Dean Martin - Dream With Dean (2LP, 45 tours)
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€95,00
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Dean Martin – vocals
Ken Lane - piano
Barney Kessel - guitar
Red Mitchell - double bass
Irving Cottler - drums
2 LP, Deluxe "tip-on" gatefold jacket from Stoughton Printing
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : Quality Record Pressings
Label : Analogue Productions
Original Label : Reprise Records
Engineered & mixed by Eddie Brackett
Produced by Jimmy Bowen
Remastered by Ryan Smith at Sterling Sound
Originally released in 1964
Reissued in 2014
Tracks:
Side A:
- I’m Confessin’ (That I Love You)
- Fools Rush In
- I’ll Buy That Dream
Side B:
- If You Were The Only Girl
- Blue Moon
- Everybody Love Somebody
Side C:
- I Don’t Know Why (I Just Do)
- “Gimmie” A Little Kiss
- Hands Across The Table
Side D:
- Smile
- My Melancholy Baby
- Baby Won’t You Please Come Home
Awards:
Michael Fremer's 100 Recommended All-Analog LP Reissues Worth Owning - Ranked 42/100!
TAS Super LP List! Best Of The Bunch: Popular
Reviews:
"Dean's voice here caresses the microphone like few other male singers' ever have, and the quartet stays politely in the background. This collection of popular tunes is perfect for the 45 RPM treatment. ... Martin had a gorgeous voice and it's beautifully recorded and reproduced here." Dennis D. Davis, Hi-Fi +, Issue 126
“A profile of a rugged Dean Martin by the fireplace with a cigarette adorns the jacket of this very interesting concept album. As Stan Cornyn's liner notes explain, "his longtime accompanist" on piano, Ken Lane, with "three of Hollywood's most thoughtful rhythm men" -- those being drummer Irv Cottler, bassist Red Mitchell, and guitarist Barney Kessel -- do create a mood, Dean Martin performing as if he were a lounge singer at 1:15 a.m. as the Saturday night crowd is dwindling. His signature tune, "Everybody Loves Somebody," is here in a laid-back style, produced by Jimmy Bowen, who would go on to produce Reba McEntire, Kenny Rogers & the First Edition, and so many others, also the same man who was behind the 1964 number one smash. This album with the original Martin recording was released after the hit single version and on the same day as the Everybody Loves Somebody LP, but how many times does the audience get a different studio reading of a seminal hit record? Not only that, but the version that preceded the hit. The backing is so sparse it is almost a cappella, with Kessel's guitar noodlings and Ken Lane's piano. The bass is mostly invisible, coming in only when needed. It's a slow and sultry version that caps off side one. There is a rendition of Rodgers & Hart's "Blue Moon" that strips away the doo wop of the Marcels' number one 1961 remake, and a run-through of the Bloom/Mercer hit for Glen Miller, "Fools Rush In," which Rick Nelson had launched into the Top 15 in 1963. Martin is just crooning away, and if the album has one drawback, it is that the 12 songs are incessant in their providing the same atmosphere. The backing quartet does not deviate from their job, nor does producer Jimmy Bowen add any technique, other than putting Martin's voice way out in the mix. But Dream With Dean was no doubt excellent research and development as Bowen landed 11 Top 40 hits with the singer from 1964's "Everybody Loves Somebody," which evolved out of this original idea to 1967's "Little Old Wine Drinker, Me." It sounds as if they tracked the album in one afternoon, and it is not only a very pleasant listening experience, it shows what a tremendous vocalist Dean Martin truly was.” AllMusic Review by Joe Viglione
“Perhaps it's because "Dino" cultivated a less than serious image as a friendly drunk or perhaps it's because of his long running role as Jerry Lewis's "straight man" in the most successful duo in comedy history, or maybe it was his long running "Dean Martin Celebrity Roast" television show.
Whatever it was, Dean Martin (born Dino Paul Crocetti, June 7, 1917) was not taken as seriously as a singer by segments of the public as he should have been. Elvis Presley certainly took him very seriously. If you listen to Elvis you can hear Dean. It was not the other way around.
The guys like Dean, Perry Como and of course the originator of the style, Bing Crosby, all of whom made it look easy to appear relaxed and self-assured on stage, were all working very hard, you can be sure. Martin was a boxer with the scars and broken nose to prove it. He eventually moved to a less violent form of show business, becoming a moderately successful crooner in the Bing Crosby mold.
In the late '40s he ran into Jerry Lewis at a New York night club where the two were performing. Their team debut was a disaster. So for the night's second set they threw away their act and ad-libbed their way through a vaudeville-like review filled with slapstick and shtick with Lewis pestering and interrupting Martin while he attempted to sing "straight". That drove the audience wild and they were on their way.
