Wednesday, April 23, 2014

From the UK: Sports Saturday with special guest Ricci Martin

Eric Hall On Phoenix Fm - 19 Apr 2014

 Hey pallies, likes yester-Dino-day while doin' our usual 20 pages of google blog searchin' a la Dino, we were thrilled to likes come upon a telephone interview that our most beloved Dino's beloved  boypallie Ricci did with Brit radio station Phoenix98fm, the local radio station for Brentwood and Billericay.  The interview was conducted by Mr. Eric Hall for his Saturday, April 19th edition of "Sports Saturday."

Likes the reason for the interview was that Ricci is promotin' his upcomin' "FIRST EVER UK PERFORMANCES" of his homage to his daddy-o, "DINO," "an evening of his father's music and more.
Gotta tells you pallies that the interview is well well worth a listenin'.  Mr. Hall truly truly asks Dino's prodigy some wonderfully wise questions, and of course Ricci gives the most remarkable responses.

In this interview you will learn 'bout Ricci's fav Dino-croon that he sings in the show, our Dino's fav song as well, and many many other delightful Dino-details.   You will note all the details for the 5---count 'em-5 great cities that Ricci is playin' between  May 15th and 19th on the poster below.

Personally we deeply dug hearin' Ricci speak 'bout how he and his bro, Dino Martin Jr. got to hang out on the sets when our Dino went before the cameras as swingin' spyster Matt Helm.  Likes how spectacularly swank it musta been for Dino's sons to seek their daddy-o  havin' such such fun doin' the Helmers!

Throughout the interview Mr. Hall professes his long time deep devotion to our King of Cool, so it is fantasticly fabulous to have someone truly in the Dino-know bein' conductin' this in depth Dino-report. Mixed in before and after the interview are quite a number of the coolest of the cool croons from our great great man.  Likes our personal fav is "Sam's Song," that dynamite duet between our Dino and his pallie Sammy Davis Jr.........pure pure Dino-magic for sure dudes!

The interview begins just shy of the 2 hour mark on the show.  We  are thrilled the pallies at Phoenix98fm has made it possible that we can copy and share the link to the programme so that we can post it right here at our humble little Dino-pad.  To checks it out at it's original site, simply clicks on the tag of this here Dino-report.

 ilovedinomartin salutes both the pallies at Phoenix98fm, 'specially Mr. Eric Hall and his assistants, and, of course, our Dino's boypallie Ricci for graciously makin' this interview possible.   Gotta likes 'fess up pallies that likes we thinks this is the bestest of the best interview that we have ever heard Ricci do, and likes of course we always always always growin' in our Dino-devotion through more Dino-knowledge!  Dino-awed, DMP

Sports Saturday with special guest Ricci Martin


Ricci Martin

Tuesday, April 22, 2014

...... you just want to hang out with Dean Martin.

Jack Pendarvis

Hey pallies, likes recently we was doin' somethin' that we totally totally digs to do, but likes don't seem to have much time to do on a regular basis....simply surfin' the ol' web puttin' a couple of descriptive words together with Dean Martin and seein' what turns up.  Gotta 'fess up now that we are puttin' words to paper, we can't remember what the key words were that we typed in, but with the magic of  Dino, we ended up at the self-tagged blog pad, "THE PLACE WHERE JACK PENDARVIS HAS A "BLOG."

Likes we have visited here before and have shared some cool Dino-devotion by Mr. Pendarvis in the past....actually quite the past as we noted that our original posts we shared over 2 years ago on January 19 and 20, 2012.  From those efforts we got a clue that Jack was big into our Dino, but not until we discovered the Dino-prose that we share below from Jack's July 31, 2013 post, "Singing and Dancing on an Airplane," did we discover just how  huge a homager of our most beloved Dino, he truly truly is.

And, likes  discoverin' Pendarvis' deep devotion to our great great man ain't the only  fantastic fact that we learned 'bout him.   'Gain, doin' a little googlin' we discovered that Mr. Jack Pendarvis is not only a professional scriber, but he is also on the faculty of Ole Miss (University of Mississippi)  teachin' fiction, and contemporary lit.  Likes, likes when we discovered all this, we were likes completely captivated to find 'nother poweful professional pallie who likes is absolutely awestruck by our King of Cool.

As you will note below, while the topic of Pendarvis' prose originally focuses on his viewin' of a portion of the Dino-sex-farce, "Ten Thousand Bedrooms" and reportin' on it, his powerfully perfect prose is much more an amore of our most beloved Dino and also his passion for Nick Tosches's beau-ti-ful biography of our beau-ti-ful man, "DINO: Living High In The Dirty Business Of Dreams."

We are simply thrilled by Jack's  delight of Tosches' brilliant bio sayin', "Wow, I love that book (which I first encountered when Phil Oppenheim loaned me his chunky, tattered mass market paperback)!"  And to our delight we discovered that Professor  Pendarvis actually taught the book to his Ole Miss students..."I remember teaching it in a grad class and this one dude was like, "This book is terrible. Why are we reading about Dean Martin? He's just a jerk." I paraphrase. But anyway, it was as if I had been stabbed in the heart, and if I am recalling correctly, I never recovered and we couldn't really talk about Dean Martin anymore for the rest of the semester due to my trauma."

ilovedinomartin feels truly blessed to have come 'cross this powerful passionate prose in homage of our most beloved Dino.  We salute Professor Jack Pendarvis for his wisely wonderful writin's and know that we will delve deeper into your blog for more Dino-edification to share here.  To checks this out in it's original source, likes please clicks on the tag of this Dino-message.  Dino-always, ever, and only, DMP



