zaterdag 6 oktober 2012

Blues (Pt 1-3) (1944) / Rockin At The Philharmonic (1958)



Chuck Berry's song "Rock At The Philharmonic" was based upon "Blues" (pt 1-3).
especially the duel between Nat King Cole on the piano and Les Paul on the guitar in part 3.
Nat and Les are chasing each other for almost 3 minutes !!!
The song was part of a concert at the Philharmonic Auditorium in Los Angeles.


That very first concert was held on Sunday, July 2, 1944, at the Philharmonic Auditorium, Los Angeles, and featured Illinois Jacquet, Jack McVea, J. J. Johnson, Shorty Sherock, Nat "King" Cole  , Les Paul, Johnny Miller, Meade Lux Lewis, Bumps Myers, Joe Sullivan, Buddy Rich, Randall Miller, Bud Hatch, Marie Bryant, Red Callender, Lee Young and Carolyn Richards. Illinois Jacquet, Nat "King" Cole and Les Paul, in particular, created a sensation. The title of the concert had been shortened by the printer of the advertising supplements from "A Jazz Concert at the Philharmonic Auditorium" to "Jazz at the Philharmonic". Norman Granz organised the concert with about $300 of borrowed money. Only one copy of the first concert program is known to exist. Norman Granz recorded many JATP concerts, and sold or leased (from 1945 to 1947) the recordings to Asch/Disc/Stinson Records (record producer Moses Asch's labels).

As it happened, Granz's Jazz at the Philharmonic show had been recorded for the Armed Forces Radio Service for overseas broadcast to GIs, but the recordings were simply too exciting to keep from the general listening public. So, in 1946, Granz made arrangements with future Folkways Records founder Moses Asch, to issue the first Philharmonic concert on Asch's Disc label. That release offered home listeners the new experience of hearing extended solos, with the musicians egged on by the roar of the audience.


The song "Blues" was divided in 3 parts and was contained on 3 sides (#6024A, #6024B and #6025A) (SEE PICS ABOVE) that were part of the album "Jazz at the Philharmonic Vol. 4",
Recorded Live at the "Philharmonic Auditorium", Los Angeles, CA, July 2, 1944.
This album also contained the song "Lester Leaps In" (also divided in 3 parts)
This 3 record album-set was released c. 1947 on the Disc Label (Set #504).
David Stone Martin made the influential cover illustration. (*SEE BIO on the bottom of this post)



Here's a Youtube of the complete song "Blues" (parts 1-3)
The Nat King Cole / Les Paul battle begins at about 7 minnutes .



Here are a few photos of that first JATP show, taken by Life magazine photographer Gjon Mili.



The personnel for "Blues" (parts 1-3):

J.J. Johnson - trombone
Illinois Jacquet, Jack McVea - tenor saxes
Les Paul - guitar (Les was called in at the last minute, to replace Oscar Moore on guitar).
Nat King Cole - piano (who used "Shorty" Nadine as a pseudonym on this release)
Johnny Miller - bass
Lee Young - drums (brother of Lester Young)


In 1950 Granz leased the recordings to Mercury Records
It was released on Mercury MG 35005
David Stone Martin again was responsible for the cover illustration.




Norman even later reissued/issued them on Norgran (founded 1953), from 1953 on Clef (founded 1946), and from 1956 on Verve (founded 1956), at the time, his own labels.

Nowadays Etaoin Shrdlu is credited as the composer for "Blues" on CD re-issues. But Etaoin Shrdlu is not a real composer. It is a nonsense phrase that sometimes appeared in print in the days of "hot type" publishing because of a custom of Linotype machine operators. It is the approximate order of frequency of the 12 most commonly used letters in the English language.


