We Get Letters ~ LPM-1463 Released 1957

RCA VICTOR LPM-1463 ( H2PP-1710/11 )

RCA UK RD-27035

NEW-ORTHOPHONIC MONAURAL

SEPTEMBER 1957

Recorded at Webster Hall

and RCA Victor Studio's 2 & 3, New York City

A&R Producer Ed O. Welker

With Mitchell Ayres' Orchestra & "Como's Little Combo"

All tracks are monaural

Side One

Swingin' Down the Lane ( Mel Davis, Trumpet Solo )

~ featured in the 1951 Kahn biography "I'll See You In My Dreams"

Music by Isham Jones and lyrics by Gus Kahn , 1923

It's Easy To Remember

~ from the 1935 Paramount film "Mississippi"

Music by Richard Rodgers and lyrics by Lorenz Hart 1935

South of The Border

Words and Music by Jimmy Kennedy

and Michael Carr, published 1939

That's What I Like

Music by Jule Styne and lyrics by Bob Hilliard 1954

Honey, Honey ( Bless Your Heart )

~ the lyricist for this song is Roselle ( Belline ) Como's nephew

Music by Larry Stock and lyrics by Dominick Belline

Angry ( Abraham Richman, Tenor Sax Solo )

Music by Henry Brunies and Jules Cassard

with lyrics by Dudley Mecum, 1925

Side Two

They Can't Take That Away From Me

~ from the MGM film "The Barkley's of Broadway"

Music by George Gershwin and lyrics Ira Gershwin

Sposin'

~ featured in the 1948 film "Feudin' Fussin' and A-Fightin' "

Music by Paul Denniker and lyrics by Andy Razaf, 1929

I Had the Craziest Dream

from the 20th Century Fox film "Springtime in the Rockies"

Music by Harry Warren and lyrics by Mack Gordon , 1942

'Deed I Do

Music by Fred Rose

and lyrics by Walter Hirsch, 1926

Somebody Loves Me

~ featured in the 1955 film "Pete Kelly's Blues"

Music by George Gershwin

and lyrics by Ballard MacDonald and B.G. DeSylva, 1924

Sleepy Time Gal

~ title song of the 1942 film "Sleepy Time Gal", 1925

Music by Ange Lorenzo and Richard A. Whiting

with lyrics by Joseph R. Alden and Raymond B. Egan, 1925

Unreleased recordings from these sessions:

It's Been a Long, Long Time

~ featured in the Hollywood Musical "I'll Get By"

Music by Jule Styne and lyrics by Sammy Cahn

If I Could Be With You ( One Hour Tonight )

~ featured in the 1953 Hollywood musical "The Jazz Singer"

Music by Jimmy Johnson and lyrics by Henry Creamer , 1930

Recorded June 18th, 1956 and February 12th, 19th, 1957

Album Release: September, 1957

The songs in this album are a cross-section of the requests that Perry Como sings on his weekly TV show. The style is relaxed, the backgrounds ( by a section of the Mitchell Ayres' orchestra known during the recording sessions as "Como's Little Combo" ) are light and easy, and Perry's singing is, as always, superb.

This album was compiled with recordings made between June 1956 and February 1957 with nine of the twelve tracks taken from the latter sessions. Tracks from the February 1957 sessions are likely mastered from two track binaural originals. Some binaural recordings from this era have inadvertently been released in recent years but historically the labels have denied their existence because they were never intended for stereo release. This particular album is somewhat unique among all of Mr. Como's recordings for it's relaxed style, low-key jazz like quality, a format which was never repeated again quite the same way in any of his subsequent recording sessions. Although the album did not lack for popularity within the United States, it has always held a strong international following and has been duplicated several times in other countries.

The recordings within this set would benefit considerably from a real stereo mix-down from the two-track binaural masters and, hopefully, the label owner may one day be encouraged to do just this. Even in monaural, however, these recordings hold their ground among Mr. Como's most interesting sessions. Prior to the time of these recordings, albums tended to be compilations of individual recordings done at one time or another. Although some may argue that Mr. Como's 1955 album "So Smooth" was recorded in this fashion, it is clearly this 1957 album which marked a real change in album "sessions" recordings that would become the standard from then on. Beginning in 1958, all of Perry's future albums, excluding compilations, were recorded in a dedicated session and following a common theme.

Engineering and production information for this album is currently unknown.