Son of Food of Love

Nat King Cole's "Wild Is Love", written by Dorothy Wayne and Ray Rauch, is the first song on the concept album of that name, possibly the greatest concept album ever, excluding Tammi Terrell's Irresistible. I once was bitterly annoyed with R. Burdik of The Wine Cart for dismissing Sinatra (and, more understandably, Tony Bennett) as vastly inferior to Nat King Cole. I had thought of Nat and Frank as equals. Now, looking back, I'm not so sure. [February 8-- Having listened to a couple of Frank tracks the other night, I am now sure. Chairman of the Board wins hands-down. Cole's voice has more warmth, but to me it simply isn't as expressive or as versatile. Anyway, they're both great.] This is one of a dozen or so songs I sometimes sing to myself. "And I know, I will go wherever love takes me-- whatever love makes me, I will be." Tautology? Could be used to justify all sorts of irresponsible anti-social behavior? No doubt, but terrific stuff.

"Danny Boy", one of those songs whose beauty is muffled by an ambiance of cliche, but which triumphs nonetheless, for some reason seems to me particularly splendid when sung by Welsh people-- Tom Jones has a moving, typically syncopated soul version and Charlotte Church's is one of the better traditional versions. But probably-not-Welsh Judy Garland's (as with "Almost Like Being in Love" or "You Go To my Head") is the definitive.

Another song (like Joe Dassin's "Petit pain," mentioned before) which demonstrates the ability of the French to juggle sentiment, whimsy, humor and a catchy tune is Michel Legrand's "Reve secret d'un prince et une princesse" from Jacques Demy's film Peau d'Ane (The Donkey Skin), which I first heard in a 90s film about young French students: first they listen and laugh as two girls euphorically sing along to the record at a party, with just a hint of irony; then it plays over the credits with a thick undertaste of sadness and disillusionment. But both sadness and euphoria are present. There can be no condescending dismissal of this song.

"The Party's Over," particularly in Eileen Farrell's version, could be good to get rid of guests with. Or to keep them on the edge of their seats. Set phasers on "stun."

"Start" by The Jam has been called a rip-off of George Harrison's "Taxman," but it's a much more interesting song, about a life-altering moment in a relationship between two people, not just resentment (of the super-rich) toward having to pay taxes. And it's a good song to start your party.