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Album Review

Jeanette MacDonald and Nelson Eddy are considered so much of a team, due to their co-starring appearances in eight film operettas between 1935 and 1942, that their fans know them as "Mac/Eddy." Some of those fans might be surprised to discover, however, that the duo sang together in a recording studio on only three occasions, twice in September, 1936 and once in September 1957. Since British budget reissue label Prism Leisure, taking advantage of the 50-year copyright limit in Europe, had access to only the first two sessions for this '90s release, just five of its 22 tracks are actually duets (a fact not noted on the front or back cover). Of the rest, ten are solo performances by Eddy, and seven are by MacDonald alone. The duets are "Indian Love Call," which the two had sung in Rose-Marie earlier in 1936, "Ah! Sweet Mystery of Life," which they had sung in Naughty Marietta the previous year, "Will You Remember (Sweetheart, Sweetheart, Sweetheart)," from the upcoming Maytime, "Farewell to Dreams," written for Maytime but ultimately cut from the finished film, and "Song of Love" from Blossom Time, an operetta in which they never appeared onscreen. There are also other songs performed in MacDonald/Eddy films among the solo tracks: MacDonald's "Italian Street Song" from Naughty Marietta and "Lover, Come Back to Me" and "One Kiss" from New Moon; and Eddy's "I'm Falling in Love with Someone" and "Tramp, Tramp, Tramp Along the Highway" from Naughty Marietta, "Song of the Mounties" from Rose-Marie, "I'll See You Again" from Bitter Sweet, "Love's Old Song" from Maytime, "Stouthearted Men" from New Moon, and "Who Are We to Say?" from The Girl of the Golden West. So, the album does contain a healthy complement of the couple's best-known songs, together and apart. But it earns lower marks for the packaging, which is so skimpy it doesn't even give songwriting credits.


Born: 18 June 1903 in Philadelphia, PA

Genre: Pop

Years Active: '20s, '30s, '40s

Singer-actress Jeanette MacDonald is a perfect example of what, decades after her death, became known as a "classical crossover" artist. In her films, radio, television appearances, concerts, and recordings, she sang opera, operetta, art songs, and show tunes, often with an eye toward popularizing classical music for the masses. This was a delicate balancing act that worked for most of her career, during which she enjoyed high-grossing films, gold records, and sold-out concerts. But even during that...
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Sweethearts, Jeanette MacDonald
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