Perry Como Sings Hits from Broadway Shows ~ 1956
Perry Como
With Betty Hutton, Sally Sweetland and The Fontane Sisters 
Mitchell Ayres' Orchestra and Chorus  
Although "mellifluous" is hardly a term to be heard around Broadway, it does seem to be as accurate a one-word description of Perry Como’s singing style as anyone is likely ever to find. For "mellifluous" means "sweet and smooth flowing" — adjectives which well describe the unique vocal artistry of one of America’s all-time greats in the field of popular music.
Perry Como’s life and artistic career are typically and uniquely American. He was born in Canonsburg, Pennsylvania, the seventh of thirteen children of Italian immigrants. While still in school his principal interest was owning his own barbershop — he started his barbering career at the ripe old age of twelve; and, fortunately for us all, he also liked mightily to sing. His first professional job paid him all of $28 per week; this was followed by a seven-year engagement with Ted Weems. From Weems’ orchestra Perry went on to New York and subsequent triumphs which have automatically placed him among the most popular and most admired of all Radio and TV stars in the ‘40s and ‘50s.
Although Perry has been prominently identified with outstanding Tin Pan Alley hits, perhaps his real forte lies, after all, in his interpretation of Broadway show tunes. It has often been asked: how do songs from Broadway musicals differ from ordinary popular tunes? For although they may have similar style and arrangement, the Broadway melody often displays a verve and descriptiveness denied to other popular favorites. The reason is at least twofold: first, show numbers are the product of today’s most widely experienced composers; second, such music is written in a context, a whole musical production which individual songs must support and exemplify.
Perry Como is an ideal performer of the brilliant music from the Great White Way. His style is both intimate and versatile enough to capture every tuneful situation. And for those who have seen or heard these productions, the Perry Como approach will prove a guarantee of renewed enjoyment. The earliest show represented in this collection is the Rodgers and Hart "Connecticut Yankee." My Heart Stood Still has been a great favorite ever since the play was first performed in 1927 and, if possible, increased in popularity when the show was revived in 1943. Summertime is of course only one of many hits from Gershwin’s "Porgy and Bess." Actually an opera in English, "Porgy and Bess" was based on DuBose Heyward’s play and was produced by the Theatre Guild in 1935.
In the year 1950 appeared two smash musical successes: Frank Loesser’s "Guys and Dolls," based on the novel characterizations of Damon Runyon, and Irving Berlin’s "Call Me Madam." From the first, Perry here sings A Bushel and a Peck in a sparkling duet with Betty Hutton, while from the second he interprets Marrying for Love, You’re Just in Love, and It’s a Lovely Day Today — the last two with The Fontane Sisters.
As an exponent of Rodgers and Hammerstein, Perry lends his adaptable styling to selections from four of their many hit shows. From the 1945 Theatre Guild Production of "Carousel," Perry has chosen You’ll Never Walk Alone; from "South Pacific," which won the Pulitzer Prize for 1950, we hear Some Enchanted Evening and Bali Ha’i; from the popular 1951 musical "The King and I," there are Hello, Young Lovers and We Kiss in a Shadow; and finally, from the most recent Rodgers and Hammerstein production "Pipe Dream," Perry sings the romantic All at Once You Love Her, a tune which promises to become one of the great Como classics.
Copyright 1956, Radio Corporation of America      
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Perry Como Sings Hits From Broadway ShowsPerry Como ~ Hits From Broadway Shows 10" LP 1953TV Favorites ~ Original Album 1952

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