We’ve already come close to proving that the named orchestra leader on this album probably doesn’t exist. I discussed that mystery in Volume 199: Tea and Trumpets.

 

But the man who wrote all of the tunes on this album most certainly existed. He wrote the scores for more than 30 stage and film musicals. Many of those songs have been performed and recorded by some of the most famous artists in history.

 

So, get ready to hear memorable show tunes from one of the most memorable composers in history performed by a band leader that nobody has any memory of in Volume 235: Still Stanley.

Stanley Applewaite – In The Still Of The Night (Music Of Cole Porter)

Label: Design Records  – DLP 36

Format: Vinyl, LP

Released: 1957

Genre: Jazz

Style: Easy Listening

 

We will hear 6 of the 11 songs on the album.

 

In The Still Of The Night

Cole Porter wrote the song “In The Still Of The Night” for the 1937 MGM film Rosalie. This film was an adaptation of the 1928 musical of the same name. The song was introduced by Nelson Eddy in the movie. 

 

You’re The Tops

Cole Porter wrote the song “You’re The Top” for his musical Anything Goes. This musical debuted on Broadway in 1934. “You’re The Top” is one of the show’s most well-known songs. 

 

I’ve Got You Under My Skin

Cole Porter wrote “I’ve Got You Under My Skin” for the 1936 musical film, Born to Dance. Virginia Bruce performed the song in the film. 

 

Medley: C’est Magnifique-Paris Night

Cole Porter wrote the song “C’est Magnifique” for his 1953 musical Can-Can. 

 

Begin The Beguine

Cole Porter wrote the song “Begin the Beguine” for the Broadway musical Jubilee. 

The song was first introduced to the public in October 1935 by June Knight in the original production of the musical. 

 

Anything Goes

Cole Porter wrote the musical Anything Goes which premiered on Broadway in 1934.

 

I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

 

#coleporter #musicals #musichistory #musicalmemories #vinylcollecting #vinylrecords

Thanks sweetie and thank YOU for tuning into episode 235 of Spinning My Dad’s Vinyl. 

 

We’ve already come close to proving that the named orchestra leader on this album probably doesn’t exist. I discussed that mystery in Volume 199: Tea and Trumpets.

 

But the man who wrote all of the tunes on this album most certainly existed. He wrote the scores for more than 30 stage and film musicals. Many of those songs have been performed and recorded by some of the most famous artists in history.

 

So, get ready to hear memorable show tunes from one of the most memorable composers in history performed by a band leader that nobody has any memory of in Volume 235: Still Stanley.

 

 

[Music: In The Still Of The Night]

 

 

The Stanley Applewaite Orchestra’s recording of In The Still Of The Night.

Cole Porter wrote that song for the 1937 MGM film Rosalie. The film was an adaptation of the 1928 musical of the same name. The song was introduced by Nelson Eddy in the movie. 

 

Ok…Why this record for this episode?

 

This is the second of four Stanley Applewaite albums in my dad’s collection we have heard from. As we discussed in the previous episode, this is a fictitious name. It’s something budget labels like Design Records or Pickwick did. They didn’t have the money to pay the royalties for the original recordings, so they would re-record the music. It was a way to get popular music to the masses more affordably.

While I titled this episode based on the name of the orchestra leader, I love the music of Cole Porter. In fact, the only high school musical I played with the pit orchestra for was Anything Goes. A musical you’ll hear TWO from this episode.

 

Frank Sinatra had a couple of hits with tunes you’ll hear. And Artie Shaw uses one as his theme song.

 

Now…For those that aren’t regular listeners, I’ll make connections from my dad’s music to the best TV show in history in my opinion whenever I can.

We now have three MASH connections in a row.

 

Next up is a tune that was sung by Alan Alda playing Hawkeye Pierce at the end of The Joker is Wild, Season 11 Episode 4.

 

He makes a bet with the whole camp that he loses. His wager was to do a strip tease on a table in the mess tent and sing this tune.

 

 

[Music: You’re The Top]

 

 

You’re The Top

Cole Porter wrote this song for his musical Anything Goes, which debuted on Broadway in 1934. “You’re The Top” is one of the show’s most well-known songs. 

 

Now let me tell you about my dad’s vinyl I am spinning for this episode.

 

Stanley Applewaite – In The Still Of The Night (Music Of Cole Porter)

Label: Design Records  – DLP 36

Format: Vinyl, LP

Released: 1957

Genre: Jazz

Style: Easy Listening

 

We will hear 6 of the 11 songs on the album.