On April 22, 1946 an all-star band recorded a slow version of "Blues" (this time called "JATP Blues")
The introduction is by Norman Granz himself.
The personnel for this April 22, 1946 concert :
Buck Clayton - trumpet
Charlie Parker, Willie Smith - alto saxes
Coleman Hawkins, Lester Young - tenor saxes
Irving Ashby - guitar
Kenny Kersey - piano
Billy Hadnott - bass
Buddy Rich - drums

Listen here:




In 1958 Chuck Berry made his own Rockin version of "Blues".
His cover-version was titled "Rock At The Philharmonic" (on the back-cover)
Though on the label the title is spelled "Rockin' At The Philharmonic".
Recorded  December 29–30, 1957 in Chicago, Illinois
Released March 1958 on the album "One Dozen Berrys" (Chess LP 1432)
Personnel
Chuck Berry – vocals, guitar
Fred Below – drums
Willie Dixon – bass
Lafayette Leake – piano


Listen here:


"Rock At The Philharmonic" was also contained on the EP "Sweet Little 16" (Chess EP 5121)




British group The Scorpions recorded two singles at Abbey Road. The second single was a cover of Chuck Berry's "Rockin' At The Phil" (Rock At The Philharmonic).  A demo was recorded in December 1960, the EMI release was in May 1961 on Parlophone R4768 Rockin' At The Phil b/w Scorpio.



Listen here




A US group called "The Legends" recorded a very similar version in 1961 but it was not released at the time.
Finally released on a Dutch compilation CD:


Listen here:





*BIO David Stone Martin:
David Stone Martin was born in Chicago 1913. He graduated from the art school in 1935 and came to New York in the early 1940s. Always interested in jazz, he hade a close friendship with pianist Mary Lou Williams and when she recorded for the Asch label in 1944, she persuaded the owner, Moses Asch (later the founder of Folkways Records), to let Martin design the album cover. It was his very first record album.
During the 1940s he continued to work for Asch and also for the company´s other labels, Disc and Stinson. But it was working with Norman Granz and his various impresario ventures, that he made his reputation.

David Stone Martin´s first commission for Granz was to design a logo for the "Jazz At The Philharmonic" concerts and tour. He created the famous Trumpeter logo, which Norman Granz featured on all his concert programs and record labels. It continues to be used today on reissues and is still perhaps the best recogniezed logo in jazz.

David Stone Martin: Clef Records trumpet logo
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woensdag 3 oktober 2012

I Wish I Was In Bowling Green (1947)


The Originals © by Arnold Rypens - I WISH I WAS IN BOWLING GREEN

Cousin Emmy was born Cynthia May Carver in 1903 in Barren County, Kentucky, near the Tennessee border. The first woman to win the National Old Fiddlers contest in Louisville in 1936, Cousin Emmy achieved national acclaim as a “banjo pickin’ girl” from Kentucky. Carver began her radio career playing banjo in a string band with two of her cousins; later she taught a young Grandpa Jones how to play frailing-style banjo.
Cousin Emmy made few recordings but, in 1947,  folklorist Alan Lomax arranged for Carver to sign with Decca Records and also included her music in his anthology of field recordings, Kentucky Mountain Ballads. On this collection she played banjo and sang ao “Pretty Little Miss Out in the Garden”,  “I Wish I Was a Single Girl Again.”, "Ruby" (her only 78 released) and the song, the song where this post is about: "I Wish I Was In Bowling Green". 
It was based on an old fiddle-tune from central Kentucky (according to D.K. Wilgus)

Cousin Emmy recorded the song on April 12, 1946, possibly in Chicago.
It was released on the Decca-label (# 24214)



Listen here:





The 78 above was contained in the 78-album pictured below:



If you want to take a closer look in the Cousin Emmy-album pictured above click on the LINK BELOW (scroll down to the bottom and click on the album-sheets and click again to enlarge the album-sheets)

http://collections.si.edu/search/results.htm?print=yes&q=record_ID:nmah_1213330



A very beautiful version was done by the Kossoy Sisters (& Erik Darling: banjo) in 1956 on the album: "Bowling Green and other Folk Songs from the Southern Mountains" (Tradition TLP 1018 LP)
Details about this album can be found on the next link:

 http://clancybrothersandtommymakem.com/trad_1018_bowling_green.htm



Listen to the Kossoy Sisters and Erik Darling here:





In 1961 at a “Country & Western Night performance” at the Disneyland Resort in 1961, Cousin Emmy happened to meet the New Lost City Ramblers, who accompanied her on an album, that was released in 1968 on the Folkways label (FT 1015).








