"Forget your troubles, come on, get happy!" exhorts the song by Harold Arlen and Ted Koehler. Ruth Etting, "America's Sweetheart of Song," introduced the anthem in 1930 as the finale of Broadway's short-lived The Nine Fifteen Revue. But as soon as a svelte Judy Garland performed the song against a painted backdrop of white clouds on a pink sky for 1950's MGM musical Summer Stock, "Get Happy" belonged to no one else. After all, Koehler's lyrics could have been written for Garland, epitomizing her can-do spirit in the face of adversity with a revivalist fervor. That kind of excitement radiated from Garland, electrifying filmgoers and those lucky enough to have seen her live in concert. Garland's stature in the pantheon of American song (and cinema, for that matter) is unquestionable, but even today, 45 years after her untimely death at the age of 47, there remains a fascination with the more lurid aspects of her private life. A thrilling new collection from Doremi Records' new Hallow label places the focus squarely where it should be: on Garland's art. As a first-of-its-kind document of both her final months and her earliest days, the 3-disc limited edition Swan Songs, First Flights: Her First and Last Recordings presents three Garland concerts from 1968 and 1969 as well as selections recorded between 1929 and 1940. In total, the set includes nearly four hours of music. The vast majority of these recordings are new to CD, and the painstakingly restored sound gives new life to even the material that will be familiar to longtime collectors.
Though the First Flights of the title are doubtless significant, the three concert performances, or Swan Songs, are at the heart of this set. They present Garland in very different venues - a stadium, a nightclub and a concert hall. By this point in her career, she had a vast repertoire of music from which to choose (just see the recent JSP Records Creations set of songs she introduced, or for that matter, JSP's The Garland Variations which collected songs she recorded more than once), and only three songs figure in all three set lists: "For Once in My Life," "The Man That Got Away" and inevitably, "Over the Rainbow." The quality of Garland's performances here gives the lie to the belief that she was incapable of delivering at this stage in her life - and proof that there were still triumphs amidst the well-documented troubles of her final months. Of course, any live recording from Judy Garland will inevitably be compared to Judy at Carnegie Hall - not just her greatest live album, but perhaps the greatest live pop album of all time. Though these programs are of a different nature than that triumphant Capitol Records LP, they're captivating additions to Garland's cherished live discography and fully capture her unparalleled gifts at communicating both sheer, unbridled optimism and devastating heartbreak in song.
The first disc premieres Garland's final American concert on CD, from July 20, 1968 at Philadelphia's now-demolished John F. Kennedy Stadium. It's fitting that the performance took place in the City of Brotherly Love; Garland's first U.S. concert was also held there, on July 1, 1943 at the Robin Hood Dell. The show finds her in strong voice and high spirits, and indeed, she was greeted with acclaim by the local press. The audience's warmth and affection radiate from this disc, which features the orchestra under the direction of Gene Palumbo.
Despite playing to a stadium, Garland opened her show with the deliberate slow-burn of Ronald Miller and Orlando Murden's "For Once in My Life," building in intensity to the crescendo her fans expected, all steely resolve and determination. Garland's life and art are inextricably intertwined; in the moments when the lyrics seem to most explicitly reflect her life, the effect can be chilling, but listening to these concerts is truly more joyous than discomfiting. There's plenty of zing!, whether courtesy the sheer power of the "Almost Like Being in Love/This Can't Be Love" medley, her swinging take on Frank Loesser's Greenwillow ballad "Never Will I Marry" or Antonio Carlos Jobim's bossa nova treat "How Insensitive." Notwithstanding some notes in which emotion trumps technical perfection and a flubbed "That's Entertainment" ("There always have been too many words to this [song]," she quips mid-song), Garland nonetheless seems in total control.
"I love intimate rooms," she deadpans to the audience's chuckles at one point before launching into a quiet, controlled reading of the Gershwins' "The Man I Love." It proves a respite following the thunderous, martial "What Now My Love." (Both songs were accompanied by Palumbo's solo piano.) There's palpable frisson to her belted "By Myself," which lends the 20,000-capacity stadium an intimacy that only a master artist could conjure in so vast a space.
This disc pairs the JFK Stadium concert with a number of bonus tracks also from 1968 including a medley performed with Count Basie from the same concert but left out of the proper sequence (likely due to its low fidelity), a couple of private rehearsal tracks with John Meyer on piano (including another rendition of "For Once in My Life"), and selections from a New York City tribute to Harold Arlen, Vincent Youmans and Noel Coward. The Meyer tracks show that Garland's instrument was far from tattered; she sings with elegance and delicacy. The great Jay Blackton (original conductor of such Broadway musicals as Oklahoma! and Annie Get Your Gun) conducts the Arlen tribute tracks including a loose, playful "Get Happy," with a special treat in the form of Arlen accompanying Garland and orchestra on "Over the Rainbow."