Singing and Dancing on an Airplane

Last night I switched over to TCM after the movie TEN THOUSAND BEDROOMS had been on for a while. I seemed to recall that this movie was reviled as one of the crummiest movies ever committed to film, so I watched a little of it. When I came in, Dean Martin and Anna Maria Alberghetti were drinking wine and lounging around on a long couch on Dean Martin's lavishly appointed private jet while another Dean - Dean Jones, to be specific (see also) - was doing some kind of strange peeping tom action from the cockpit. And I was like, "What's wrong with this? Nothing!" I was like, "Why, this movie has everything!" I was like my friend Leslie watching CONTINENTAL DIVIDE: "I don't understand why this movie is 'bad.'" Then Dean Martin got up and put on the radio (or a record player? on an airplane!) and started singing to Anna Maria Alberghetti and then they started dancing and singing to one another and I was going with it. So I decided to look up TEN THOUSAND BEDROOMS in my copy of the book DINO: LIVING HIGH IN THE DIRTY BUSINESS OF DREAMS by Nick Tosches to check my vague memory of how much TEN THOUSAND BEDROOMS was (and is) hated. "The picture almost killed Dean's acting career in one fell swoop," writes Tosches. And, "The picture was a stiff." I will say this: it could not hold my attention, the picture couldn't. I ignored it as I kept reading more passages from DINO: LIVING HIGH IN THE DIRTY BUSINESS OF DREAMS - much more captivating. Wow, I love that book (which I first encountered when Phil Oppenheim loaned me his chunky, tattered mass market paperback)! I remember teaching it in a gradclass and this one dude was like, "This book is terrible. Why are we reading about Dean Martin? He's just a jerk." I paraphrase. But anyway, it was as if I had been stabbed in the heart, and if I am recalling correctly, I never recovered and we couldn't really talk about Dean Martin anymore for the rest of the semester due to my trauma. I lost the ability to speak and reason! Say, will the abbreviated remainder of my life be spent nursing festering grudges against students who briefly rubbed me the wrong way?Apparently! So (back to last night) over an hour later I put aside DINO: LIVING HIGH IN THE DIRTY BUSINESS OF DREAMS and glanced at the screen, on which I was startled to discover a slowly revolving platform (seen above) with all these women in pink ball gowns (I guess) playing mandolins (last night I couldn't think of the word "mandolin" and kept mentally calling them "lutes" - like, "Why are all those ladies playing lutes?" A sign of incipient dementia!) and as you can plainly see there were some accordions involved as well. Next thing you know Dean Martin is singing a duet with his butler, all about how hard it is to be a millionaire. His butler sings skeptically in reply. Or replies skeptically in song. Which made me question something Dean Martin said about TEN THOUSAND BEDROOMS, as quoted in DINO: LIVING HIGH IN THE DIRTY BUSINESS OF DREAMS: "I may sing one or two songs in it, but it's definitely not a musical." Here's the thing. Okay, if you sing on an airplane along to prerecorded music, that is arguably diegetic sound (as the film scholars say)... but if you start a conversation with your butler that suddenly turns into a duet, you are in a musical, no doubt about it, sorry, Dean Martin. And the butler song was pretty terrible. Yes, things were sagging. Anyway, I have been listening to Dean Martin records all morning, and I listened to him sing a lyric that goes "I'm just a face without a name, walking in the rain," and he sounds jolly about it, like, "Wheee!" Like, "Ha ha, I'm a face without a name, just kidding." And I couldn't help but think of how Frank Sinatra would sing that lyric ("click" here and extrapolate). But sometimes you can't take all those Sinatra mental breakdowns and you just want to hang out with Dean Martin.

Monday, April 21, 2014

Everybody Loves Somebody: Legacy Acquires Dean Martin’s Reprise Catalogue, Launches Reissue Campaign

 Hey pallies, likes on the heels of Saturday's Dino-post of the remarkable release by Legacy, the new home for our most beloved Dino's Reprise Recordin's, of a limited numbered edition of a high tech vinyl edition of our Dino's "Dream With Dean" al-b-um for Record Store Day 2014, we have decided to share with all youse Dino-philes 'nother reportin' of  Legacy's acquisition of the Dino-catalog.

From the classy musical web pad, "The Second Disc," and the pen of the  proser Mr. Joe Marchese,  come a superbly scribed post liftin' up not only the news of coming Legacy reissues of our Dino's magnificent musical material, but heart-warmin' homage of our most beloved Dino's life, times, and teachings as well.

Mr. Marchese is definitely definitely a true knower of our King of Cool as he coolly coolly relates pertinent pieces of the Dino-story.  It is always so wisely wondrous of remarkable reviewers like Marchese to give us
delightful details of our Dino to match the facts and figures of this partnership between the Dean Martin Family Trust and Sony's Legacy Recording, certainly helpin' those new to Dino to grow quickly in their Dino-knowledge, and for long-time Dino-philes to bask ever more in Dino-glory!

ilovedinomartin salutes Mr. Joe Marchese and all the pallies at "The Second Disc" for once 'gain liftin' up news of our main man in such a wise and wondrous way.  To checks this out in it's original format, simply clicks on the tag of this here Dino-report.  Dino-always, ever, and only, DMP

 Dean Martin - Reprise Years
The Second Disc

Expanded and Remastered Music News

Everybody Loves Somebody: Legacy Acquires Dean Martin’s Reprise Catalogue, Launches Reissue Campaign

Dean Martin - Reprise YearsHow lucky can one guy be…

Dean Martin is said to have once observed that the two smartest decisions he ever made were partnering with Jerry Lewis…and breaking up with Jerry Lewis.  When the split occurred, Martin was 39 years old, but convinced that a successful solo career was still ahead of him.  Was he ever right!  The former Dino Paul Crocetti was among the lucky few to have a successful second act in showbiz, and his career as just Dean Martin even eclipsed the first act as one-half of the beloved Martin and Lewis team.  Martin first took flight as a singer at Capitol Records beginning in 1948, eight years before dissolving his partnership with Lewis.

 He remained at the Tower through 1961, making his final recordings there in December of that year.  On February 13, 1962, he entered United Western Recorders on Hollywood’s Sunset Boulevard to begin his tenure alongside pal Frank Sinatra as one of the flagship artists for the Chairman’s Reprise Records label.

Over the years, Martin’s Reprise catalogue has changed hands numerous times, and last week, it was officially announced that its new home will be Sony’s Legacy Recordings.

In partnership with The Dean Martin Family Trust, Legacy has begun remastering titles from Martin’s Reprise (1962-1974) and Warner Bros. (1983) periods for an ongoing reissue campaign.  The first title to emerge under the Legacy deal was the recent Playlist: The Very Best of Dean Martin, which was newly remastered by Vic Anesini.  The Reprise period, of course, includes many of Martin’s most enduring hits.

