The Astaire Story

~ Release by Fred Astaire (see all versions of this release, 4 available)

Tracklist

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1▼CD
#TitleLength
1Overture: The Astaire Blues
12:03
2Isn’t This a Lovely Day
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1935, in 1952-12)
orchestra:
The RKO Radio Studio Orchestra (in 1935)
conductor:
Max Steiner (in 1935)
recording of:
Isn’t This a Lovely Day? (from “Top Hat”) (in 1952-12)
lyricist and composer:
Irving Berlin (in 1935)
part of:
Top Hat (1935 film)
4:25
3Puttin’ On the Ritz
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
bass guitar:
Ray Brown
drums (drum set):
Alvin Stoller
guitar:
Barney Kessel
piano:
Oscar Peterson
tenor saxophone:
Flip Phillips
trumpet:
Charlie Shavers
vocals:
Fred Astaire (in 1952-12)
recording of:
Puttin’ On the Ritz (in 1952-12)
lyricist and composer:
Irving Berlin (in 1929)
publisher:
Berlin Irving Music Corp and Universal Music Publishing Ltd.
part of:
Idiot’s Delight (film)
2:52
4I Used to Be Color Blind
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
I Used to Be Color Blind (from "Carefree") (in 1952-12)
lyricist and composer:
Irving Berlin (in 1938)
4:14
5The Continental
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
bass guitar:
Ray Brown
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
The Continental (from the 1934 film "The Gay Divorcee") (in 1952-12)
lyricist:
Herb Magidson (in 1934)
composer:
Con Conrad (in 1934)
publisher:
Harms, Inc., Magidson Music, Inc., The Songwriters Guild and Warner Bros., Inc.
part of:
Academy Award for Best Original Song (number: 1934 winner)
cover recording of:
The Continental (from the 1934 film "The Gay Divorcee")
lyricist:
Herb Magidson (in 1934)
composer:
Con Conrad (in 1934)
publisher:
Harms, Inc., Magidson Music, Inc., The Songwriters Guild and Warner Bros., Inc.
part of:
Academy Award for Best Original Song (number: 1934 winner)
3:29
6Let’s Call the Whole Thing Off
producer:
Norman Granz
double bass:
Ray Brown (in 1952-12)
drums (drum set) [drums]:
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
phonographic copyright (℗) by:
UMG Recordings, Inc. (in 1952)
recording of:
Let’s Call the Whole Thing Off (from “Shall We Dance”) (in 1952-12)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (in 1937)
publisher:
Gershwin Publishing Corp (in 1937)
translated version of:
Vamos a dejarlo ya (Let's Call the Whole Thing Off)
part of:
Shall We Dance (1937 film soundtrack)
4:35
7Change Partners
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Change Partners (from “Carefree”) (in 1952-12)
lyricist and composer:
Irving Berlin (in 1938)
publisher:
Irving Berlin Music Corp. and Williamson Music Company
part of:
The 11th Academy Award for Best Original Song (number: 2)
3:15
8’s Wonderful
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
instruments:
Charlie Shavers (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
cover recording of:
’S Wonderful (in 1952-12)
lyricist:
Ira Gershwin (in 1927)
composer:
George Gershwin (in 1927)
publisher:
Chappell & Co., Chappell & Co., Inc., Chappell Music Ltd., Ira Gershwin Music, New World Music Company Ltd., Warner/Chappell North America Limited and WB Music Corp.
