05/10/2015 12:05 am  #1


Question-Come Share The Wine

=12ptI know that this song was not released, and I believe was not even mixed until after Bing’s death, and my question is was this intended for one of his UA albums and dropped off at the last minute or was it intended for a project that was abandoned once he signed with Polydor (who released Seasons)?

 

05/10/2015 3:26 pm  #2


Re: Question-Come Share The Wine

JoeM wrote:

I know that this song was not released, and I believe was not even mixed until after Bing’s death, and my question is was this intended for one of his UA albums and dropped off at the last minute or was it intended for a project that was abandoned once he signed with Polydor (who released Seasons)?

Joe, I do not know what the original intention as to inclusion in any particular album might have been, but the fact is that Bing had two attempts to record the song  (in Los Angeles on 5 November 1976 - in other words quite a long time before his death) and was not satisfied with either. On the day they had run out of time but Bing had intended to come bck to it. He never did get around to doing this, so the two takes were combined. Whether Bing would have approved the result, who knows, but personally I see nothing wrong with it. The orchestral backing had previously been recorded in London with the Pete Moore Orchestra.

As I assume you know the track was eventually issued as the title track to the like-named LP which otherwise consisted of a number of tracks that had previously been included on other LPs issued by UA, and for which the same team (Ken Barnes, producer, Pete Moore Orchestra) had been responsible. 

In view of that it is possible that the original intention might have been to include the track on one of the earlier albums. I doubt that there was any specific plan to record other songs for another LP - but maybe - - - - -.  Those most likely to know are no longer with us, unhappily.

All of the UA tracks later appeared on a 3 CD set "The Complete United Artists Sessions."  
William Ruhlmann, writing a review for Allmusic has a particular slant on this here.
 

 

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