The second disc of Swan Songs, First Flights premieres an expanded concert from Garland's near-mythical residency at London's Talk of the Town from December 30, 1968 to February 1, 1969. This engagement was most recently dramatized in less-than-flattering terms in the play End of the Rainbow but here is the "real deal." A number of the shows were recorded separately by Garland's onetime companion John Meyer and Mickey Deans, who would marry the star on March 15. Here, then, is a composite performance from those tapes, including some material new to CD, in the best sound possible. That the Talk of the Town engagement was tumultuous is without question; Garland battled illness, lateness, and even hostile audiences. But there can be little doubt that the performer once again gave her all when able; witness the playful "Get Happy" or nuanced "The Man That Got Away" here. Garland sounds ebullient and comfortably nostalgic revisiting her MGM days with the audience sing-along medley of "You Made Me Love You," "For Me and My Gal" and "The Trolley Song."
Even when performing (and occasionally, struggling) with an unfamiliar orchestra led by the club's resident musical director Burt Rhodes, Garland persevered with her gutsy, brash and searing stylings. Her vocal instrument here is audibly weaker than in Philadelphia, but her interactions with the audience - loose, quick-witted, and in the moment - are happy compensation. If she could make a stadium as intimate as a nightclub, she could make a nightclub feel as grand as a stadium with her to-the-rafters belt and vibrant enthusiasm.
Additional performances from Talk of the Town (including a reprise of "I Belong to London" and the spirited January 29 "I'd Like to Hate Myself in the Morning" with composer Meyer joining Judy) have been appended. In his fine essay - one of four accompanying this collection - audio restoration engineer John H. Haley observes that even if Garland's voice during the composite Talk concert sounds less fresh than in the other live recordings, she hits "what might be her highest recorded note, D5" at the end of the bonus performance of the "You Made Me Love You/For Me and My Gal/The Trolley Song" medley. Though the sound quality is substantially weaker than that of the main program, the Talk extras are worthwhile as they make clear that Garland never gave the same performance twice. (Even the patter, while similar, isn't identical as she jokes with the audience.)
Three performances from ITV's Sunday Night at the Palladium taped during the Talk tenure (including a rough "For Once in My Life") and two home recordings from a bit earlier (May 1967) round out Disc Two's offerings. The new-to-CD home recordings are particularly fascinating. The freeform spoken word-with-piano lament "How Do You Feel" (lyrics by Garland) and the raw reading of Porgy and Bess' "My Man's Gone Now" both offer insight into the artist's fragile state of mind at the time.
The Copenhagen concert of March 25, 1969, featured on Swan Songs, First Flights' third and final disc, turned out to be Garland's last ever. As remastered here from a high quality copy of a live broadcast tape provided by Danmarks Radio, it's revelatory both in performance and sound. Following the Overture as conducted by Tony Osborne, Garland emerges refreshed, assured and spontaneous on her playful opening "Get Happy. It's an admonition that likely was impossible for those in attendance to refuse, as unmistakable vitality pulsates through this concert. There's a bit more of an edge and a ferocity to "Just in Time," but also a touching world-weariness to "The Man That Got Away" and a childlike vulnerability to "Over the Rainbow." The latter makes for a beautifully touching, altogether fitting finale to a rapturously-greeted performance which is now free of the broadcast's voiceover narration which has been included on past unofficial releases.
The concert is followed by Hans Vangkilde's interview with Garland for Danmarks Radio which was taped the next day, on March 26. "Do you have a feeling that you have had a rich life?" he asks Garland. "No. Not until now," she answers. "I think it's been an interesting life. I love always giving performances to audiences..." She's astute and down-to-earth during the interview, manifesting her great sense of humor, her apparent happiness with husband Mickey Deans, and the love of her fans which clearly sustained her. Deans accompanies her on piano for "When Sunny Gets Blue," one of two tracks from a June 15, 1969 rehearsal at New York's Half Note Club - one week before her passing on June 22.
This collection concludes with eleven "first flights," also superbly restored by Haley. These include selections from short subjects dating as far back as 1929, with Garland's voice purely youthful, and the 1935 Decca test acetate in which the precocious vocalist finally sounds like "Judy Garland." Her mother, Ethel Gumm, plays piano on these performances of "Bill" and a charming medley of "On the Good Ship Lollipop," "The Object of My Affection" and "Dinah."
Credit is due to both producer Lawrence Schulman and engineer Haley for their herculean work in bringing the sound quality of these vintage recordings up to a high standard. While sonic deficiencies in the source material are inherent, the music as presented on Swan Songs, First Flights finally can boast of corrected speed and pitch; noise removal, too, has been applied tastefully. Schulman and Haley's excellent essays are joined by similarly illuminating pieces by The Judy Room's founder, Scott Brogan, and John Meyer in the slipcased set's 20-page booklet.