part of:
An American in Paris (2015 Broadway musical)
part of:
Funny Face (1927 musical)
part of:
My One and Only (1983 Broadway musical)
2:57
9Lovely to Look At
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
Lovely to Look at (in 1952-12)
lyricist:
Dorothy Fields (in 1935)
additional composer:
Jimmy McHugh
composer:
Jerome Kern (in 1935)
part of:
Academy Award for Best Original Song (number: 1935 nominee)
recording of:
Lovely to Look at (from 1952-12 to present)
lyricist:
Dorothy Fields (in 1935)
additional composer:
Jimmy McHugh
composer:
Jerome Kern (in 1935)
part of:
Academy Award for Best Original Song (number: 1935 nominee)
3:26
10They All Laughed
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
They All Laughed (from “Shall We Dance”) (in 1952-12)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (in 1937)
publisher:
Chappell & Co., Inc., Chappell Music and Gershwin Publishing Corp (in 1937)
part of:
Shall We Dance (1937 film soundtrack)
2:55
11Cheek to Cheek
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
bass guitar:
Ray Brown
drums (drum set):
Alvin Stoller
guitar:
Barney Kessel
piano:
Oscar Peterson
tenor saxophone:
Flip Phillips
trumpet:
Charlie Shavers
vocals:
Adele Astaire and Fred Astaire (in 1952-12)
cover recording of:
Cheek to Cheek (from “Top Hat”) (in 1952-12)
lyricist and composer:
Irving Berlin (in 1935)
publisher:
Irving Berlin (England) Music Ltd., Irving Berlin Music Company, Irving Berlin Music Corp., シンコーミュージック・エンタテイメント and ユニバーサル・ミュージック・パブリッシング Synch事業部
part of:
Academy Award for Best Original Song (number: 1935 nominee)
part of:
Top Hat (1935 film)
recording of:
Cheek to Cheek (from “Top Hat”)
lyricist and composer:
Irving Berlin (in 1935)
publisher:
Irving Berlin (England) Music Ltd., Irving Berlin Music Company, Irving Berlin Music Corp., シンコーミュージック・エンタテイメント and ユニバーサル・ミュージック・パブリッシング Synch事業部
part of:
Academy Award for Best Original Song (number: 1935 nominee)
part of:
Top Hat (1935 film)
5:40
12Steppin’ Out With My Baby
2:21
13The Way You Look Tonight
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
The Way You Look Tonight (from “Swing Time”) (in 1952-12)
publisher:
Jerome Kern (on 1936-07-24)
lyricist:
Dorothy Fields (in 1936)
composer:
Jerome Kern (in 1936)
publisher:
Aldi Music Company, Chappell & Co., Inc., Chappell Music Ltd., Polygram Music, PolyGram Music Publishing Ltd., Shapiro Bernstein & Co. Ltd., Shapiro, Bernstein & Co., Inc., The Songwriters Guild and Universal PolyGram International Publishing, Inc. (in 1936)
sub-publisher:
シンコーミュージック・エンタテイメント and ユニバーサル・ミュージック・パブリッシング Synch事業部
part of:
The 9th Academy Award for Best Original Song (number: 1) and Academy Award for Best Original Song (number: 1936 winner)
part of:
Swing Time (film)
2:58
14I’ve Got My Eyes on You
2:58
15Dancing in the Dark
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
bass guitar:
Ray Brown
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Dancing in the Dark (in 1952-12)
lyricist:
Howard Dietz
composer:
Arthur Schwartz
publisher:
Arthur Schwartz Music Ltd., Chappell Music Ltd., Harms, Inc., Warner Bros., Inc. (Warner Bros. Music Division) and WC Music Corp.
sub-publisher:
ヤマハミュージックエンタテインメントホールディングス and ワーナー・チャペル音楽出版 Synch事業部
part of:
The Band Wagon (1953 film)
4:46
16The Carioca
4:47
17Nice Work If You Can Get It
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Nice Work If You Can Get It (in 1952-12)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (in 1937)
publisher:
Chappell & Co., Inc. and Gershwin Publishing Corp (in 1937)
part of:
A Damsel in Distress (1937 film score)
part of:
Crazy for You (1992 musical)
part of:
My One and Only (1983 Broadway musical)
2:07
18New Sun in the Sky
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
New Sun in the Sky (in 1952-12)
lyricist:
Howard Dietz
composer:
Arthur Schwartz
part of:
The Band Wagon (1953 film)
2:27
19I Won’t Dance
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
I Won’t Dance (1935, lyrics by Dorothy Fields, from “Roberta”) (in 1952-12)
lyricist:
Jimmy McHugh and Dorothy Fields (in 1935)
composer:
Jerome Kern
publisher:
Chappell Music Ltd., Cotton Club Publishing, EMI Music Publishing Ltd., Memory Lane Music Ltd., T.B. Harms Co. and Universal Music Publishing Ltd.
