This joy is something new, my arms enfolding you
Never knew this thrill before
Whoever thought I’d be holding you close to me
Whispering “it’s you I adore”
- Dean Martin’s take on “Bésame Mucho”
Endeavour Morse and the case of the disappearing Dean Martin song
Sway has always had one of my favourite openings of any Endeavour episode, mostly for the use of Sway by Dean Martin while the opening titles run. something about this romantic pop song being overlaid on top of the unfolding darkness and drama - and repeated multiple times throughout the episode to punctuate further tragedy - is so striking and really, really does it for me. by the time Huggins puts on that record for his final dance with Gloria, and Sway (the song) starts up, the opening chords are less of a fun bolero flourish and more a banshee shriek of horror to come.
so I was amazed to learn recently that the version of Sway (the episode) I've loved for ten years now... basically doesn't exist outside of the UK and Ireland? the Morse, Lewis, and Endeavour blog theorises that due to copyright restrictions, all overseas releases of the episode - including DVDs and the PBS Masterpiece version, which was later released on Amazon - replace Sway (the song) with a jazz instrumental piece composed by Barrington Pheloung. nothing but respect for Mr Pheloung's decades of work in defining Morse's sound as we know it today, but this replacement doesn't hold a candle to the original episode's vision.
(also, Sway (the song) is kind of hilariously load-bearing in that the episode title doesn't make a lot of sense without the song's appearance at key thematic moments, imo.)
anyway - after I made my initial post about this last week, a couple of people expressed interest in hearing the original episode's music, and after some digging I was able to find a copy ripped directly from ITV! enjoy the opening 3 minutes of Sway (the episode) as Russell Lewis intended:
Elvis worked on the soundtrack for King Creole at Radio Recorders from 9.00 a.m. to 5.40 p.m. Leiber and Stoller, who had written several songs for the picture, were in charge with the usual Hollywood band. The bassist Ray Siegel was present too as well as a 4 man horn section to create a Dixieland Rock feeling.
Elvis impersonates Dean Martin in his dressing room.
[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: The Beatles (x2), Louis Armstrong, Roy Orbison, The Beach Boys, Dean Martin, Mary Wells, Gale Garnett, Frank Wilson, The Supremes. End description]
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A lot happened this year. To get the obvious out of the way, this is the first time (and far from the last) we're seeing The Beatles featured on these polls. Like Elvis Presley in the previous decade, so much has been said about the cultural impact of these artists that I feel intimidated to give my two cents. At this stage in their careers, The Beatles offered a middle ground between their rowdier skiffle roots and the squeaky-clean look of teen idols at the time -- which clearly worked for teenage girls in the early 60's. Much like in the 1950s, we're seeing another rock and roll boom, but this time the genre is pulling from other contemporary influences. Especially doo-wop, as seen with The Beach Boys. Parallel to the British Invasion, surf rock will also become a major staple of the decade.
This moment in the 1960s also marks the mainstream rise of another monumental cultural force: Motown Records. While the label was founded in 1958, this is the moment where more Motown acts start crossing over into the mainstream charts, as seen with Mary Wells and The Supremes. The significance of a Black-owned label achieving major crossover success can't be overstated. The Motown sound would soon become synonymous with the 1960s, and we will continue to see their influence (both direct and indirect) beyond.
As an aside, it's interesting to finally get to the years where my parents remember hearing these songs. Apparently Last Kiss was not the only "tragic teen love car crash" song. "Teenage tragedies" were a popular subgenre at the time, and cars became a more popular inciting incident for said tragedies as automobiles became a more prevalent part of teen culture. Here's an NPR interview about it (transcript included).