Swan Songs, First Flights offers an abundance of reasons for Garland fans and collectors to "get happy." If it's all too bittersweet listening with the knowledge that the three concerts here were among the beloved artist's final ones, the emphasis on this lovingly curated collection is on the sweet. One might even say it offers "four hours of POW!"...as only Judy Garland could.
Don't delay; this limited edition release is available now at the links below!
Swan Songs, First Flights can also be obtained at:
Amazon Canada / Discovery Records / Townsend Records / Base.com / SimplyClassicalCDs.com / CD Universe / Allegro Media Group / Crotchet Classic Value
John Meyer says
Thanks, Joe, for your perceptive and informed take on the new Garland set, Swan Songs and First Flights.
Your knowledge of Judy's history is apparent, and lends your text the authority many critical essays lack.
Keep up the fine work.
Joe Marchese says
Thanks for the kind words, John. They're very much appreciated!
Jon says
Regarding the flubbed lyrics in "That's Entertainment" and Judy's remark about the song having too many words, I suspect that "flub" was deliberate, as Garland makes the same mistake, with a very similar "ad-lib," at the same point in her performance of the song on her ABC Records album "At Home at the Palace: Opening Night." It's a device she had used before. During her 1961 concert tour, she did much the same thing during "You Go to My Head," forgetting the lyrics and ad-libbing a bit, which always delighted the audience. Which only goes to show that even when she apparently stumbled, she was always in control of her performance.
John Meyer says
Yes, Judy would flub lyrics on purpose -so that she could gain a comic effect in recovering, i.e. "Someone at M-G-M wrote all these words, but..." etc.
Lawrence Schulman says
I would agree that during her 1960 dates in Europe and the 1961 U.S. tour Judy flubbed the lyrics to "You Go To My Head" on purpose. It was like a gag in order to jokingly confirm her reputation as unreliable and not always with it. That said, I think that by 1967 when she toured again in the States, and her appearance at the Palace was released on LP in which she flubbed the lyrics to "That's Entertainment!," I have always felt that her forgetfulness was the real thing. Let us not mince words: Judy was an addict, and all those years of taking drugs do a number on the brain. "That's Entertainment!" has a lot of words, and I always got the impression that by 1967 she was no longer faking it but demonstrating real lapses in memory at times. Not always of course, but I think for a fast number like "That's Entertainment!" she was just unable to accurately fish all the lyrics from her brain. That's my opinion, anyway.
Tom Garofalo says
I must object to your comments about some of these unprofessional PC driven restorations. The JFK Stadium concert sounds terrible and better sounding versions of the concert have been posted on Youtube. The Harold Arlen Benefit also has terrible sound compared with the original from the original owner of these tapes. Most of these recording have circulated within the Garland Fan base for years. The John Meyer material and the March 1969 concert in Denmark sound beautiful and the home style restoration worked nicely on well recorded and preserved master tapes. So, bravo at least for that. It's too bad that the original owners of some of these tapes were not compensated or even approached for release. Only one is barely recognized within the liner notes like an after thought..
John H. Haley says
Dear Mr. Garofolo,
Thank you for your kind words about the good sound on the Copenhagen concert and the John Meyer material, and I am glad you enjoyed those. Known sources were in fact compensated, but people could not be compensated whose existence was unknown. It is indeed a shame that there is not some way for better communication to occur among Garland collectors, so the best sources could be identified and shared by everyone, and made available to the public. It appears this does not happen.
I cannot comment on the sound of things that I have not heard, but I am quite certain that there is nothing on You-Tube that sounds better than what can be heard on Swan Songs, First Flights. Also, I do use what is generally regarded among leading audio restoration professionals (a number of whom I know personally) as the best audio restoration program available right now, and I used it on SSFF. All of the best new restoration programs are in fact PC-based. No one is using mainframes or the old dedicated workstations anymore, which have become expensive artifacts in the audio restoration world.
I am gratified at the almost universal praise that SSFF has received in all corners, which includes explicit and often generous praise for its audio quality, and I rest on that praise in response to your feeling that my restoration work is “unprofessional.”
Regards,
John H. Haley
Lawrence Schulman says
Dear Mr. Garofalo,
Thanks so much for taking the time to write.
Concerning your assertion that there are better sources for Garland's 1968 Philadelphia concert, I must respectfully disagree. During the course of preparing SWAN SONGS, FIRST FLIGHTS, we became aware that there were claims that there were better sources for Philadelphia, and John H. Haley and I immediately procured them. John then made A/B comparisons. The result was that John's restoration of the source we used was light years ahead of anything currently available, especially what is on very low-grade MP3 YouTube. We were quite relieved that that claim of a superior source proved to be inexact.