is based on:
I Won’t Dance (1934, lyrics by Hammerstein/Harbach, from “Three Sisters”)
3:01
20Fast Dances (ad lib)
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
double bass [bass]:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
electric guitar [guitar]:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tap dance:
Fred Astaire (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Fast Dances (Ad Lib) (in 1952-12)
2:42
2▼CD
#TitleArtistLength
1Intermission: Jam Session for a Dancer
Fred Astaire & Oscar Peterson6:23
2Top Hat, White Tie, and Tails
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
Top Hat, White Tie and Tails (from “Top Hat”) (in 1952-12)
lyricist and composer:
Irving Berlin (in 1935)
part of:
Top Hat (1935 film)
Fred Astaire & Oscar Peterson4:00
3No Strings, I’m Fancy Free
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
bass guitar:
Ray Brown
celesta and piano:
Oscar Peterson
drums (drum set):
Alvin Stoller
guitar:
Barney Kessel
tenor saxophone:
Flip Phillips
trumpet:
Charlie Shavers
vocals:
Fred Astaire (in 1952-12)
recording of:
No Strings (I’m Fancy Free) (from “Top Hat”) (in 1952-12)
lyricist and composer:
Irving Berlin (in 1935)
part of:
Top Hat (1935 film)
Fred Astaire & Oscar Peterson2:55
4I Concentrate on You
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
I Concentrate on You (in 1952-12)
lyricist and composer:
Cole Porter (in 1939)
publisher:
Chappell & Co., Inc.
Fred Astaire & Oscar Peterson2:44
5I’m Putting All My Eggs in One Basket
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
I’m Putting All My Eggs in One Basket (from “Follow the Fleet”) (in 1952-12)
lyricist and composer:
Irving Berlin (in 1936)
Fred Astaire & Oscar Peterson2:55
6A Fine Romance
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
A Fine Romance (from “Swing Time”) (in 1952-12)
publisher:
Jerome Kern (on 1936-07-24)
lyricist:
Dorothy Fields (in 1936)
composer:
Jerome Kern (in 1936)
publisher:
Chappell & Co.
part of:
Swing Time (film)
Fred Astaire & Oscar Peterson3:43
7Night and Day
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
bass guitar:
Ray Brown
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Night and Day (Cole Porter; from “The Gay Divorce”) (in 1952-12)
lyricist and composer:
Cole Porter (in 1932)
publisher:
Chappell & Co., Inc., Chappell Music Ltd., Warner Bros., Warner Bros. Music, Warner Bros., Inc., Warner Bros., Inc. (Warner Bros. Music Division), Warner/Chappell, WB Music Corp. (until 2019-05-28) and Harms, Inc. (on 1932-11-18)
part of:
Gay Divorce
Fred Astaire & Oscar Peterson4:53
8Fascinating Rhythm
recording of:
Fascinating Rhythm (for piano solo)
composer:
George Gershwin (in 1924)
arranger:
George Gershwin
arrangement of:
Fascinatin’ Rhythm
part of:
George Gershwin’s Songbook (18 arrangements for piano solo by George Gershwin, 1932)
Fred Astaire & Oscar Peterson2:42
9I Love Louisa
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
orchestra:
MGM Studio Orchestra (in 1953)
conductor:
Adolph Deutsch (in 1953)
phonographic copyright (℗) by:
Loew’s Incorporated (in 1953) and Metro–Goldwyn–Mayer Film Co. (in 1981)
recording of:
I Love Louisa (The Band Wagon) (in 1952-12)
lyricist:
Howard Dietz
composer:
Arthur Schwartz
part of:
The Band Wagon (1953 film)
recording of:
I Love Louisa (The Band Wagon) (in 1953)
lyricist:
Howard Dietz
composer:
Arthur Schwartz
part of:
The Band Wagon (1953 film)
Fred Astaire & Oscar Peterson2:43
