"Just one voice, singing in the darkness": The Manilow Thread

Mel O'Drama

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Last night I had a dream within a dream in which I heard of Barry's death, only to wake up, realise it was a dream and then find out it was true. Then I woke up from that dream and had to check the news to make sure it wasn't true.

It was probably inevitable with how much Bazza I've been playing recently. In fact I woke up with this track in my head:


I'm absolutely obsessed with the segue from Mandy back into Could It Be Magic just after the four-and-a-half minute mark.
 

Monzo

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Sad news about Barry Manilow:



 

Mel O'Drama

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Oh yikes. From what he posted it's heartening that it was discovered early as a result of his bronchitis. It's a characteristically upbeat and positive message, and I'm sure that attitude will be a big help to him as well. I'm putting some good thoughts into the universe for Bazza's surgery and rapid recovery.
 

Laurie Marr

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This is one of a couple of songs that have finally properly clicked with me this week. It's had some heavy playage (for want of a better word) from me over the last few days. Even though I'm a month early, since there's still a while before October Goes for real.


It’s a lovely melody that was created by Manilow, but my main interest in the song is because it’s the last lyric penned by Johnny Mercer. Mercer belongs to the pantheon of that select group of talents who created the The Great American Songbook: Jerome Kern, Rodgers & Hart (and Hammerstein), the Gershwins, Cole Porter, Irving Berlin. Although there are dozens of Mercer songs that I adore, most people will be familiar with songs such as Moon River and I Remember You.
 

Mel O'Drama

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It’s a lovely melody that was created by Manilow, but my main interest in the song is because it’s the last lyric penned by Johnny Mercer. Mercer belongs to the pantheon of that select group of talents who created the The Great American Songbook: Jerome Kern, Rodgers & Hart (and Hammerstein), the Gershwins, Cole Porter, Irving Berlin. Although there are dozens of Mercer songs that I adore, most people will be familiar with songs such as Moon River and I Remember You.

Out of curiosity, I just keyed Mercer's name into my music library to see which of his songs I've played the most. When October Goes is my most-played, closed followed by k.d. lang's beautiful cover of Skylark. Others I've played a fair bit are a number of tracks from For The Boys, mostly performed by Bette Midler, which I'm sure would remain unknown to me if not for that film. Scattered in between these are a number instrumental versions including Something's Got To Give, Charade, Moment To Moment, In The Cool Cool Cool Of The Evening and (inevitably) Moon River.

Something that's occurred to me about When October Goes is how much the arrangement fits with the styles of both Mercer and Manilow. Were I to listen to a collection of older Mercer standards, it would fit in well. Likewise, listening to a series of Manilow songs there's still a comforting familiarity.

Also, appropriate for the season, I've just realised the piano ballad sound has very similar vibes to another Manilow favourite:

 

Monzo

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Barry Manilow's new album—and who knows, perhaps his last—was released today. Two singles from it are already out. In case you haven't heard them yet, here they are:



Here’s a nice review of the album:

 
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