As a recording artist she was, perhaps more so than any other, entirely a product of her time. We hope you'll enjoy this anniversary with us. Instead, she cleverly cast herself as the sexy girl next door leaving the wholesomeness to Doris Day , the gal at cocktail parties who would send every man in the room fumbling for his lighter whenever she reached for a cigarette. But this month, at long last, almost the entire London catalog is being re-issued in one massive wave. And this recording is certainly intimate both with London's voice and also the scaled down instrumentation -- with only guitar and bass backing her.
Perhaps we're overly enthusiastic, but in this case we feel the good is followed by the better. It also has some of the sexiest cover art I've seen. Of course she was a pin-up star before her music career began. Howard Roberts' brilliant guitar work and arrangements capture every nuance of every mood. The last word goes to London, who fully appreciated her vocal limitations and her ability to make the most of them.
. From 1965, it is entitled By Myself and was produced exclusively for the Columbia Record Club. The discs, packaged in mini cardboard sleeves that replicate the original cover art, comprise all 30 Liberty albums excluding the greatest hits releases. With her throaty, smoky voice — as playfully seductive an instrument as ever crafted — London was certainly a skilled temptress. Which is not to suggest that the character London played on her albums and it was a character, as much as the ones she portrayed on film and television was a pushover. Cry Me a River 9. Barney Kessel's playing is very tasteful, never flashy, always the perfect compliment to London's singing.
The satisfying simplicity and quietness of the guitar-bass formula gained happy acceptance in the midst of all the noise, and it has been copied and re-copied. Topping the list are the eye-popping Julie, featuring a seemingly naked London reclining in a wire mesh chair and Whatever Julie Wants with her sporting nothing but a mink stole. Three years ago this month Julie London made her first professional record. Red Mitchell's impeccable bass work couldn't possibly make a more musicianly marriage. The mid-1950s were a fruitful time for a Californian vocalist born Julie Peck. A performer who radiates charm and friendliness, Julie is a beautiful, piquant yet unassuming young woman who has flaxen hair, and eyes that are blue.
You've seen Julie in some fine motion pictures. This is an old show business adage. As the story goes, her second husband, singer-songwriter Bobby Troup, tried to interest all of the major labels in London, but was turned down flat. Maybe it's identification---that vicarious pleasure we gain from all of it. Over the course of her decade-and-a-half 1955-1969 at Liberty, London released 29 studio albums, one live session and three greatest hits compilations. Known by her professional name of , she had been appearing in films since she was a teenager, her debut screen role occurring as long ago as 1944. All ten of the tracks are, however, culled from other London albums.
The One I Love Belongs to Somebody Else 8. Say It Isn't So 2. Apart from four tracks for an album shared with Carmen McRae and Chris Connor for Bethlehem, London toiled solely for Liberty. Can't Help Lovin' That Man 13. And that's exactly his job here--to make Julie London sound as good as she can.
I'm in the Mood for Love 11. We might as well call this an anniversary album. I'm Glad There Is You 12. On the cover it looks as though she's naked except for the two slivers of fabric at the very bottom of the image--perhaps that was necessary in those days--though I have seen other versions where the fabric is cropped out. An untried singer with uncompromising musical faith; an unknown record company; sophisticated, tastefully presented material smack in the middle of a roaring rock and roll market; just a bass and guitar---all the ingredients for failure.
Latin In a Satin Mood 1963. But to get back to the beginning, what a lovely success story. The underdog, with all conceivable odds against him, winning the fight---Henry Ford and his car, The Giants in 1954, Duke Ellington at Newport in 1956, ball-point pens. Too Good to Be True 5. Gone with the Wind 8. The trio setting was one that the first volume had established, and had been widely imitated since; Roberts now capably took the place of Barney Kessel, who played on the earlier album. I Got Lost in His Arms.
I'm not a huge fan of Barney Kessel's later recordings, but his 1950s work is excellent, including which is one of my favourites. Of course, one of the benefits of the 30 new releases is their replication of the original cover art. But she never played the goddess. Julie London rose to the top ten of every list of female vocalists. These qualities are vocally evident in her furry singing style. First, there are five domestic releases still in print, including her debut album, Julie Is Her Name 1955 plus Around Midnight 1960 , the 1965 Cole Porter collection All Through the Night, her sole live recording In Person at the Americana 1964 , and her final album, the campy collection of molasses-slow rock covers Yummy, Yummy, Yummy from 1969.
What Is This Thing Called Love? Julie Is Her Name, Vol. London had two more chart albums in 1956 to display her distinctively smoky, jazzy vocal tones, Lonely Girl and Calendar Girl. And Julie's singing stature continues to grow and grow. Julie Is Her Name, Volume Two. Julie London was also an actress.