10They Can’t Take That Away From Me
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
double bass:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tenor saxophone:
Flip Phillips (in 1952-12)
trumpet:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
phonographic copyright (℗) by:
UMG Recordings, Inc. (in 1952)
recording of:
They Can’t Take That Away From Me (from “Shall We Dance”) (in 1952-12)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (in 1937)
publisher:
Chappell & Co., Inc., Chappell Music, Chappell Music Ltd., Ira Gershwin Music, Warner/Chappell Music Holland BV, Warner/Chappell North America Limited, WB Music Corp. (until 2019-05-28) and Gershwin Publishing Corp (in 1937)
part of:
The 10th Academy Award for Best Original Song (number: 2)
part of:
An American in Paris (2015 Broadway musical)
part of:
Crazy for You (1992 musical)
part of:
Shall We Dance (1937 film soundtrack)
Fred Astaire & Oscar Peterson4:23
11Medium Dances
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
double bass [bass]:
Ray Brown (in 1952-12)
drums (drum set):
Alvin Stoller (in 1952-12)
piano:
Oscar Peterson (in 1952-12)
tap dance:
Fred Astaire (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Medium Dances (Ad Lib) (in 1952-12)
Fred Astaire & Oscar Peterson2:02
12You’re Easy to (Dance with)
Fred Astaire & Oscar Peterson3:23
13A Needle in a Haystack
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
A Needle in a Haystack (from the 1934 film "The Gay Divorcee") (in 1952-12)
lyricist:
Herb Magidson
composer:
Con Conrad
Fred Astaire & Oscar Peterson2:23
14So Near and Yet So Far
recording of:
So Near and Yet So Far (from “You’ll Never Get Rich”)
lyricist and composer:
Cole Porter (in 1941)
Fred Astaire & Oscar Peterson3:20
15A Foggy Day (in London Town)
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
A Foggy Day (in London Town) (in 1952-12)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (in 1937)
publisher:
Chappell & Co., Inc., Chappell Music Ltd., Gershwin Publishing Corp, Warner Chappell North America Ltd. and WB Music Corp. (until 2019-05-28)
part of:
A Damsel in Distress (1937 film score)
Fred Astaire & Oscar Peterson3:59
16Oh, Lady Be Good
recording of:
Oh, Lady Be Good!
lyricist:
Ira Gershwin (in 1924)
composer:
George Gershwin (in 1924)
publisher:
Chappell Music Ltd., George Gershwin Music, Ira Gershwin Music and WB Music Corp. (until 2019-05-28)
part of:
American Splendor
part of:
Lady, Be Good (full musical)
Fred Astaire & Oscar Peterson5:02
17Slow Dances (ad lib)
Fred Astaire & Oscar Peterson2:56
18I’m Building Up to an Awful Letdown
Fred Astaire & Oscar Peterson4:00
19Not My Girl
recorded in:
Los Angeles, California, United States (in 1952-12)
producer:
Norman Granz
vocals:
Fred Astaire (in 1952-12)
recording of:
Not My Girl (in 1952-12)
writer:
Fred Astaire, Desmond Carter and Van Phillips
Fred Astaire & Oscar Peterson3:39
20I Won’t Dance (alternate take)
recording of:
I Won’t Dance (1935, lyrics by Dorothy Fields, from “Roberta”)
lyricist:
Jimmy McHugh and Dorothy Fields (in 1935)
composer:
Jerome Kern
publisher:
Chappell Music Ltd., Cotton Club Publishing, EMI Music Publishing Ltd., Memory Lane Music Ltd., T.B. Harms Co. and Universal Music Publishing Ltd.
is based on:
I Won’t Dance (1934, lyrics by Hammerstein/Harbach, from “Three Sisters”)
Fred Astaire & Oscar Peterson2:49
21Exit Music: The Second Astaire Blues
Fred Astaire & Oscar Peterson7:48

Credits