He famously took on The Beatles – and triumphed! – in 1964 when Ernie Freeman’s contemporary arrangement of “Everybody Loves Somebody,” a 1947 song by Sam Coslow, Irving Taylor and Martin’s frequent collaborator Ken Lane, knocked the Fabs’ “A Hard Day’s Night” right off the No. 1 spot on the Billboard 200 at the height of Beatlemania!  Despite Dino’s protestation that “I do not like rock singers, rock is out with me, I can’t stand rock,” Freeman’s heavy rock-influenced backbeat gave Martin the edge to introduce his laid-back croon to a new generation.

Dean Martin in the studio

Dean Martin in the studio

More major hits followed including “I Will,” “The Door is Still Open to My Heart” and Lee Hazlewood’s “Houston,” and by the beginning of 1966, Martin had notched seven Top 40 pop hits and six Top 40 albums – in addition to juggling the demands of his popular variety show!  Dino remained with Reprise for most of the rest of his recording career.  Even considering the seismic shifts in musical styles as the sixties continued, Martin’s hits hardly waned, with “In the Chapel in the Moonlight” and “Little Ole Wine Drinker Me” both going Top 40 in 1967.  When Reprise issued two greatest-hits collections in 1968, both achieved gold status.  In 1971, he re-signed with the label for another three-year contract, and in 1974, he would record his final music for the House That Frank Built although legal wrangling would prevent the songs’ release until 1978.  Martin gracefully bowed out of the recording business, smartly refusing to subject himself to disco and other styles that affected the music of so many of his contemporaries.  Not that Martin completely avoided pop and rock in his years at Reprise; quite to the contrary.  He recorded songs by Jimmy Webb, Burt Bacharach and Hal David, Tommy Boyce and Bobby Hart, The Bee Gees, Kris Kristofferson, John Hartford, Tony Hatch and Jackie Trent, Carole King and Gerry Goffin, and even Smokey Robinson.  Martin also built up a considerable catalogue of country music at Reprise.

Dino continued to appear on television and onstage during his retirement from the recording studio, and in 1980 purchased back his Reprise recordings from the label (which had itself purchased fourteen albums from Dean in 1971).  Yet most of these albums remained incredibly difficult to find in the CD era until the release of Bear Family’s definitive complete Dean Martin series of box sets (four, in total, with two each dedicated to Capitol and Reprise) and Collectors’ Choice’s series of Reprise two-fers.

In 1983, Martin was coaxed by his longtime producer Jimmy Bowen, head of Reprise parent Warner Bros.’ Nashville division, to record one more album.  My First Country Song became a respectable No. 49 entry on the Country Albums chart, and its title track – a duet with Conway Twitty – also became a Top 40 country hit.  Though the album would turn out to be Martin’s last, he did record one last song, “L.A. is My Home,” which was released in 1985 on the MCA label.  (It was also the closing theme song to the television show Half Nelson on which Dean appeared.)  There’s no mention of whether “L.A.” is included in the current Legacy deal.

What can you expect from Legacy’s Dean Martin series?  Hit the jump!

The digital-only initiative for Martin began with the reissue of 1966’s The Dean Martin Christmas Album and a “2-disc,” 40-song collection entitled The Reprise Years with one volume dedicated to “The Greatest Hits” and one to “The Best of the Rest.”  In addition, ten remastered Reprise albums (out of 27, including two Greatest Hits LPs) are now available digitally from Legacy:

Dino Latino

Dino Latino

French Style (1962) (Amazon U.S.)
Dino Latino (1962) (Amazon U.S.)
The Door Is Still Open To My Heart (1964) (Amazon U.S.)
Everybody Loves Somebody (1964) (Amazon U.S.)
Dream with Dean (1964) (Amazon U.S.)
Dean Martin Hits Again (1965) (Amazon U.S.)
Houston (1965) (Amazon U.S.)
 (Remember Me) I’m The One That Loves You (1965) (Amazon U.S.)
The Dean Martin TV Show (1966) (Amazon U.S.)
Welcome To My World (1967) (Amazon U.S.)
Though no further information on future releases is available at this point, Legacy’s press release indicates that all Reprise recordings are being remastered “with an eye toward releasing the catalogue digitally and physically over the course of the next year.”

What would you like to see Legacy do with Dino’s catalogue?  Sound off below!  And rest assured, future updates on the King of Cool’s legendary Reprise output will be forthcoming, and you’ll be able to read about them right here at The Second Disc!  Now ain’t that a kick in the head!

Dean Martin Reprise Album Discography (from

French Style (1962)
Dino Latino (1962; #99)
Country Style (1963; #109)
Dean “Tex” Martin Rides Again (1963)
Dream With Dean (1964; #15*)
Everybody Loves Somebody (1964; #2*)
The Door Is Still Open To My Heart (1964)
Dean Martin Hits Again (1965; #13*)
(Remember Me) I’m The One Who Loves You (1965; #12*)
Houston (1965; #11*)
Somewhere There’s a Someone (1966; 40*)
Dean Martin Sings Songs From “The Silencers” (1966; #108)
The Hit Sound Of Dean Martin (1966; #50)
The Dean Martin Christmas Album (1966; #1 Xmas*)
The Dean Martin TV Show (1966; #34)
Happiness Is Dean Martin (1967; #46)
Welcome To My World (1967; #20*)
Dean Martin’s Greatest Hits! (1968; #26*)
Dean Martin’s Greatest Hits! Vol. 2 (1968; #83*)
Gentle On My Mind (1968; #14*)
I Take A Lot Of Pride In What I Am (1969; #90)
My Woman, My Woman, My Wife (1970; #97)
For The Good Times (1971; #113, #41 Country)
Dino (1972; #117)
Sittin’ On Top Of The World (1973)
You’re The Best Thing That Ever Happened To Me (1973)
Once In a While (1978)
The Nashville Sessions (Warner Bros. Records) (1983; #49 Country)
(*) denotes certified gold album (most of which sold over 1,000,000 units, though there was no platinum certification at the time)

Sunday, April 20, 2014

Danny G's Special Easter Sunday Serenade with Dino: "Good Morning Life"

Buona Pasqua Pals! Happy Easter! What an AB SO LUTE LY WON DER FUL time of year it is!!! This is it o pals o mine! A chance to begin again! A time of resolution! Yet 'nother opportunity to let even MORE Dino into out lives pals!!! Hahaha!!!

With every Spring & every Easter...I tries my HARDEST to absorb the MOSTEST amounts of our pal Dean as humanly possible! He DEF I NATE LY makes  my day & DEF I NATE LY puts a cool cool accent on such an AWESOME holiday!!!

