dinah’s first pop hit of the rock ‘n’ roll era, and it was, by any criterion, an exquisite performance. In 1975, Esther Phillips took what was essentially Dinah and Belford Hendricks’ arrangement of the song back into the pop Top 20. By then, Dinah was twelve years dead.


Various - Blowing The Fuse 1959

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