2, RCA Victor Records #LPM-3558 (instrumental) Natalie Cole, NATALIE LIVE!, Capitol Records # SKBL-11709 (female vocal)Ĭhet Atkins, THE BEST OF CHET ATKINS Vol. Mary Hopkin, THOSE WERE THE DAYS, produced by Paul McCartney, Apple Records single # 1823 (female vocal) Holly Cole Trio, DON’T SMOKE IN BED, Manhattan Records # CDP 0777 7 81198 2 1 Sly and The Family Stone, ANTHOLOGY, Epic Records # EGK 37071 (male vocal) But to Jay and Ray’s surprise, their names were called out and they won their third Oscar for QUE SERA SERA.ĭoris Day, with Frank DeVol & His Orchestra, Columbia Records single # 4-40704, #RHCO 33718 (female vocal) Paul Weston, who was present at the recording session, said that she knocked it off in one take and said, “That’s the last time you’ll ever hear that song”.ĭaily Variety and most of the smart money said that Cole Porter, because he had never received an Oscar, was a lock for his “True Love” in 1956’s Academy Awards. But this was the important song in the picture, so Paramount insisted that she record it. However, she refused to record QUE SERA SERA because she thought it was a children’s song. Meanwhile, there was a Livingston & Evans song in “The Man Who Knew Too Much” that Doris Day really liked and which she recorded (“We’ll Love Again”). And he walked out and they didn’t see him again for years. When Jay played the completed song for Hitchcock, the director said, “Gentlemen, I told you I didn’t know what kind of song I want. The phrase is also “Que sera sera” in French, which may account for the song’s wide acceptance. Later, they changed the Italian “che” to the Spanish “que” because of so many Spanish-speaking people in the world. He told her that it was their family motto and meant “What will be, will be”. It just so happened that Jay had seen a picture called “The Barefoot Contessa”, and at the end of the picture Rozzano Brazzi took Ava Gardner to his ancestral home in Italy, and carved in the stone was the legend CHE SERA SERA. Also, in the picture, I have it set up so that Doris sings to their little boy”. But Jimmy Stewart is a roving ambassador and it would be nice if the song had some foreign words in the title. He added, ”I don’t know what kind of song I want. He told Jay and Ray that he didn’t want a song, but, he said, Doris is a singer, and the studio wants a song for her. Hitchcock didn’t want Doris Day, although he was very happy with her later. Livingston & Evans insist this is the only time an agent ever got them a job. Stewart’s agents, the omnipotent MCA, told Hitchcock he could have Stewart only if he took another client, Doris Day, and another of their clients, Livingston & Evans, to write a song for her. The 2007 reissue includes four alternate mixes and an alternate version of “Babies Makin’ Babies” that top off Sly Stone’s most artistically fruitful period.In 1955, Alfred Hitchcock was making a picture called, “The Man Who Knew Too Much” and wanted Jimmy Stewart for the lead. The album serves as a primer for the works of Prince. “Keep On Dancin’” channels “Dance to the Music,” adding a sardonic edge, while “In Time,” “I Don’t Know (Satisfaction)” and “Let Me Have It All” groove with a shockingly modern edge. This shift in rhythm section sends the music into a direct, hard-hitting funk. Drummer Greg Errico quit and bassist Larry Graham was fired after a heated argument with Sly. Coming after his two strongest albums, 1969’s Stand! and 1971’s There’s A Riot Goin’ On, 1973’s Fresh suffered from unrealistic expectations and a soul music marketplace that had absorbed his innovations and replicated his results with stunning vitality, as the socially conscious music of Curtis Mayfield and Marvin Gaye and the powerful funk of Funkadelic clearly illustrated.
But in the studio, Stone managed to harness his troubles and channel his energy into music that remained among the era’s most challenging and exciting. Sly Stone’s erratic behavior had made his live performances hit and mostly miss affairs.