 Youse can't help but feel so so happy on a day like this pallies!
Today's X-TRA special Serenade, "Good Morning Life",  has an X-TRA special message for EVERYONE..."Wake up EVERYDAY & count your blessings!"  Today is a new start. Don't drag yesterday's problems with youse & NEVER worry 'bout tomorrow!

Well pals...Time to gets the Dino & the vino flowin'! Hahaha!!! Happiest of Easters to ALL my pallies at! Enjoy!

Good morning life
Good morning sun how are your skies above
Gee it's great to be alive and in love
Good morning life
Good morning birds sing out your happy tunes
Feels so good because I'll be seeing her soon
Last night she said she loved me
What a pity to part
I slept with both eyes open waiting for today to start
Good morning life
Good morning world how are you happiness
All at once I know what livin' can be
It's life, it's free, it's someone waiting for me
Who'll someday be my wife, good morning life
Good morning life
Good morning life
Last night she said she loved me
What a pity to part
I slept with both eyes open waiting for today to start
Good morning life
Good morning world how are you happiness
All at once I know what livin' can be
Ah it's life, it's free, it's someone waiting for me
Who'll someday be my wife, good morning life

Saturday, April 19, 2014

DEAN MARTIN - Individually Numbered LP pressed on 180-gram audiophile vinyl

Hey pallies, likes with all the cool Dino-news floatin' 'round the web, we almost missed sharin' this fabulous Dino-news happenin' this very very Dino-day.  From the website, "Digital Journal," comes the totally totally thrillin' news from the pallies at Legacy, our Dino's new home for his Reprise Recordin's, that on this very day, April 19, tagged "Record Store Day," an "Individually Numbered LP pressed on 180-gram audiophile vinyl" of  "Dream With Dean" is bein' released.

Likes as all you dudes know, "Dream With Dean" is one of our great great man's greatest al-b--ums originally released in vinyl.  What a great homagin' of our Dino indeed pallies!  Likes  since, this is a special release only for Indie Record Stores to sell on this day, we here at ilovedinomartin have discovered that only if copies remain after the close of business today will they then be available on the ol' net tomorrow, and it would appear, only from Indie Record Store web sites!

Ain't it always so thrillin' to see more and more of our Dino's legacy bein' reissued for our Dino-pleasure.  Hats off to the pallies at Legacy for creatin' this most special Dino-reissue in vinyl, and to the pallies at "Digital Journal" for spreadin' the Dino-news.  To checks this out in it's original format, simply clicks on the tag of this here Dino-report.  Dino-delightedly, DMP

Dean Martin 'Dream With Dean' 180-Gram Audiophile Vinyl To Be Issued For Record Store Day

Legacy Recordings Announces Titles For Record Store Day 2014 (Saturday, April 19)

Legacy's RSD 2014 Collectibles Include Releases From 311, Aerosmith, the Allman Brothers Band, Eric Carmen, the Jimi Hendrix Experience, Henry Mancini, Dean Martin, MGMT, OutKast, Ray Parker, Jr., Ronnie Spector & The E Street Band and The The

PR Newswire
NEW YORKMarch 20, 2014 /PRNewswire/ -- Legacy Recordings, the catalog division of Sony Music Entertainment, is proud to announce the label's all-star line-up of 7" and 12" vinyl titles for Record Store Day 2014, celebrated at independent record stores worldwide on Saturday, April 19, 2014.

Record Store Day 2014

DEAN MARTIN - Individually Numbered LP pressed on 180-gram audiophile vinyl
Dream with Dean - One of the crooner's best-charting albums, 1964's Dream with Dean (subtitled "the intimate Dean Martin") has been newly remastered from the original analog tapes for this RSD 180-gram vinyl release and features Dino's signature "Everybody Loves Somebody."


Dean Martin and Jerry Lewis iCONS Primitive Collectible Dolls

Cover photo

Hey pallies, likes we are always always so so delighted to share Dino-love no matter what form it takes. And likes today we are sharin' one of the most unusual forms we have ever uncovered on the ol 'net.
Today we visit at the blog, "The Simple Life,"  where we were simply simply blown away by the Dino-creativity of Mr. Aristotle Allen, who in addition to bein' a recordin' artist, uses his artistic ability to create what he tags "Primitive Collectible Dolls."

If you peruse Allen's pad you will find he has created a whole plethora of these hand-crafted dolls, but of course none are cooler then his rendition of our most most beloved Dino and his partner Mr. Jerry Lewis
from their roles in the Martin and Lewis classic big screen flick, Sailors Beware."  Likes as you will note below these are extremely well-crafted and any true blue Dino-phile woulda loves to call 'em their own.

If you woulda likes more info on these Dino-treasures, you will note how to contact Mr. Allen for more information.  ilovedinomartin wishes to salute Mr. Aristotle Allen for his Dino-creativity and wishes him well in this enterprise.  It woulda be so so cool to see him feature other of our Dino's great great roles as dolls....-specially to our way of thinkin' our Dino as spyster Matt Helm.  To checks this out in it's original format, simply clicks on the tag of this here Dino-report.  Dino-diggin', DMP

Dean Martin and Jerry Lewis iCONS Primitive Collectible Dolls

This is a new addition to my iCONS series entitled “Sailors”. This depicts comedy act Martin and Lewis. They stand around 5 and 1/2 inches tall and weigh 1 ounce each. They were machine sewn front and back. Then stuff with poly fill then the dolls were hand stitched closed on the bottom and signed by me on the lower side of the dolls. The dolls do not stand on their own and should never be machine washed but rather spot cleaned by hand. The dolls are not silk screened or a replicated from another source. These are original paintings on fabric cloth using acrylic paints.They fit well on beds, office desk and on display shelves. They're great conversational pieces and a great source for nostalgia. No two are alike do to the fact each one is hand painted and crafted. If your interested in ordering your very own iCONS Primitive Collectible Art Doll please feel free to email me at or my wife Leya at Please put in subject heading “iCONS Doll Request”. We do reserve the rights to decline certain subject matters and individuals do to our personal beliefs and views. Thanks for stopping by :)

Thursday, April 17, 2014

As a kid....... I loved Dean Martin's "Celebrity Roasts."