The liner-notes of the album ABOVE are here:
http://folklife-media01.si.edu/liner_notes/folkways/FW31015.pdf


On the video BELOW is Cousin Emmy and The New Lost City Ramblers singing "Bowling Green" from the album above. They recorded the song in 1967. Cousin Emmy had a career revival due to the folk era, and even got to perform at the Newport Folk Festival. The video is made of photos from her beloved mountains and her co-performers.





Also covered by:
Weavers (1958)




Brothers Four (1962) (Wish I was in Bowling Green)

https://www.discogs.com/Brothers-Four-Cross-Country-Concert/release/5241897

Listen to a sample here:

http://www.allmusic.com/album/brothers-four-in-person-cross-country-concert-mw0000671751





Alice Gerrard & Mike Seeger (1980)
Spring Creek Bluegrass Band (2007) (Bowling Green)
Blue Harvest (2007) (Bowling Green)
Annie Lou (2009) (Bowling Green)
Alela & Alina (2009) (Bowling Green)
I Draw Slow (2010) (Bowling Green)
Dehlia Low (2010) (Bowling Green)
Molly Tenenbaum (2010) (Bowling Green)
Della Mae (2010) (Bowling Green)
Clay County (2012) (Bowling Green)



NOT TO BE CONFUSED with "Bowling Green" written by Terry Slater and Jackie Ertel and first recorded by the Everly Brothers.

Here's a DEMO of the Everly Brothers from 1967


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maandag 1 oktober 2012

El Condor Pasa (1917)



In 1913 Daniel Alomía Robles composed "El Condor Pasa", based on the traditional Peruvian folk song from the 18th Century "Soy la paloma que el nido perdió" ("I'm a dove that has lost the nest").
The words of "El Condor Pasa" were written by Julio Baudouin, under the pseudonym Julio de La Paz.
It was first performed on December 19, 1913 in Lima at the Teatro Mazzi. The song was composed as part of a zarzuela (Spanish operetta) of strong social content about Peruvian miners in Cerro de Pasco and their relations with the foreign mining company.
This zarzuela consisted of eight parts: introduction ("introducción"), male chorus ("coro"), sad Incan Andean music ("yaravi"), a duet of soprano and baritone ("dúo"), romance ("romanza"), king dance ("Kashua"), folk march ("pasacalle") and prayer ("plegaria").
The story is set in a mine in Cerro de Pasco, and deals with a tragic conflict between Indians and "Sajones" (Saxons), their European bosses. The exploitative Mr. King, owner of the mine, is killed by Higinio, but is soon replaced by another owner, Mr. Cup, and the fight continues. The Condor of the title symbolises the ideal of freedom.
The words are in Quechua, the language of the Inca Empire, which is still spoken by the indigenous people of Peru. The singer calls on the mighty condor of the Andes to take him back to the old Inca kingdom of Machu Picchu.
This zarzuela was not copyrighted until 1933, as Robles was staying as a cultural attaché in New York. He chose the music publisher Edward B. Marks Music Corp. and it was registered as "El Condor Pas (Inca Dance)" with BMI.





It was not until 1917, when 2 versions were recorded in Lima, Peru, which were released on the Victor-label.

Here's the first one:

(o) Orquesta del Zoológico 1917.
Matrix G-2295
Recorded August 27, 1917 in Lima, Peru.
Released on Victor 69903.
 



Or here:




Two days later, on August 29, 1917, Banda del Batallón Gendarmes No. 1 also recorded "El Condor Pasa" in Lima, Peru.
Matrix G-2313.
Released on Victor 72089.
 


