Here, too, he finds the right notes, figuratively and literally. There is also a new essay by Alan Guntry into which thoughts from arranger Buddy Bregman are incorporated.Īdding to Porter’s merits is the fact that he was one of the small number of lyricists who also composed the music for their songs. The booklet accompanying this release contains Norman Granz’s original liner notes, which are accompanied by a thorough analysis of Porter’s writing by Fred Lounsberry, the author of 103 Lyrics Of Cole Porter. ![]() Now, more than seven decades later, those qualities still grip because the human condition they touch upon has not really changed. There could not have been many theatregoers who were not engaged and entertained, perhaps moved to laugh or cry, by his songs. This is why that foregoing list of adjectives applied to Porter’s art is significant. In later years, many singers chose to abandon the verse, not always a wise choice as listening to them here it is apparent that they often skilfully prepare the listener for the story told in the chorus that follows.Ī requirement of all these songs was that they had to entertain, to engage, much as they would if presented in concert. That so many are from shows is significant, in part because almost all date from between 19 and thus predate shows with songs that were embedded in, and were a continuation of, the narrative.Īlthough these earlier songs stood alone, customarily they began with a verse that connected them to the narrative. His skill was such that he sometimes displayed more than one of these characteristics within the same lyric.Īll but a half-dozen of the songs heard here were written for Broadway shows (the exceptions being Miss Otis Regrets and five songs written for films). ![]() He was so many things: witty, nostalgic, bright, sad, hopeful, melancholic, slyly humorous, intelligent. Indeed, such a cliché does the man a grave disservice. Although appropriate, “sophisticated” is an overused word when writing about the songs of Cole Porter.
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