Hey pallies, likes his tag is Stuart Galbraith IV, and his bio tells us that he "is a Kyoto-based film historian, writer, and publisher-editor of World Cinema Paradise."   With his recently featured review at "DVDtalk" of "The Dean Martin Celebrity Roasts: Fully Roasted," we also know that Stu is a deep deep digger of our most beloved Dino!

As youse will note when you read his well scribed review, that Mr. Galbraith begins his Dino-reflections statin,'  "As a kid, what with my atypical interest in old movie stars and comedians, I loved Dean Martin's "Celebrity Roasts."   Likes well, we here at ilovedinomartin knew immediately that his commentary woulda be of the coolest kind!   And, likes indeed Stuart has glowin' thin's to say 'bout this new collection of 17 of the original Dino-roasts.

ilovedinomartin salutes Mr. Stuart Galbraith IV and all the pallies at "DVDtalk" for puttin' their blog readership on to this newest of new Dino-treasure.  To checks it out in it's original format, simply clicks on the tag of this here Dino-report.  Dino-always, ever, and only, DMP

The Dean Martin Celebrity Roasts: Fully Roasted
Time Life // Unrated // March 4, 2014

Review by Stuart Galbraith IV | posted April 16, 2014

Buy from
Highly Recommended

As a kid, what with my atypical interest in old movie stars and comedians, I loved Dean Martin's "Celebrity Roasts." I hadn't seen any of them since they originally aired during the 1970s and early ‘80s and was concerned that, like most television specials and variety shows of similar ilk and vintage, they wouldn't hold up. At all. Would they date badly? Were they still funny? Or would the jokes now seem obvious and overly sweetened with laugh tracks? Would they perhaps play hamstrung family-friendly TV versions of the bawdy Friar's Club roasts that inspired them?

To my considerable surprise, The Dean Martin Celebrity Roasts: Fully Roasted turns out to be a highly amusing if patchwork collection of solid comedy. Most of the guests are very funny, and it's fascinating to watch so many performers not normally known for such things "out of uniform," TV and movie stars getting into the spirit of these somewhat pre-fabricated hours. Though scripted, a playful, mildly anarchic spirit rules the day, allowing for some ad-libbed material amidst the mostly scripted ones.

The set reportedly contains "17 complete Celebrity Roasts" though I'm not so sure that's literally true. Some are missing opening titles and a handful of guests on the daises never actually get the chance to speak, at least not these 48-minute episodes. Could some these originally have run as 90-minute specials? Or, like the earlier You Bet Your Life with Groucho Marx, did the show's writers and directors discreetly trim those celebrities who bombed? (Not necessarily, though. In one show I watched, Rex Reed's unfunny speech was left in while Eve Arden and Cathy Rigby never left their seats.)

This excellent set features loads of good extras including bonus comedy sketches (from Dean's variety series and elsewhere), featurettes, new interviews with such varied talent as Phyllis Diller, Angie Dickinson, and Abe Vigoda, and an excellent, informative and observant booklet.

The Roasts began as part of the last season of Dean's weekly variety series (the first celebrity roasted was then-California Governor Ronald Reagan), and then expanded as a steady stream of specials. When Dean's variety show was cancelled, the roasts briefly continued to be taped in Los Angeles but by the fall of 1974 they had moved to the MGM Grand Hotel in Las Vegas, Nevada, more convenient for much of its Vegas-based talent and only a short flight away (and perhaps an incentive) for its Hollywood names. The shows were filmed before a live, clearly appreciative audience, though also sweetened with canned laughter.

These "Man of the Hour" (or, more rarely, "Woman of the Hour") specials soon fell into an established formula. Dean, appearing intoxicated, would be the Master of Ceremonies, one-by-one introducing a dozen or so guests. Some of these guests would be personal friends or colleagues of the guest of honor. In one roast honoring Dennis Weaver, for instance, they included his old Gunsmoke co-stars Amanda Blake and Milburn Stone, as well as his then-current co-star on McCloud, J.D. Cannon. (Gunsmoke star James Arness didn't show up, but his brother did, actor Peter Graves.) But cronies of Dean's like Joey Bishop or Don Rickles would also appear, and oftentimes celebrities with no obvious connection (Gene Kelly roasting Muhammad Ali, Jane Withers in a show honoring Ralph Nader) inexplicably appear.

Certain stars became Celebrity Roast regulars. Red Buttons began turning up around 1975, invariably doing his "Never Got a Dinner" routine, a sure-fire crowd-pleaser. Ruth Buzzi likewise appeared regularly as her dowdy spinster character, Gladys Ormphby. I was never much a fan of her or that character on Laugh-In, but watching these specials I really grew to admire Buzzi's ability to ad-lib, which she does more than most guests, and always right on the money. Charlie Callas, Rich Little, Nipsey Russell, LaWanda Page, Foster Brooks, and Zsa Zsa Gabor also turn up a lot.

Pretty clearly the key to making these shows work was the writing, the shows having been written mostly by Dean's unusually good variety show staff, people like Harry Crane, Larry Markes, Stan Burns, Stan Daniels, Rod Parker and others, many of whom were or became associated with some of TV's finest comedy shows. My guess is that in addition to writing Dean's material, they wrote all the speeches for the non-comedian speakers, and probably wrote template-type material for the more seasoned comics to their particular style, which they in turn could then fine-tune themselves, to their liking. Other funnymen like Jackie Mason and Mort Sahl may have written their own material entirely independently.

One frequent guest but non-comic who may have written all of his material was Orson Welles, the great director-actor unhappily taking work where he could find it, mainly to finance several half-finished or never-realized movies. You'd never know this from watching Welles's polished and lively monologues, which are witty and articulate instead of bawdy and jokey. Like Cheeta in the Tarzan movies, Welles seem to be the go-to guy whenever they needed a good cutaway; his uproarious laugh, like a drunk Santa Claus, was infectious.

The experienced comedians are, predictably, reliably funny if sometimes on autopilot, with a few like Rich Little are cringe-worthy then as now. Some give polished, obviously rehearsed performances while others like Dean are at times clearly winging it, at least based on their frequent glances in the direction of the cue cards. Because of the high quality of the writing though, even actors not known for their comedic skills tend to come off well.