Listen here:



In the early 1920's Manuel Fajardo recorded a song, which was called "El Condor Pasa" on the label (even crediting Robles).
But the song is not the same as the song we're talking about on this post.
Fact is that Manuel Fajardo was a friend of Daniel Robles and around the same period they even recorded as a duo (Fajardo Y Lopez) in New York. Andrés R. López being a pseudonym of Robles.


(c) Manuel Fajardo (around 1920)





(c) Banda De La Marina Americana (around 1930)
Released on Columbia 5217-X


Also released on Columbia 5376-X


Listen here:





(c) Ensemble Achalay (1958)


Listen here:





In 1963 Jorge Milchberg adapted this traditional song for his group Los Incas and it became a worldwide hit.
"El Condor Pasa" was contained on the album BELOW, which was released in France on the Philips-label.

https://www.discogs.com/fr/release/4338782-Los-Incas-Am%C3%A9rique-Du-Sud

Listen here:




In France, Marie Laforêt performed her ""La Flûte Magique" in 1965 and with the same melody and different words as "Sur les chemins des Andes" (aka "Sur le chemin des Andes") in 1966. It is said to be based on Jorge Milchberg's adaptation.



In 1965 Paul Simon performed at the Paris Theatre del L'Est Parisienne. Los Incas were also performing there.
Simon was quite impressed with their performance and they gave him their LP with traditional South-American tunes as pictured above
Los Incas told Simon, perhaps through ignorance, that the song was a 19th century musical composition by an anonymous composer. Simon became interested in the song and composed new lyrics for the melody. The song appeared on Simon and Garfunkel's 1970 album Bridge over Troubled Water. The instrumental track on the S&G version was performed by Los Incas with full authorization of Philips Records.

BELOW a Youtube of the S&G version with some beautiful pictures of the Andean Condor.




In 1970 Alomía Robles' son, Armando Robles Godoy, filed a copyright lawsuit against Simon and demonstrated that song had been composed by his father and that his father had copyrighted the song in the United States in 1933. Robles Godoy said that the lawsuit was almost friendly and that he bears no ill will towards Simon for what he considers a misunderstanding


Here's a version by WAYNA PICCHU, a Latin Folk Band from Peru, they perform the song "El Condor pasa" with the ORIGINAL lyrics in Quechua, the language of the Inca Empire, which is still spoken by the indigenous people of Peru. The singer calls on the mighty condor of the Andes to take him back to the old Inca kingdom of Machu Picchu.


El Condor Pasa (Quechua)
Yau kuntur llaqtay orgopy tiyaq
Maymantam gawamuhuakchianqui, kuntur kuntur
Apayllahuay llaqtanchikman, wasinchikman chay chiri orgupy,
Kutiytam munany kuntur kuntur.

fuga:
Kuzco llaqtapyn plazachallampyn suyaykamullaway,
Machupicchupy Huaynapicchupy purikunanchiqpaq.

El Condor pasa (English)
Oh mighty Condor owner of the skies, take me home, up into the Andes
Oh mighty Condor.
I want go back to my native place to be with my Inca brothers,
that´s what I miss the most, Oh mighty Condor.

fuga:
Wait for me in Cusco, in the main plaza,
so we can take a walk in Machupicchu and Huayna-picchu.




After the hit-version of Simon & Garfunkel various versions followed:

In the UK Julie Felix took advantage of Simon and Garfunkel's decision not to release their version as a UK single, and had a UK Top 20 hit with it.




In 1970 in Italy Gigliola Cinquetti covered it as "Il Condor" (Italian Lyrics Bruno Lauzi)




In 1970 in Germany Jürgen Marcus covered it as "Nur Du" (German lyrics Joachim Relin, Joachim Heider)



Also in 1970 Mary Roos covered it as "Der Condor zieht" (German Lyrics Michael Holm)


In 1971 the Canadian singer Michele Richard had a hit with her cover-version entitled: "L'Oiseau de Feu"


In 1971 Yma Sumac, born in Peru and nicknamed the Incan Princess, also covered "El Condor Pasa" on her album "Miracles".