Anyone old enough to remember their 1950's television specials knows that, as with Milton Berle, life stopped and everyone tuned in to watch. They were a phenomenon, making movies, records, and nightclub and radio appearances. After a decade of it, Martin had had enough of the goofy comedy movies and the act acrimoniously broke up.
The two didn't speak for decades, finally re-uniting in 1976 when Frank Sinatra brought Dean on stage during that year's Muscular Dystrophy telethon. It was a memorable show biz moment, that for those who grew up with the duo, felt as if a festering wound had finally healed.
He was cast with Marlon Brando and Montgomery Clift in the memorable 1958 war drama "The Young Lions", which concerned itself less with combat and more with the war's effect on individuals on both sides of the conflict. The movie was shown at my summer camp that year in Cinemascope and as an eleven year old, it had a powerful impression on me, especially seeing Dean Martin in such an intensely dramatic role (the summer camp I attended was owned by the people who owned the Brandt theater chain that, back then, included just about every Times Square theater. They also owned The Sagamore Hotel on Lake George and after a movie was screened at the hotel, it was sent up route 9N to the camp. We got a first rate film every week [lucky us!]).
For those used to seeing Dean hamming it up with Jerry, seeing him play it straight as an entertainer who befriends a Jewish inductee played by Montgomery Clift, was a shock (especially if you were a kid at the time). Martin's dramatic film career alone was impressive, but when he later teamed up with what would become "The Rat Pack" his popularity soared.
When his pal Frank Sinatra started the Reprise label, Dean moved from Capitol where he'd had great success. Martin released a series of themed albums covering country (which was a favorite for him), latin (a la Peggy Lee) and even one French-themed album.
In 1964 the song that would become his signature tune, "Everybody Loves Somebody" pushed from the #1 spot The Beatles' "A Hard Day's Night." A less "pop-ified version of that song is included in this intimately recorded and performed collection originally released in 1964.
Here Dean is accompanied by a quartet of west coast performing and studio veterans: Barney Kessel (guitar), Red Mitchell (bass), his long time accompanist Ken Lane (piano) and Irv Cottler (drums). Martin sounds as if he's within inches of the microphone with the backing players mixed to keep the vocals way upfront. On the opener that's not a "tic", it's Martin's lips smacking.
That's a gutsy move for any vocalist but Martin adds to the daring by laying almost completely off the reverb send. He's in your room. The recording is simply astonishing. It's a show-stopper at every audio show I've played it transferred to 96/24 digital.
Martin covers a series of well-worn standards including "I'm Confessin' (That I Love You), "Fools Rush In", Charlie Chaplin's "Smile", "I Don't Know Why (I Just Do)" and a few familiar others—a dozen in all and all aimed at the heart. The liner notes by the late Stan Cornyn are right on the money: "...the twelve most aphrodisiac songs yet devised by man."
If you turn up the volume too high you'll ruin the intent and the sonics so play it at moderate levels to keep Dean's voice from going all gritty and it's not your system's fault if you can't track a monster sibilant on "Blue Moon". Otherwise, it's smooth sailing on an album that may be uncharted musical territory for many of you (and me!) but one on which you'll enjoy the smooth sailing and calm waters. Really. Take a chance. You'll be glad you did!
The Analogue Productions first class gatefold packaging includes laminated "Tip-On" jacket and two wonderful studio shots, beautifully reproduced in black and white showing a relaxed and happy Dean Martin in what looks like Gold Star Studios.
In 1987 his son Dean Paul Martin, who years earlier was in the teen band Dino, Desi and Billy, and went on to become a jet pilot in the California Air National Guard, died when his F-4 Phantom jet fighter crashed in a snowstorm.
It killed the remarkably handsome kid, but it also probably helped killed Dean Martin, who was never the same after the tragedy. A life-long heavy smoker, he died of lung cancer in 1995 after what was a remarkable career on stage, radio, television, movies and of course on record. If you're going to have one Dean Martin record, this one would be it.” Michael Fremer, Analog Planet, Jul 30, 2015
“Starting from outside in: The packaging of Dream with Dean is absolutely flawless. It's a double LP to accommodate the 45 RPM format. The cover art is on very heavy-duty stock, and reflects a very high-resolution reproduction of the original cover. The finish is an exceptional gloss; clearly no expense was spared to get the packaging right.
The LPs were truly hefty, tipping the LP balance beam at a highly commendable 207 grams for LP A, and 210 grams for LP B. Both were exceptionally flat, and without scuffs or skid marks due to sloppy handling. ("Sloppy handling" is not what you get from Analogue Productions/QRP.) These LPs, like the Ellington LP, are a pleasure for an experienced LP lover: Solid as a rock, clean, flat, and unmarked. LPs like this really set the standard…I've never seen better than this, amigos.