 

The liner notes about the composer are exactly word for word what they are on the other Stanley Applewaite records in my dad’s collection.

 

And includes these words, design records are very proud to present the first American recordings of one of England’s most talented and versatile composer conductor arrangers. Stanley Applewhite has conducted some of the finest and most popular orchestras on the continent and has a reputation second to none as an arranger of popular and semi-classical music.

 

It’s interesting how all of his records are proud to present the first American recordings.

 

Here are a few liner notes about Cole Porter.

 

When you think of the greats of the music world you never have to spend too long pondering before the name Cole Porter skyrockets across your mental skies. Taking his place with the other greats of our modern music scene, men like Jerome Kern, Irving Berlin, Dick Rogers, Larry Hart and Oscar Hammerstein, Cole Porter personifies smart, easy to listen to popular music. 

 

His lyrics, without having the more intricate quality that Larry Hart seems to favor, flow like honey from the vine. when combined with his often lovely, often enchanting, and often the spirited music they are an unbeatable combination. 

 

Let’s see what prices this record is being sold at on discogs dot com.

 

This release has never been sold. However, when I first catalogued this record, I cataloged it under another entry of this record. But that entry is missing two songs. One of those records was sold for 3 dollars.

 

My dad’s record is in fair condition. Some crackling between the tracks. A couple of songs have some strong pops to them. But other than that, not bad.

 

The surface is fair to poor. It really looks like this was a record he probably put on the automatic record player spindle often. The marks make it look that way.

 

He definitely had this album for a long time as once again he’s got the old house address label under the one we moved into in 1964. He’s got two of those stacked on each other.

 

The word posted is stamped on the back along with the green magic marker.

 

So I’ll value my dad’s vinyl at 50 cents.

 

OK…This next MASH connection is a tune that was sung very nicely by Wayne Rogers who portrayed Trapper John McIntyre. He was trying to ease some of the tension in the Operating Room, during the episode titled George, Season 2, episode 22, when he cut into this Cole Porter classic also made famous by Frank Sinatra.

 

 

[Music: I’ve Got You Under My Skin]

 

 

I’ve Got You Under My Skin

Cole Porter wrote the song for the 1936 musical film, Born to Dance. Virginia Bruce performed it in the film. 

 

Let’s learn a little about this great composer.

 

Cole Porter was one of America’s most celebrated songwriters, renowned for his sophisticated, witty lyrics and memorable melodies that helped define the Great American Songbook. Born in 1891 in Peru, Indiana, into a wealthy family, Porter was encouraged musically from a young age by his mother, learning violin at six and piano at eight, and composing his first operetta by age ten. Despite his grandfather’s hopes that he’d become a lawyer, Porter followed his passion for music, excelling at Yale, where he wrote hundreds of songs and became a campus musical star, before briefly attending Harvard Law and then switching to study music.

 

Porter’s music stood out for its urbane charm, clever wordplay, and daring themes, often pushing the boundaries of what was considered acceptable in his era. He wrote both lyrics and music—rare among his contemporaries—and his catalog includes classics like “Night and Day,” “I Get a Kick Out of You,” “I’ve Got You Under My Skin,” and the musical *Kiss Me, Kate*, which won the first Tony Award for Best Musical. His songs were prized for their elegance and complexity, making them irresistible to both singers and instrumentalists. Jazz greats, pop icons, and Broadway stars alike—Ella Fitzgerald, Frank Sinatra, Billie Holiday, and even rock bands like U2—have all been drawn to his work, eager to put their own spin on his timeless tunes.

 

Porter’s influences ranged from his classical training to the cosmopolitan culture of early 20th-century Paris and New York, and his formative years were marked by rigorous musical discipline and a flair for parody and humor, often encouraged by his mother during long piano practice sessions. His ability to blend sophisticated harmonies with playful, sometimes risqué lyrics set a new standard for American popular music, inspiring generations of artists to reinterpret his songs and keeping his legacy alive on stage and in recordings to this day.

 

He died October 15, 1964. Cole Porter was 73 Years old.

 

This last MASH connection features the very recently departed Loretta Swit who won awards for her portrayal of Margaret Hot Lips Houlihan. This connection came from my favorite episode Movie Tonight Season 5 Episode 21, when the film projector kept breaking down. Margaret is introduced by Hawkeye as “The toast of two continents and the Pink Pagoda in Seoul” before she launches into this next song, well, the first half anyway, which she refused to stop singing until she was done despite Klinger fixing the projector and playing the film using her as the screen.