In a 1980 episode of The Muppet Show, the song was given a parody treatment by The Great Gonzo, earning the mock ire of guest star Paul Simon.
From episode 511 (with Paul Simon) Gonzo messes with El Condor Pasa: El Gonzo Pasa




In 1994 Belgian singer Dana Winner covered "El Condor Pasa" (with new lyrics and title: "Jij En Ik")




In 2002 DJ Shadow sampled "El Condor Pasa" in "You can't go home again".


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zaterdag 1 september 2012

Cosmopoliet / Olé Guapa (1936) / Tango Voor Twee / Dans Een Tango (1942)


"Olé Guapa" was written in 1936 by Malando (=Arie Maasland), who first performed it in 1936, in Dancing Cosmopoliet in Rotterdam, as a member of the Jumping Jacks.


Malando is the artist name of Arie Maasland (1908 - 1980) a drummer and accordion-player from Rotterdam, Holland, who became once and for all enchanted by the Argentinian tango after seeing Eduardo Vicente Bianco perform in 1935.



In 1936, when Arie Maasland showed his fourth tango composition to his friends of the Jumping Jacks orchestra, in which Arie was drummer, pianist and accordion player, they were very enthusiastic.
 

Arie had written "Cosmopoliet" as a gesture to the operator of the dancing venue in Rotterdam, named "Cosmopoliet", where the Jumping Jacks where performing regularly.

Here's a link with a picture of the Cosmopoliet aan de Schiedamsedijk in Rotterdam.


In 1937 Muziek Smith publishes the song under the more Spanish sounding name "Olé Guapa".
Arie also changes his stage name: Arie Maasland becomes Malando.
In a short time this tango conquered the world. The sheet music for "Olé Guapa" is distributed worldwide by 16 different music publishers.

Here's the frontpage of sheetmusic from 1939 published by Muziek Smith.


And here's sheetmusic from 1949.




And here's the first recording I could find: 

(o) Corny Ostermann mit seinem Tanz-Orchester (1938) (as "Olé Guapa")
Recorded March 1938 in Berlin
Matrix: K-Ho 26497
Released on Kristall 3726
 



Same recording (matrix: K-C 26497) was also released in 1941 on Imperial 17444

Listen here:




(c) Oskar Joost (Tanz Orchester) (1938) (as "Olé Guapa")
Recorded August 10, 1938 in Berlin, Germany
Matrix 7929 ½ GR 8
Released on Polydor 10966 and Grammophon 10966


Listen here:



The exact same recording was released on Polydor 2809.
But on this release Oskar Joost used the pseudonym Fred Marley.

Listen here: 


Or listen here:




Almost 10 years after composing the song, Malando finally made a recording of his own song.

(c) Tango-Orkest Malando (1946) (as "Olé Guapa")
Recorded October 1946
Matrix AM 968
Released on Decca 32128
 


SEE Malando's matrix #968 on the next link:  Decca AM-Matrixen 1 – 1000

2 years later Malando made a new recording, which was quite successful.

(c) Tango-Orkest Malando (1948) (as "Olé Guapa")
Recorded July 6,1948 in Hilversum, Holland
Matrix AM 1427
Released on Decca 32362
 



SEE Malando's matrix #1427 on the next link: Decca AM-Matrixen 1001 – 2165

Listen to Malando's 1948 authors-version HERE:  malando.mp3


As we saw on the Decca matrix-link above Malando's composer's version of "Olé Guapa" was released on various Dutch and foreign 78RPM discs.