And though dialed back considerably from far more explicit Friar's Club roasts, the Dean Martin Roasts maintain a surprisingly high quotient of double-entendres and sexual innuendo, and even a few mild curse words as when Ruth Buzzi, in character, calls Angie Dickinson a "bitch." (I wonder if that actually made it to air unbleeped, however.) As one might expect, there is endless guffawing about Dino's "drinking problem," sometimes compounded with Foster Brooks and his drunk act on the same bill, material that's still amusing but much more rarely a target for humor these days. (Similarly, it's interesting to note how many of those chain-smoking on the dais, a common sight on TV back then, died prematurely of smoking-related illnesses.) Conversely, it's interesting to such an abundance of prime black talent (as varied as Richard Roundtree and Slappy White), in some cases freely flirting with white guests of the opposite sex (Jimmie Walker lusting after Angie Dickinson, for instance), certainly unusual for the period.

And, finally, from an historical perspective it's just fascinating to see athletes like Ali, TV stars like Suzanne Somers and Gabe Kaplan, and political figures like Reagan, Barry Goldwater, and Ralph Nader, appearing on such programs at or near the height of their fame.

Video & Audio

Despite disclaimers about the condition of these "film" elements (everything was recorded on tape) these shows look quite good given the limitations of ‘70s-era videography. The mono audio is equally acceptable. Not alternate audio options, naturally, and no subtitles.

Extra Features

Plentiful supplements include bonus sketches from The Dean Martin Show featuring talent like William Holden and Vincent Price; three okay featurettes; and new (and sometimes quite extensive) interviews with the likes of Buzzi, Dickinson, comedian Fred Willard, etc. The booklet is a big plus, too.

Parting Thoughts

This set is a lot more fun than I was expected and for reasons described above comes Highly Recommended.

Wednesday, April 16, 2014

On This Day In Dino-history: April 16,1964

Hey pallies, likes thank goodness for pallies likes Mr. Bob Dearborn who helps us remember some of dem most important dates in all of Dino-history.  Bob is mod at "The Olde Disc Jockey's Almanac," where he keeps track of   "Celebrity Birthdays, This Day In History, Number One songs on this day, Jokes du Jour and more ... for the media professional and anyone else who finds these things useful, entertaining or interesting."

Well, thanks to our usual blog searchin' for all thin's Dino and to Dearborn's devotion to historical dates, we share with all you Dino-philes that it was 50 years ago on this very date, April 16, 1964 that our most beloved Dino recorded what has become his most beloved croon, "Everybody Loves Somebody."  Likes all the glorious details below for all us Dino-philes to bask in the Dino-glory of this most most marvelous and memorable moment in the life and times, and teachin's of our Dino.

ilovedinomartin 'presses our thoughtful thanks for Mr. Dearborn spreadin' the news of this historical Dino-event for all the world to revel in.  To checks this out in it's original format, simply clicks on the tag of this Dino-gram.  Dino-honorin', DMP

 April 16, 1964…At United Recording Studios in Hollywood, Dean Martin recorded "Everybody Loves Somebody," a song co-written in 1947 by his pianist/accompanist Ken Lane. Martin's recording went to #1 on the Billboard Hot 100, sold more than a million copies, and became the theme song of his NBC-TV variety series (1965-1974). The words "Everybody Loves Somebody Sometime" are inscribed on Dean Martin's grave marker.


Hey pallies, likes have we got likes a fabulous Dino-gram to share with all youse Dino-philes this very Dino-day.  While doin' our usual 20 pages of Google Blog searchin' for edifyin' Dino-devotion to share here at our humble little Dino-home, we recently struck perfectly pure Dino-gold with a post from Spaniard Mr. Bernardo de Andres Herreo at his blog "My Dual Turntable."

It is clear that Bernardo loves listenin' to music, and his Dino-accented post, "DEAN MARTIN RAT TEX FAR WEST," speaks volumes of his passion for our Dino's country croonin' sayin' "The other most enduring image is that of DEAN MARTIN COWBOY" and " the man decided to become fearless ITALIAN COUNTRY MUSIC STAR."  Bernardo's post is faithfully filled with  al-b-um covers of our Dino's country recordin's, a baker's dozen of great vid clips of our Dino croonin' country, and powerful poetic prose tyin' it all together.

ilovedinomartin always, always loves to find more and more international Dino-devotion, and these remarkable reflections from the pen of Spaniard  Mr. Bernardo de Andres Herreo give testimony to how much our Dino is loved all 'round the universe, and we finds it 'specially heart-warmin' to have someone from the great great country of Spain create such a massive post filled with deep, pure, and true adulation for our Dino, in particular his country croonin'.

So, likes hats off to our newest pallie Bernardo for spreadin' such massive Dino-devotion at his personal blog, "My Personal Turntable."  Note that at the end of this post we have included Bernardo's words in the original Spanish, and, as usual, to read this it it's original's format, simply clicks on the tag of this here Dino-report.   Dino-awed, DMP


DEAN MARTIN ENTERTAINMENT was an off-road show. As a member of RAT PACK was subjugated to the desires and powers of the head FRANK, Savis If Sammy Jr, was a titan of the stage, a beast of the tables. If Frank Sinatra was, as GREAT, THE VOICE, called him. DEAN Well, it was the role of graciosillo, lush chisposo, that if with salt and grace.

Overshadowed rather prevented by Frank maneuvers, to succeed in the land of the head, and utterly unable to compete in art never well weighted with Sammy Davis Jr, Dean Martin was not a choice but to bring an artistic career, successful without doubt the most varied in a way which seems to lend credence and respect. It was jester, gangster, Italian romeo, jazzman, secondary luxury crooner .... and my favorite image to a pack a cigar and a glass of whiskey in hand (Which American TV of the 50s and 60s with man Lords on camera smoking and drinking like fish without censorship and / or medical Lobby commanded cut emissions).

The other most enduring image is that of DEAN MARTIN COWBOY (4 Texas Bandolero 3 Sergeants and especially Rio Bravo). Both Western had to have his translation to the world of music and the man decided to become fearless ITALIAN COUNTRY MUSIC STAR,  something only after multiple attempts at the end of his life he succeeded. It was in 1983 with an album called NASHVILLE SESSIONS (would be his ULIMO lp) and a single MY FIRST COUNTRY SONG , a version of the theme CONWAY TWITTY it would take to climb the charts of Nashville. Well well well saddled his horse as we go to the musical world of Far West's hand DEAN MARTIN TEX.

