Tag Archives: Frank Sinatra

“Je Finirai Par L’oublier” b/w “Milisse Mou” by Nana Mouskouri. Fontana 6010 066. Recorded in France, 1972.

Image courtesy of The Rodgers & Hammerstein Archive of Recorded Sound.

Image courtesy of The Rodgers & Hammerstein Archive of Recorded Sound.

Born in Crete to a projectionist father and usher mother in 1934, Iōánna Moúschouri (Nana to her friends) had shown a clear gift for music at a young age. So did her sister, however. Her family could only afford music lessons for one of the girls, so they asked their tutor which one should have them. They were told that Jenny was more skilled, but Nana had the passion and the need to sing.

Nana got the lessons. They must have been a bright spot in a childhood marred by the Nazi occupation of Greece. Her father fought in the Communist resistance.

Nana spent eight years studying opera at the Athens Conservatoire, but was barred from taking her final exams because of her moonlighting in a jazz club. As a child in Athens (her family had re-located when she was three years old) Nana had listened to Billie Holiday and Frank Sinatra on her radio, and the temptation to apply her skills to that work had been too great to resist. So opera proved to be unwelcoming, but exposure in the clubs lead to recordings—this is one of her first, 1958’s “Ilissos.”

Continue reading

Tagged , , , , , , , , , , , , , , , , , , , , , , ,

45: “That Old Black Magic”/”Ev’ry Time We Say Goodbye”/”Gentleman Friend”/ “What Is There to Say” by Peggy Connelly. Bethlehem BEP 128. Recorded January 16-18, 1956 in Hollywood.

Image courtesy of The Rodgers & Hammerstein Archive of Recorded Sound.

Image courtesy of The Rodgers & Hammerstein Archive of Recorded Sound.

Peggy Connelly was born in Shreveport, Louisiana in 1931 and soon after raised in Fort Worth Texas.  Her debut album, Peggy Connelly with Russ Garcia—That Old Black Magic, would be her only solo recording for Bethlehem Records. This EP featured songs taken from that album and also featured the exact same cover that was used for the album. But one can’t really blame the higher-ups at Bethlehem for using it twice because it is a keeper—a dynamic mix of sex appeal, photographic trickery and post-Gigi styling that was on point for its time and is wonderfully kitschy today. Continue reading

Tagged , , , , , , , ,