Decca/M 32128     (Original 1946 Dutch release)
Decca/M 32362     (1948 Dutch release)
Decca MN 20592  (see page 53 on this French DECCA-Record-Cataloge-1950.pdf)
Philips/P 17206 H (Olé Guapa - Philips - Netherlands - P 17206 H) 1953 recording


Listen here to the French release of Malando's 1948 version on Decca MN 20592



And listen here to the German release of Malando's 1948 version on Philips PH 5072






More versions here:

(c) Eugen Wolff (1940) (as "Olé Guapa")
Recorded May 1940
Matrix: BE 12647
Released on Columbia S-90, on Parlophone B 70335 and on Odeon O-31623
 



Listen here:




(c) Hans Busch Tanz-Orchester (1942) (as "Olé Guapa")
Recorded March 1942 in Berlin
Matrix 9376 GR 9
Released on Polydor 47624
 




(c) Willy Derby (1942) (as "Olé Guapa")
This vocal version is sometimes titled "Dans Een Tango" or "Tango Voor Twee".
Dutch lyrics by Jacques van Tol
Recorded in 1941.
Matrix # GTB- CAH 334.
Released in 1942 on Polydor-label 49723
 

Listen here:




(c) Adalbert Lutter mit seinem Orchester (1949) (as "Olé Guapa")
Released in 1949 on Telefunken A 10765
 



In 1954 Adalbert Lutter made a new recording of "Olé Guapa" for the Odeon-label
Released on Odeon O-28720
 


Also released in 1956 on 45 RPM Odeon OBL 1065


Listen here:




(c) Alfred Hause (1950) (as "Olé Guapa")
Recorded November 25, 1950 in Hamburg
Matrix 2011 2DH
Released on Polydor 48406



Listen here:




(c) Jumping Jewels (1961) (as "Olé Guapa")
Released September 1961 on Philips PF 318.582 PF
 


Listen here:


Or listen here:




And here's Andre Rieu live in his hometown of Maastricht.




And here's a live version by the grandson of the composer: Danny Malando.





More versions here:






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donderdag 23 augustus 2012

Embrasse-Moi O Mon Amour (1956) / J'ai Le Mal de Toi (1960) / The Way of Love (1965) / Je Doet Me Pijn (1965) / Somos Novios (1968) / It's Impossible (1970)



Originally written by Jack Diéval with French lyrics by Michel Rivgauche the song was introduced as "J'ai Le Mal de Toi". It was written for the singer Frédérica in 1960, who took part that year in the national elimination rounds of France for the Eurovision Song Contest. This song was not selected, and it seems that it has not been recorded.






The first evident recording of "J'ai Le Mal de Toi" was made in 1964 by French actress and singer, Colette Deréal on the next album







It was also released in 1965 on the next EP on the Polydor-label (# 27190)


It was also released on the next single on the Polydor-label (# 66405)


Curiously the song was also released on Polydor label # 66404 !!!!!!!
 

Listen here:




Then in 1965, the song was performed on Belgium's BRT radio station by vocalist Lily Castel, singing it in the Musik Ohne Grenzen competition; Castel was backed by Fernand Terby's orchestra with Jacques Dieval providing piano accompaniment.



In June 1965 the English rendering by Kathy Kirby, entitled "The Way of Love" was issued in the UK as a single on the Decca-label.
 


Lyricist Al Stillman had previously provided the lyrics for Kirby's English language hit version of "Malagueña" entitled "You're the One".
Recorded by Kirby with her regular collaborators: musical director Ivor Raymonde and producer Peter Sullivan, "The Way of Love" failed to reach the UK Top 50 but (released on the Parrott-label) became a regional hit in the United States reaching #88 nationally.
 


Here's Kathy's cover-version:




In September 1965 the Dutch rendering entitled "Je Doet Me Pijn" was issued in the Netherlands as a single by Conny Van Den Bos (Dutch lyrics by Ernst van Altena)





Listen here:




Following the US success of the song in 1966, a new French version, also by lyricist Michel Rivgauche, was recorded by Dalida as "Parlez-Moi De Lui" (=Tell me about him).
This rendition slightly alters the original melody.