The dozen songs on this album are a cross-section of love songs recorded in 1964. Dean was supported by a fine jazz ensemble: Ken Lane on piano, Barney Kessel on guitar, Red Mitchell on bass, and Irv Cottler on drums. Jimmy Bowen handled the production work. It was originally a Reprise project, since Dean Martin had joined that label that his friend Frank Sinatra was on at that point. The idea of this project, from Dean's standpoint, was to put together a collection of crooner's love songs, done in an ultra-mellow, middle-of-the-morning sort of way, with no push, and no stress. The whole idea of the album being mellow, the studio was even lighted for the sort of early morning nightclub atmosphere that Martin wanted. He thought that he could do well with such an album, and even predicted that he could knock the Beatles off of the #1 spot that they held pretty regularly throughout 1964.
Yeah, and Babe Ruth called his homer, too, right?
He did, though. His song, "Everybody Loves Somebody" would eventually (in a fully orchestrated version, though, and not the version on this album) hit number one in the late summer of 1964. Quite the accomplishment for an earlier-generation crooner swimming upstream against the irresistible river of Lennon/McCartney.
You have to remember that Dean Martin was a bona fide singer, in the same general category as Frank Sinatra and Bing Crosby. I would put his sound much closer to Crosby than Sinatra, of course: His voice was mellow, round, and rich, reminiscent of Crosby, and less of the direct and penetrating sound of Sinatra, especially Sinatra in his younger prime. The problem that Dean Martin had was that too many people conflated his comedy career (remember Jerry Lewis?) and variety show mildly-drunk-singer-mugging shtick with his quite serious performance as a world-class singer and crooner. To hear Dean Martin in his serious work was to hear a man who was in his element while singing…perfectly comfortable within his skin, and his songs. He was one of the greats of his generation, for sure.
So…did all of this work in this reissue?
Once the LP was on the platter and cued, the results were immediately apparent. It's like Dean Martin was right there…right there…in my listening room! No just kinda' sorta' maybe. I mean, right there. Just slightly left of center, with his ensemble loosely around him. By 15 seconds into the first cut, "I'm Confessin' (That I Love You)," Jonathan, Din, and I were starting to make wowzer sounds…all variations of "Holy shit!" and "Unf***ingbelievable!" and so on. (Insert your own favorite expletives here if you don't like ours.) Once again, just like with the Ellington Masterpieces we were listening to a tape transferred to LP that sounded like it had been recorded that morning. Literally.
Every one of the songs had the same sort of amazing mellow sense of Dean's command, his very presence in the room. Martin wasn't showing off a wide range of music or ability: He was right in the groove of a smoky nightclub, with people who stayed late, smoking and drinking, because the best stuff always happened after midnight, you know? This was rare stuff, an experience so rich and captivating that Jonathan, Din, and I listened to the entire two-LP set straight through. It was really seductive…completely irresistible. Stretch out your hand…you'll feel like you can touch Dean. This is about as direct, clear, and transparent as I've heard a recording sound…and it was done in 1964. If you want to know what experienced audiophiles and music lovers mean when they use the word "palpable," just listen to this album. There it is, chilluns.
Oh, and by the way: I didn't hear a single tic or pop on any of four sides. None. And that was before running it through my KLAudio Ultrasonic Record Cleaner. These grooves were perfection.
Song after song rang straight and true. Some highlights for me: "Blue Moon" (a huge favorite of mine), "Everybody Loves Somebody" (of course! But this time, mellow and intimate), "I'm Confessin'"…but frankly, there isn't a weak song in the bunch. Every one of these songs was personally selected by Dean Martin as a home run…with the sole exception of "Everybody Loves Somebody," which he considered to be a weak sister, ironically, given its enormous success later that year.
No doubt about it: This is another absolute killer from Analogue Productions and Quality Record Pressings. I'm going to have to buy Chad Kassem a drink the next time I see him: For Masterpieces by Ellington and Dream with Dean I (and all of us) are deeply in his debt.
And so, listen up: Anyone displaying turntables who goes to AXPONA, Munich, or THE Show Newport Beach in 2015 without the Analogue Productions Dream with Dean…and, for that matter, without the Masterpieces by Ellington…needs to consider getting out of the biz. These are both absolute world-class, can't-be-beat, no-shit reference albums.” David W. Robinson, Positive Feedback, Issue 78, march/april 2015
Ratings :
AllMusic : 3 / 5 , Discogs : 4,3 / 5 , Michael Fremer : 9/11 Music, 9/11 Sonics , Hi-Fi + : Recording = 10/10; Music = 6/10