DEAN MARTIN RAT TEX FAR WEST

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 RAT TEX FAR WEST



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.


  YOUR PHARMACIST WARNING: THIS POST TO BE ENJOYED WITH A CIGAR AND WHISKEY ON HAND for better understanding.

DEAN TEX MARTIN RATA DEL FAR WEST


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.


  ADVERTENCIA DE SU FARMACEUTICO: ESTE POST DEBE SER DISFRUTADO CON UN CIGARRO Y WHISKEY EN LA MANO para su mejor comprensión.