Here is the Paul Robeson version for comparison.
Yes, the band is good, but it sounds to me like the type of up-beat jazz you’d hear at Disneyland or something. If carnival music and jazz had a bastard child, this would be it.
That was the version I’d heard most often (I don’t think I’ve ever heard The Band’s version, must do so).
Even when I heard it as a kid, it was always very weird to hear Joan singing that her name was Virgil Caine (a man’s name) and the line “back with my wife in Tennesee.”
I’d say Bing wasn’t interested in exploring the mood and meaning of the song relative to the lyrics. Rather he wanted to work with the tune and adapt it to a different musical style. Free from any expectations based on previous renditions, it’s good for what it is. Odds are it’s the first time those musicians got to play it at that tempo, and it looked to me like they were having a ball jazzing it up like that.
From the perspective of the feeling and ideas of the song in its original form, yeah it was murdered. From the perspective of playing around with the music to see where one could go with it, it was a vibrant transformation.
Wow, I can’t believe you haven’t heard it. Here it is.
When I was a kid my father had a record of the Christy Minstrels that featured an uptempo smilie “Jump Down/Turn Around/Pick a Bale of Cotton!” that was whiter than Donnie & Marie with SWpecial Guest Julie Andrews all singing Pat Boone’s Greatest Hits. I used to love to put it on just for the camp factor.
YouTube has similar offerings.
It’s very dated. Because its been out of style for 60 years. When that was filmed it was out of style. The Paul Robeson version sounds dated too, particularly the old style broadway chorus behind him. But his wonderful voice transcends that.
She also fucked up the line about Stoneman’s cavalry.
It’s not a matter of being “dated.” The Robeson version sounds great to me. It’s a matter of it being appropriate for the song.
The play came out in 1927. Bing Crosby had a hit with an up tempo version in 1928 (singing with Paul Whiteman and his orchestra). The Robeson version was from 1936. Bing was first. I really don’t see a problem with him keeping a hit from the beginning of his career in his show. I too prefer the Robeson version (grew up in Robeson territory so I better) but see no problem with Bing.
A lousy interpretation couldn’t have been made in 1928?
Of course. But I wouldn’t consider it an inappropriate interpretation.
It’s here around minute 19.
shrug It just sounds wrong to me given the lyrical content. Maybe that opinion is heavily shaped by my exposure to the Robeson version and versions in that vein, but the up-tempo version just sounds ridiculous to my ears. YM obvious V.
Very nice, thank you!
(Wish I could say the same for the YouTube comments. Honestly…)
I think the reason I’d only heard the Baez version as a kid was that it was the only version played on the adult-contemporary station that my mother always listened to in the car.
If you hadn’t posted that, I was going to.
Hey, Bobby Darin was cool. Besides, have you ever really listened to the lyrics to Mack the Knife?