I for one do not know a Dean our approach to the world of country music until 1959 when a wise decision but amazing director Howard Hawks trust him to carry out that response to the film High Noon is RIO BRAVO. As in the film a very young Teen Idol Ricky Nelson to which you have to give some musical prominence appears several wonderful country cutting issues, one is introduced MY RIFLE, MY PONY AND ME played by Dean and Ricky becomes classic. Dean realizes that it is possible a reef that way. I will not extend in the film as one of my first post already visited.

Coinciding with the shooting of two of the films that the RAT PACK dedicated to the world of the West, SARGENTS 3 (1963) and 4 FOR TEXAS (1964), Dean is encouraged to record two albums of country music theme. This takes the cowboy TEX DEAN MARTIN name and launch a first country album called way more than obvious COUNTRY STYLE.

If we analyze the disk that country much truth is there is no. The problem is that the producer chosen, a regular on Dean's career, DON COSTA filled album of lavish string arrangements that hide the compositions of Johnny Cash, Hank Williams, Don Gibson. While Dean goes wrong size experiment quite windy on those that manage to escape the mellifluous arrangements and the real root of the style appears. FACE IN THE CROWD (nothing to do with Tom Petty) very far and Elvis Presley masterful version of the legendary Hank Williams theme 'M SO LONESOME I COULD CRY are the highlights.

The disc comes fleetingly in the country charts but arouses admiration anywhere. Undeterred, Dean takes the same year a new album RIDES AGAIN under the direction of someone who could be expected to know to get something out of country spirit as was the producer Jimmy Bowen (Nacy Sinatra, Lee Hazlewood and others). Tough luck if the first was sweet this is a country pop flojísimo only salvageable by the version of CORRINA CORRINA shows that with a little common sense would be able to have Dean fortune in country                                                                                                                                                              

Although the results were not very satisfactory attempt the truth is that the aftertaste to the sounds of the south never went to him Dean, normally a Southern touch and goes creeping into every job launches even if the subject does not lend for this, a clear example is SEND ME THE PILLOW version of HANK LOCKLIN ( author of the favorite Costello)   num 5 Use the singles charts in 1965.

In 1968 we can make a stop at the first of a series of records we can say more adult-oriented pop country world during much of the 70s will preside Dean's career. Music directed by Jimmy Bowen in production but certainly represented by the most interesting in my opinion far from his discography. This album is GENTLE OF MY MIND, title and subject of a disk GLENN CAMPBELL, containing things like the aforementioned song, a version of the classic Jimmy Webb BY THE TIME I GET PHOENIX or APRIL AGAIN Tim Hardin

I TAKE A LOT OF PRIDE IN WHAT I AM (1969) offers us KINGS OF THE ROAD Roger Miller, the title track to the album Merle Haggard (magnified) or CRYING TIME Buck Owens

 MY WOMAN MY WOMAN MY WIFE (1970) leaves us antifeminist allegation that Marty Robbins, ONCE A DAY  Bill Anderson, Buck Owens more TOGETHER AGAIN Mell Tillis or your DETROIT CITY a hit by Bobby Bare and Tom Jones.

What is clear is that watching the video image of Dean is a true reflection of the albums of  TIE COUNTRY . The next two albums FOR THE GOOD TIMES and DINO 1971 and 1972 are characterized by more compact and use one of my favorite songwriters Kris Kristofferson and the BEE GEES. These are worthwhile if almost full.

In 1973, after this series of country albums as already referred to bow a disc appears 'RE THE BEST THING THAT EVER HAPPENED TO ME, where Dean in the twilight of his career, Sinatra faced and despised, in divorce proceedings, finalizing their TV program and then hung Whiskey logical records with that way of life and mood, again, not as a Master drive country but the cover might seem otherwise.

Just for the song that gives title created by Jim Weatherly RAY PRICE success and unsurpassed version of Gladys Knights and the Pips included in this jewel of music is the IMAGINATION disk I agenciarselo worth.

 This YOU BETTER MOVE ON, also included Arthur Alexander sure raising a smile to Willy De Ville Darkside top

In 1974 recorded a new album ONCE A WHILE he does not see the light until 1978. Their activities rest, barring any appearance in casinos, so far in 1983 we started this post and his posthumous NASHVILLE SESSIONS  where an exhausted Dean gives his last breath musical hand Merle Haggard and Conway Twitty, never to return,

It has always been associated with Italian versions Dean, crooner with the world, because this is another way to see his legacy, probably one of the types of issues that a lavished throughout his career. Granted it's hard to recommend a full artist album but if there is a compilation of Dean and includes any of the songs I mentioned then that is good and one will enjoy.



DEAN MARTIN era un ENTERTAIMENT, un todoterreno del espectáculo. Como miembro del RAT PACK estaba subyugado a los deseos y poderes del jefe FRANK, Si Sammy Savis Jr , era un titán del escenario, una bestía de las tablas. Si FRANK SINATRA era ,,, lo más GRANDE, LA VOZ, le llamaban .Pues a DEAN le quedaba el rol del graciosillo, del chisposo borrachín, eso si con salero y gracia.

Eclipsado,  más bien impedido por las maniobras de Frank, para triunfar en los terrenos del jefe; y absolutamente incapaz de competir en arte con el nunca bien ponderado Sammy Davis Jr, a DEAN MARTIN no le quedó más remedio de llevar una carrera artística, exitosa sin duda, de lo más variopinta lo cual en cierto modo parece restarle credibilidad y respeto. Ha sido bufón, gangster, romeo itáliano, jazzman, secundario de lujo, crooner, .... y mi imagen favorita un hombre atado a un cigarro y un vaso de Whisky en la mano (Que TV la américana de los 50 y 60 con Señores fumando ante la cámara y bebiendo como cosacos sin que la censura y/o el Lobby médico mandase cortar las emisiones).

La otra imagén más perdurable de DEAN MARTIN es la de VAQUERO ( 4 de Texas, Bandolero, 3 Sargentos y sobre todo Rio Bravo). Tanto Western tenía que tener su traslación al mundo de la música así que ese hombre sin miedo decidió convertirse en LA ESTRELLA ITALIANA DE LA COUNTRY MUSIC, algo que tras múltiples intentos sólo al final de sus días lo consiguió . Fué en 1983 con un disco llamado NASHVILLE SESSIONS (sería su úlimo lp) y un single MY FIRST COUNTRY SONG , una versión del tema de CONWAY TWITTY el que le llevaría a trepar por las listas de Nashville.  Pues bién ensillen bien su caballo pues nos vamos al mundo del Far West musical de la mano de DEAN TEX MARTIN.