 

 

[Music: C’est Magnifique-Paris Night]

 

 

Medley: C’est Magnifique-Paris Night

Cole Porter wrote the song “C’est Magnifique” for his 1953 musical Can-Can.

 

Now Paris Night is NOT a Cole Porter tune as far as I could tell. It was not on the list as a song coming from the musical Can Can.

 

ChatGPT seems to think it’s likely a descriptive label added by the arranger or record label for an instrumental bridge or atmospheric piece. Odd that it was in this collection.

 

Time now for this episode’s interesting side note and it has to do with why the music of this composer was so popular.

 

Cole Porter’s popularity comes down to a magical blend of sophisticated wit, catchy melodies, and a style that was uniquely his own. Audiences fell in love with his urbane, clever lyrics—full of wordplay, innuendo, and cultural references—which set his songs apart from those of his contemporaries. But it wasn’t just the words; Porter’s music was equally dazzling. He had an extraordinary gift for melody, often combining jazz rhythms with classical techniques, resulting in songs that were both musically rich and instantly memorable. He wrote both the music and lyrics himself, which allowed him to create a seamless interplay between the two—making numbers like “Anything Goes,” “Night and Day,” and “You’re the Top” unforgettable.

 

What really made Porter’s music stand out was its sophistication and sense of style. His songs captured the glamour and wit of the 1930s and 1940s, embodying a kind of cosmopolitan charm that was both aspirational and accessible. Porter’s melodies swung with a jazzy energy, and his lyrics sparkled with intelligence and humor—qualities that appealed to both highbrow and popular audiences. He wasn’t afraid to mix the high and the low, referencing Shakespeare and Mickey Mouse in the same breath, which made his work feel fresh and relevant then—and now.

 

That’s a big reason why so many community and high school drama clubs still perform his musicals today. Porter’s shows, like *Anything Goes* and *Kiss Me, Kate*, offer a treasure trove of iconic songs and lively characters, with material that feels timeless and fun to perform. The music is challenging enough to be rewarding, but catchy enough to engage audiences of all ages. Plus, the wit, charm, and sheer entertainment value of Porter’s work continue to resonate, ensuring his place on stages big and small for generations to come.

 

Next up is that song I told you was made really famous by Artie Shaw.

 

 

[Music: Begin The Beguine]

 

 

Begin The Beguine

Cole Porter wrote the song “Begin the Beguine” for the Broadway musical Jubilee. 

The song was first introduced to the public in October 1935 by June Knight in the original production of the musical. 

 

Well, I hope you enjoyed this episode as much as I enjoyed bringing it to you.

 

We really didn’t talk about the orchestra leader much in this episode because we’ve already proven in a previous episode that Stanley Applewaite most likely doesn’t exist.

 

But thanks to spending one semester in the pit orchestra for Anything Goes which had a couple of tunes on this episode, I got an up close look at the music of the great composer. And I really enjoyed hearing the treatment this anonymous orchestra gave to the music.

 

I think I remember this album cover from my growing up days in the house.

 

It’s very distinctive.

 

The central figure is a blonde woman wearing a lime green dress. The kind you would see on the cover of Vogue Magazine. She’s leaning against a street light pole. It’s lit and the background is dark.

 

In thin white font are the words Stanley Applewaite plays and in a robin egg blue thin script-style font is In the Still of the Night. Music of Cole Porter.

 

The back cover is your typical layout. Divided into thirds. The left and half the middle hold the liner notes I did and did not read, along with the list of songs.

 

The right third is marketing information about the Spectra sonic sound you hear on the record. They go into some detail.

 

So…let’s finish up with the title track of that musical I was in the pit band for.

 

 

[Music: Anything Goes]

 

 

Anything Goes

Cole Porter wrote the musical Anything Goes which premiered on Broadway in 1934.

 

And there you have selections from a memorable musical composer performed by a guy who I STILL think is fictitious.

 

So thanks for tuning into Volume 235: Still Stanley

 

however you did. If you want more information about this SHOW, head over to spinning my dad’s vinyl dot com.

 

I’ll be back next week with all my skips, scratches, and pops 

 

FOR Volume 236: Tennessee Tons

 

Until then,

Go with the flow my friends.