Bobby Darin - Sings the Shadow of Your Smile / In A Broadway Bag (review)
Bobby Darin - Sings the Shadow of Your Smile / In A Broadway Bag (Edsel; EDSS 1012)
reviewed by Michael Macomber
The first disc in the UK-based Edsel label’s four volume Bobby Darin reissue series features the classic 1966 LPs Sings The Shadow Of Your Smile and In A Broadway Bag. These albums signaled Darin’s return to Atlantic Records after a 7-album stint at Capitol.
A desire for more creative control has been cited by many sources as a leading reason for Darin’s original departure from Atlantic, so it should come as no surprise that Sings The Shadow Of Your Smile finds Mr. Darin sitting in the producer’s chair. With an artist of such fine taste and talent at the helm, the result is pure magic. Continuing in the vein of Darin’s last two LPs at Capitol (From Hello Dolly To Goodbye Charlie and Venice Blue), Shadow is an entertaining mix of catchy pop, finger-snappin’ swing and breathtaking ballads. The title track is a moving Shorty Rogers arrangement of a hauntingly romantic Johnny Mandel/Paul Francis Webster number. Darin’s delicately executed delivery is pure gold. On the other end of the spectrum is the toe-tappin’ delight of Neal Hefti and Stanley Styne’s “Cute.” Darin delivers the lyrics with such an easygoing style that it seems as if the words are occurring to him as he sings.
The jewel in this set, however, is the stunning Richard Wess arrangement of Henry Creamer and Turner Layton’s “After You’ve Gone.” Wess is the man who gave Darin his career defining hits, “Mack the Knife” and “Beyond The Sea.” Wess’ instinct for drama and his understanding that Darin was not just a singer, but a singing actor, serve him well here. Like “Mack,” “Gone” starts down low and builds to an amazing crescendo. Pianist Jimmy Rowles brings Darin in with a lovely intro and gently punctuates the lyrics in the first half of the tune. As the horns kick in and Darin leans into words, the drive to the big finish begins, and the dynamic duo of Wess and Darin take it home with their trademark power and panache.
Both sides of Darin’s debut single from his return to Atlantic in 1965, “We Didn’t Ask To Be Brought Here” and “Funny What Love Can Do,” are included with Shadow as bonus tracks. These two Darin originals, one a protest song and the other a traditional blues number, serve as an interesting counterpoint to the adult standards content of Shadow. The message to Atlantic is clear: Darin was back, and this time, he had no intention of being pigeonholed, as crooner or rocker.
In a Broadway Bag might just be the most compelling proof of Bobby Darin’s talent for acting a song. Every Broadway number he takes on here becomes an instant classic in his hands. “It’s Today” (from the smash Jerry Herman musical Mame) is excitement defined. The typically clever and humorous Sammy Cahn and Jimmy Van Heusen tune “Everybody Has the Right to Be Wrong” (from the show “Skyscraper”) finds Darin utilizing his well developed comedic sense to give each line the sly wink it deserves. The tender ballad “Once Upon A Time” (from the Lee Adams/Charles Strouse show All American) becomes another career defining moment for Darin, ensuring that he will forever be identified with the song. Strouse and Adams also supply the most mind-blowing number on this LP, “Night Song,” from the hit musical “Golden Boy.” Based on a play by Clifford Odets, the original Broadway show starred Darin’s good friend, Sammy Davis, Jr. No slight to the immensely talented Mr. Davis intended, but Darin completely outdoes him with this rendition. His command of the emotional depth in the lyrics is beyond reproach. Darin’s final long, magnificent note is no doubt still bouncing around in the stratosphere somewhere.
The single sides included with Broadway Bag as bonus tracks are further testament to Darin’s intent to stick with his eclectic approach. He adds a hint of rhythm and blues to the country lament Walking In The Shadow Of Love, then delivers an exquisite reading of Who’s Afraid Of Virginia Woolf.