Dalida's cover-version was released April 1966 on 45 t Simple :
Barclay 60718 Parlez-moi de lui b/w Modesty.


Also released on Super 45 t :
Barclay 70997 Je t'appelle encore ~ Modesty ~ Parlez-moi de lui ~ Baisse un peu la radio.



Listen to Dalida's cover-version on the next YT

xxx



In 1966 Dalida also recorded an Italian version ("Il Mio Sale Sei") on the Barclay-label (45BN 6097)



Listen here:




Strangely enough the composer himself (Jack Dieval) recorded a version that was titled "The Way Of Love" (instead of "J'ai Le Mal De Toi")

That version was recorded in The Netherlands around 1965/1966 on the next album 
 


It was released on the Relax-label (33003) (owned by the Dutch RTV-personality Willem Duys)

Personnel : Jack Dieval et Son Quartette
Jack Dieval (piano)
Rene Thomas (guitar) except A#1,3,5 and B #2,4,6
Jack B. Hess (bass)
Franco Manzecchi (drums)

Listen here:



On July 27, 1971 the composer Jack Diéval performed the song with his group Le Paris Jazz Quartet de Jack Diéval.
Le Paris Jazz Quartet de Jack Diéval (piano) avec Alby Cullaz (contrebasse), Jean-Louis Vialle (batterie) interprète une composition de Jack Diéval intitulé "The Way of Love". La formation est filmée dans un salon du "Cintra", l'établissement de MOUSTACHE.

Watch it here:




In 1967 Will Ferdy's cover-version "Ik verlang naar jou" (lyrics by Will Ferdy) was released in Belgium on the Cardinal-label (# C 3090)
with Francis Bay & His Orchestra




Listen here:




Dalida's "Parlez-Moi De Lui"-adaption was covered by Françoise Hardy in 1968.
On the next album:


Listen here:



Francoise also covered the "The Way Of Love" version in 1968.
On the next album:


Listen to Francoise's cover-version of  "The Way Of Love" on the next YT




In 1968, Armando Manzanero recorded "Somos Novios", which was actually a kind of plagiarism of "J'ai Le Mal De Toi".

Listen here:


It is contained on his 1968 album Somos Novios...Siempre Novios.


In 1969 Armando Manzanero also sang "Somos Novios" in the film of the same name.
That version was released on the next album




In 1970, "Somos Novios" was translated into English by Sid Wayne, composer for Elvis Presley.
The English version, "It's Impossible", was performed by Perry Como and was nominated for a Grammy.
Perry Como's cover-version was recorded May 5, 1970 in RCA Victor's Studio A, New York City and released on Victor 74-0387  (NICE FACT: Ray Barretto is playing the congas)
US Chart Position No. 10
Charted Adult Contemporary No. 1
UK Chart Position No. 4


Here's Perry Como's cover-version:




Then on February 16th, 1972 Elvis Presley recorded his cover-version live in Las Vegas.
It was released in 1973 on the album "Elvis" (RCA Victor – APL1-0283)


Listen to Elvis's cover-version on the next YT




In 1972 Cher had a big US hit with her cover-version "The Way Of Love" (# 7 USA)
Recorded in 1971 and first released in September 1971 on her album "Cher".


And released in February 1972 as the second single from the album above:


Listen to Cher's cover-version on the next YT:




And in 1971 New Birth, an American funk and R&B band formed in Detroit, Michigan by former Motown songwriters and producers Vernon Bullock and Harvey Fuqua and music industry veteran Tony Churchill, had an R&B # 12 Hit with their cover-version.


Listen to New Birth's cover-version on the next YT:







But if "Somos Novios" plagiated "J'ai Le Mal De Toi". on her turn "J'ai Le Mal De Toi" plagiated Gilbert Becaud's "Embrasse-Moi O Mon Amour" (written by Gilbert Becaud and Pierre Delanoe in 1956)


Listen here:



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