Yo por lo menos no conozco un acercamiento de nuestro Dean al mundo de la música country hasta 1959 cuando en una sabia pero sorprendente decisión el director Howard Hawks confía en él para llevar a cabo esa respuesta al filme Solo ante el Peligro que es RIO BRAVO. Como en el filme aparece un jovencisimo Teen Idol,  Ricky Nelson al cual hay que darle cierto protagonismo musical se introducen varios temas maravillosos de corte country, uno MY RIFLE, MY PONY AND ME interpretado por Dean y Ricky se convierte en clásico. Dean toma conciencia de que es posible un filón por ese camino. No me voy a extender en el filme ya que en uno de mis primeros post ya lo visitamos.

Coincidiendo con el rodaje de dos de la peliculas que el RAT PACK dedicó al mundo del Oeste , SARGENTS 3 (1963) y 4 FOR TEXAS (1964) , Dean se anima para grabar dos discos de temática country music. Para ello toma el nombre más vaquero de DEAN TEX MARTIN y lanza un primer disco country llamado de forma más que obvia COUNTRY STYLE.

Si analizamos el disco nos encontramos que de country mucho la verdad es que no hay. El problema es que el productor elegido , un habitual en la carrera de Dean, DON COSTA llenó el álbum de suntuosos arreglos de cuerda que ocultan las composiciones  de Johnny Cash, Hank Williams, Don Gibson. A pesar de tamaño error Dean sale bastante airoso del experimento en aquellos temas que consiguen escapar de los melifluos arreglos y aparece la verdadera raíz del estilo . FACE IN THE CROWD (nada que ver con la de Tom Petty) muy a lo Elvis Presley y su versión magistral del mitico tema de Hank Williams I'M SO LONESOME I COULD CRY son lo más destacado.

El disco entra fugazmente en las listas country pero no despierta admiración por ningún lado. Inasequible al desaliento, Dean saca ese mismo año un nuevo disco RIDES AGAIN bajo la batuta de alguién que cabía esperar supiera sacar algo de espiritu country como era el productor Jimmy Bowen (Nacy Sinatra, Lee Hazlewood entre otros). Mala suerte , si el primero era meloso este es un pop country flojisimo, sólo salvable por la versión de CORRINA CORRINA que demuestra que con un poco de sentido común Dean sería capaz de tener fortuna en el mundo country                                                                                                                                                              

Pese a que los resultados del intento no fueron muy satisfactorios lo cierto es que el regustillo a los sonidos del sur nunca se le fueron a Dean , y normalmente una pincelada sureña se va colando en cada trabajo que lanza al mercado aun cuando la temática no prestara para ello, un claro ejemplo es SEND ME THE PILLOW una versión de HANK LOCKLIN (autor de los favoritos de Costello)  num 5 en las listas de singles Usa en 1965.

En 1968 podemos realizar una parada en el primero de una serie de discos podemos decir más adultos y orientados al mundo pop country que durante una buena parte de los años 70 van a presidir la carrera de Dean. Discos dirigidos por  Jimmy Bowen en la producción  pero sin duda alguna representan con creces lo más interesante a mi entender de su discografía. Este primer disco es GENTLE OF MY MIND, titulo y tema de un disco de GLENN CAMPBELL , que contiene cosas como la citada canción, una versión del clásico de Jimmy Webb ,BY TIME I GET THE PHOENIX o APRIL AGAIN de Tim Hardin

I TAKE A LOT OF PRIDE IN WHAT I AM (1969) nos depara KINGS OF THE ROAD de Roger Miller, el tema que da titulo al disco de Merle Haggard ( magnifica), o el CRYING TIME de Buck Owens

    MY WOMAN MY WOMAN MY WIFE (1970) nos deja ese alegato antifeminista de Marty Robbins, ONCE A DAY  de Bill Anderson, más Buck Owens TOGETHER AGAIN o a Mell Tillis con su DETROIT CITY un hit por Bobby Bare y Tom Jones.

Lo que queda claro viendo los vídeos es que la imagen de Dean es el vivo reflejo de los álbumes COUNTRY de PAJARITA. Los dos siguientes discos FOR THE GOOD TIMES y DINO de 1971 y 1972 se caracterizan por ser más compactos y por emplear a uno de mis compositores favoritos KRIS KRISTOFFERSON y a los BEE GEES. Estos si merecen la pena en casi su integridad.


En 1973 tras esta serie de como ya referi discos country con pajarita aparece un disco YOU'RE THE BEST THING THAT EVER HAPPENED TO ME, dónde Dean en el ocaso de su carrera, enfrentado y despreciado por Sinatra, en tramites de divorcio, finiquitando su programa de TV y colgado del Whiskey pues graba lo lógico con esa forma de vida y estado de animo, otra vez , un Señor disco  no tan country aunque pudiera parecer por la portada lo contrario.

Solo por el tema que le da titulo creado por Jim Weatherly éxito por RAY PRICE y con una insuperable versión de Gladys Knights and the Pips incluida en esa joya de la música que es el disco IMAGINATION , merece la pena agenciarselo.

 Este YOU BETTER MOVE ON, también incluido,   de Arthur Alexander seguro que levanta una sonrisa a Willy De Ville álla arriba

En 1974 graba un nuevo disco ONCE A WHILE que no ve la luz hasta 1978 .Sus actividades  descansan ,salvo alguna aparición en casinos, hasta el momento en que comenzamos este post 1983 y su póstuma obra NASHVILLE SESSIONS  dónde un agotado Dean da su último aliento musical de la mano de Merle Haggard y Conway Twitty, para nunca más volver ,

Siempre se ha asociado a Dean con versiones italianas, con el mundo crooner , pues esta es otra manera de ver su legado, probablemente uno de los estilos de temas que más a prodigado a lo largo de su carrera. Reconozco que es difícil recomendar un disco completo del artista pero si se encuentra un recopilatorio de Dean e incluye alguno de las canciones que he mencionado entonces ese es el bueno y uno va disfrutar.