Honey, Honey  ( Bless Your Heart )

Music by Larry Stock and lyrics by Dominick Belline

Roncom Music Limited

Second recording 1959: ( 1957 Version |

With Mitchell Ayres' Orchestra

Arrangements by Joe Lipman and Jack Andrews

Produced by Charles Grean and Lee Schapiro

 

Recorded in RCA Victor's Studio A, New York City

Recording Engineer: Bob Simpson

Final Recording Time 2:00

 

Recorded April 16th, 1959   ~  Matrix No. K2PB-2330 Take 2

SESSION MUSICIANS

April 16, 1959 

Produced by Charles Grean and Lee Schapiro

 

Orchestra

 

Leader: Mitchell Ayres

Contractor: Henry "Hank" Ross

 

Sax ~ Harry Terrill

Sax ~ Bernard Kaufman

Sax ~ Sid Jekowsky 

Sax ~ Philip Zolkind 

Sax ~ Romeo Penque 

 

Trumpet ~ James Maxwell

Trumpet ~ Bernie Glow 

Trumpet ~ James Milazzo 

Trumpet ~ John Lawson 

 

Trombone ~ Robert Byrne 

Trombone ~ John D'agostino

Trombone ~ Richard Hixon 

Trombone ~ Jack Satterfield 

 

Violin ~ Sylvan Shulman 

Violin ~ Jack Zayde  

Violin ~ Raoul Poliskin 

Violin ~ Felix Orlewitz  

Violin ~ Tosha Samaroff 

Violin ~ Mac Ceppos 

Violin ~ Harry Melnikoff 

Violin ~ Harry Glickman 

Violin ~ Samuel Rand 

Violin ~ Max Hollander 

Violin ~ Charles Fleischmann

Violin ~ Marc Brown   

 

Viola ~ Howard Kay 

Viola ~ Isadore Zir 

Viola ~ Leon Frengut 

 

Cello ~ Maurice Brown 

Cello ~ Abram Borodkin 

Cello ~ Charles McCracken 

 

Piano ~ Henry Rowland

 

Guitar ~ Anthony "Tony" Mottola 

Guitar ~ Danny Perri 

 

Drums ~ Terry Snyder 

Drums ~ Sol Gubin 

 

Bass ~ Robert Haggart

| Lyrics | Album Notes | Session | 1957 Lyrics | Album Links | Digital Finder |

Produced by Charles Grean and Lee Schapiro

with Mitchell Ayres' Orchestra & Ray Charles

Recorded at RCA Victor Studio A, 24th Street, New York City

Recording Engineer: Bob Simpson.

Recorded April 9th, 16th, 23rd & May 21st, 1959

 

Notes: ~ two very different versions of this song generally believed to have been co-written by a

relative of Mr. Como, Dominick Belline. The first version, recorded in February 1957 for the "We Get Letters"

album, was low-key and intimate while the second version, recorded two years later for the "Como Swings"

album, is up-tempo and big-band. Not just the styles were different for these two recordings. The two album

sessions marked the end of the monaural era and the beginning of the stereophonic recording standard.

The up-tempo recordings for "Como Swings" were not just simply showing off Perry's ability to swing but

rather the new era of big stereo productions. Three full stereo albums came out of this period including,

"Saturday Night with Mr. C." and "When You Come to the End of the Day" which were released in 1958

and "Como Swings" released in 1959. The first and the latter were spectacular show pieces but the middle

one, "When You Come to the End of the Day" must really be heard in stereo to be fully appreciated and is

perhaps Perry's finest vocal performance from the 1950s. The second best performance, ironically, was probably

the album sessions for "We Get Letters" that would have benefited tremendously had it been recorded in stereo.

A Perry Como Discography 

& Digital Companion

| Site Links | All Albums |  All Songs | The Recording Sessions |

First Edition Summer 1992

Second Edition Christmas 1993

Web Page Edition Christmas 1997

25th Anniversary Revision November, 2017

Digital Upgrade August, 2018

Easter 2023 Revised Edition

 

 

George Townsend

HQV Selekt Group

3 Seaview Avenue

Wolfville, Nova Scotia B4P 2G3

Canada

 

Telephone: (902) 698-9848

Friday, April 07, 2023

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