Look to Your Heart (Expanded Edition - Remastered) Perry Como
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- 1Look to Your Heart (From the Television Production, "Our Town")04:20
- 2My Cup Runneth Over (From the Broadway Musical, "I Do! I Do!")02:45
- 3Love In a Home (From the Broadway Musical, "Lil' Abner")03:51
- 4In These Crazy Times (Remastered)03:29
- 5Try to Remember (From the Production, "The Fantasticks")04:28
- 6Sunrise, Sunset (From the Broadway Musical, "Fiddler on the Roof")03:36
- 7How to Handle a Woman (From the Broadway Musical, "Camelot")03:49
- 8When You're In Love (From the MGM Film, "Seven Brides for Seven Brothers")03:27
- 9You're Nearer (From the Broadway Musical, "Too Many Girls")03:49
- 10The Father of Girls03:35
- 11How Beautiful the World Can Be02:16
- 12Somebody Makes It So02:41
- 13A World of Love (That I Found In Your Arms) (Stereo Version)02:17
- 14Another Go Round02:21
- 16He Who Loves02:43
- 17That's Me02:44
- 18I Want That Girl02:27
- 19Turn Around02:50
- 20Love Is Spreading All Over the World02:32
- 21Don't Leave Me02:36
- 22It's Impossible (Alternate Version)03:14
Info zu Look to Your Heart (Expanded Edition - Remastered)
22 Tracks, original RCA Victor Aufnahmen, 1967-70. Das Album enthält das original 1968er Album „Look To Your Heart“, sowie als Bonus die Singles plus unveröffentlichtes Material aus der oben angegebenen Schaffensperiode.
Diese spezielle Version von „Look To Your Heart“ enthält praktisch ein 2. Album mit unveröffentlichten Bonustracks und Singles. Die Bonustracks enthalten Songs von Burt Bacharach & Hal David, Neil Sedaka & Howard Greenfield, Harry Nilsson und Teddy Randazzo.
Am 18.5.1912 in Canonsburg (Pennsylvania - USA) geborener amerikanischer Entertainer und Sänger. Perry Como startete seine Karriere als Friseur und stieg in den Big-Bands von Freddie Carlone (1934 bis 1937) und Ted Weems (1937 bis 1942) ein. 1945 gelang ihm mit „Till the End of Time' der internationale Durchbruch. Allein in einer Woche verkaufte er von dieser Platte 4 Mill. Stück.
Nebenbei drehte Perry Como Filme, trat im Fernsehen auf, bis er 1955 seine eigene Show bekam, die in den 50er Jahren zu den beliebtesten im amerikanischen Fernsehen gehörte. Allein von 1956 bis 1960 gelangen ihm in Europa 13 Hits, die heute noch bekanntesten sind „Catch a falling Star' (1958) und „Love makes the World go round' (1958). Dann zog er sich vom aktiven Showgeschäft zurück, bis ihm in den 70er Jahren das Comeback von Dean Martin, Paul Anka und Frank Sinatra wieder ermutigte, mit neuen Platten ein Comeback zu wagen.
Pietro and Lucia Como arrived in the United States from Italy around 1903. They settled in Canonsburg, Pennsylvania, just southwest of Pittsburgh, across the river from Steubenville, Ohio where Dean Martin, another son of first generation Italian immigrants, grew up. For the Comos, the New World was an almost exact replica of the Old. Pietro worked at Standard Tin Plate, but he and Lucia continued to speak Italian, never learning more than a few words of English until they died. They ate the food and drank the wine of the old country, attended church, and sang the songs they'd always sung. Women with less than five children were thought barren; the Comos had thirteen. Some were born in the old world, some in the new. Pierino, or Perry as he became known, arrived on May 18, 1912, the seventh son of a seventh son.
Third Avenue in Canonsburg is now Perry Como Avenue. Just the idea of it elicited a wince from Perry. He didn't like that sort of thing. For the first five years that Perry ran up and down what would become Perry Como Avenue, he didn't speak English. He only began picking it up when he went to school. The mines and the mills where many of the immigrants worked were not for him: he would be a 'barbiere.' Nick Tosches reckoned that between one-half and two-thirds of Italian immigrants declared that they were 'barbieri.' Even the great Caruso had been a barbiere. Perry started apprenticing when he was twelve, and took over an established business when he was fourteen with two grown men working for him. "A haircut was fifty cents; now I pay twenty bucks. Maybe I got out too soon," he said. Another shrug. Maybe he'd told that joke too often. Perry had a guitar, and led his own barbershop quartet in his own barbershop, and played valve trombone in a brass marching band. On July 4 and Italian saints' days, they would parade around Canonsburg. "My father walked right alongside me in the crowd," said Perry. "That's-a-my boy, you know. He loved music."
When it came to singing, Perry freely admitted to two influences, Russ Columbo and Bing Crosby. Perry always went out of his way to acknowledge Crosby's influence. Crosby has been portrayed as unlovable, sour-tempered, and miserly, but that's not the way Perry remembered him. "He was supposed to be surly, tough, but he was never that way with me," he said. "He was gentle. We got along. Played golf, did each other's shows, but he couldn't take a compliment. One time we did a duet on television, and I said, 'If it hadn't been for him, folks, I'd still be cutting hair.' He was embarrassed, almost insulted. Afterward, he said, 'Perry, don't say that.'"
Around the time that Crosby became really popular in 1931 and 1932, Perry was getting up on stage around Canonsburg to sing the hits of the hour. Then, during a spring vacation in Cleveland in 1933, he went to see a local bandleader, Freddie Carlone, and auditioned. Carlone offered him a job, but Perry's barber shop was a thriving business netting him around $40 a week, and he needed some prodding from his father to go with Carlone who was only offering $28. He met the band at a park in Meadville, Pennsylvania. His girlfriend, Roselle Belline, came up there with him. Neither could face their parents if they weren't married so they went to see a justice of the peace in Meadville on July 31, 1933, just a few days after Perry officially changed profession. For years, he kept up his membership in the Barbers Guild. Just in case.
Carlone led what was known as a territory band. It had thirteen pieces and they toured up and down the Ohio valley, and did a little radio but never recorded. When they weren't working, Carlone's brother would take Perry to a club in Cleveland where he would sing for tips. "Some guy would ask to hear 'Melancholy Baby,' I'd sing it, he'd put a buck into a jar," said Perry. "I did better with that than I did with the band." It was around this time that amplification became commonplace. Prior to that, singers would use megaphones. Perry had a megaphone with stardust painted on it. Now he was confronted with the new technology, but was slow to embrace it. "Freddie would say, 'Sing in the goddamn thing!'" he remembered, "and I'd say, 'No, I want to sing with the megaphone,' so in the end I sang through the megaphone into the microphone and it sounded awful. I don't think I ever knew how bad."
Carlone's band was run by three brothers, and Perry was treated as the fourth Carlone. After a show, they'd pay off the band, then do a four-way split. Perry felt so much a part of the outfit that he didn't even respond to a wire from the self-styled 'King of Jazz,' Paul Whiteman, offering him a job. Carlone tried to persuade him to leave, but Perry was adamant that he wanted to stay, and, when an offer came from Ted Weems in 1935, Carlone had to push him out the door. Weems had heard Perry at a casino in Warren, Ohio, and wired him. "Ted was the same kind of man as Freddie," said Perry. "Gentle. A gentleman. I was doing well, sending money home to my dad, ten dollars, twelve dollars. Roselle came with me on the road. We had an old Packard, we'd load it up, put a mattress in there for my son Ronnie who was just a few months old, and we'd hit the road. California. Wherever."
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