Otherwise, I haven't a clue what you mean by "home style restoration." John H. Haley is a distinguished restorer, and I am infinitely grateful and honored he accepted to work on this project.
Finally, let me add that the so-called "fan base" includes many people you don't know. I wouldn't mistake your world for the whole world, which is a far bigger place than the various internet gab forums.
All best to you.
LAWRENCE SCHULMAN
Tom Lowery says
Well said, Mr. Schulman. The Garland-sycophants are clearly as crazy as any other fan (atic) base. I too have heard some of the so-called better source material and it is NOT better than what has been achieved here.
I find it both endlessly fascinating and sick-making, this "I claim ownership of (insert dead celebrity name)" type of fan. If Mr. Garofalo has access to these so-called better sounding versions of concerts, perhaps he ought to have stepped forward and offered some assistance. And the idea that a fan who has what can only be called illegal copies of material should be compensated for "allowing" them to be used in a compilation of any kind, shows just how out of touch and sense-of-entitlement bound some people are.
Anyway, kudos to the team who put this together!
John H. Haley says
Thanks for your comments and kudos, Tom, and I am glad to hear that you liked this set. Just to follow up on some of the older comments, once we figured out who the person was who owned the original tape for the Arlen Tribute show, we contacted him and did compensate him. A new restoration of that live recording made from a digital copy of his original tape appears in better sound on a subsequent CD set on the JSP label, "Judy Garland Sings Harold Arlen." See details here:
https://theseconddisc.com/?s=Garland+Sings+Arlen
Thanks,
John H. Haley
Tom Garofalo says
Mr. Haley and Mr. Schulman:
Mr. Haley responded that the tapes were in fact done with a PC based program and Mr. Shchulman said they were professionally cleaned. In my opinion the two comments are ambiguous. Also you claim that you did not know who to get in touch with, yet give credit to the owner of two of these tapes in your booklet. He lives in San Francisco. My name is in the NYC phone book and if you would like that information to get in touch with him please feel free to call. If you would like to hear a better sounding 5.1 mono version from the JFK master please refer to the files on the TJGE on Yahoo that were cleared through the owner and that I posted and restored. A better sounding "La Cucaracha" from "La Fiesta De Santa Barbara" (obviously professionally restored) can be heard on the original film track on the Warner Brothers DVD "For Me and My Gal".
Francisco
Tom Garofalo says
Having been head of the audio archives department for CBS News for over 15 years I secured rights for broadcast and recording distribution on a regular basis. Also, I know the people who made these recordings (for instance The Harold Arlen Tribute) and these people are listed in the liner notes of this CD set.
First, they are easy to find (the producers obviously know their names) and I find it insulting to these people, who are trying to live the autumn years of their lives, were never contacted or given the respect they deserve for these recordings to be used for this particular production. I have had conversations with at least one of the named people given credit in the liner notes of this set and know this to be true. Asking the Garland estate for approval and authorization would have been a nice touch as well. But alas, the little man and Judy Garland lose again. I am sure that the rights and compensation were contracted with the radio station in Denmark for worldwide distribution, so why didn't they do the same for the rest? Thank you Mr. Marchese for allowing me to make this testimonial.
Scott Brogan says
Hi Joe! Thank you so much for this wonderful review. It's so well written. You detail everything the set has to offer in a thoughtful, detailed, and well researched manner.
I thank you as well for mentioning The Judy Room and providing a link to the site. I have been a follower of The Second Disc for quite some time now, and I have never been disappointed in any of the reviews or news alerts. However, I must say that you've made a dent in my pocketbook by alerting me to some wonderful CD releases that I might not have know about otherwise. 🙂
While I can't take credit for any of the fantastic, herculean work done by Lawrence Schulman, John Haley, or anyone else who made this set a reality, I do take pride in being one of the team of writers for the booklet. My thanks to everyone involved. I'm honored to be in great company.
Joe, keep up the great work you do here. It's so appreciated. Thank you!
Joe Marchese says
Thank you so much, Scott - and thanks for the invaluable resource that is The Judy Room!
Nina Fonoroff says
Thanks so much, Joe, for this informative and knowledgeable review! I especially appreciate the historical background for "Get Happy," because this number from Summer Stock resonates with another version of the song, with which you may already be familiar. On the CBS TV show "The Jacksons" (1977 season), MJ performs a charming dance routine, where "Get Happy" eventually morphs into "I Got Rhythm." Who could ask for anything more, indeed?
https://www.youtube.com/watch?v=YI6J0OaymTE