Born to a Jewish family in Rochester, New York, Mitchell William Miller and his choir were famed for their campy Sing Along With Mitch television show of the 1960s. During the second season of "Sing Along with Mitch," Mitch Miller himself coined the catch phrase "All Smiles." These were preceded by the instructions to "sing along; just follow the bouncing ball" (a large dot that "bounced" above the words that were superimposed on television of the song that Mitch was singing). Miller's biggest hits with the choir were "The Yellow Rose of Texas," a drum-propelled version of the old March, and "Colonel Bogey March", then enjoying new popularity from its use in the movie The Bridge on the River Kwai (1957). In addition to the television show, Miller and his choir recorded a series of best-selling albums.
One of the singers in Miller's choir, Bob McGrath, went on to a long career as one of the hosts of the PBS children's television show, Sesame Street.
As head of artists & repertory (A&R) at Mercury Records in the late forties, and Columbia Records in the fifties and early sixties, Miller gained a reputation for creating records that created what music historian Will Friedwald calls an "aural texture":
“ Miller also conceived of the idea of the pop record 'sound' per se: not so much an arrangement or a tune, but an aural texture (usually replete with extramusical gimmicks) that could be created in the studio and then replicated in live performance, instead of the other way around. Miller was hardly a rock 'n' roller, yet without these ideas there could never have been rock 'n' roll. 'Mule Train,' Miller's first major hit (for Frankie Laine) and the foundation of his career, set the pattern for virtually the entire first decade of rock. The similarities between it and, say, 'Leader of the Pack,' need hardly be outlined here. ”
— Will Friedwald noted in Sinatra: The Song Is You, Da Capo Press, 1997.
While this did not always sit well with Columbia's more established performers (Frank Sinatra, for example), Columbia had an amazing hit-to-release ratio during that time.
Miller signed and produced many important pop standards artists for Columbia, including Frankie Laine, Johnnie Ray, Ray Conniff, Percy Faith, Johnny Mathis, Tony Bennett, Guy Mitchell (whose pseudonym actually was based on Miller's first name), and helped direct the careers of artists who were already signed to the label, like Doris Day, Dinah Shore and Jo Stafford to just name a few. He therefore became one of the most successful pop music producers ever.
Miller is frequently (and probably unfairly) referred to by rock music historians as an "enemy" of early rock and roll. He did back John Hammond's signing of Bob Dylan to capitalize on the folk music craze. While he did ultimately lose his job as Columbia head for not signing the types of acts teenagers were buying, Miller did originally attempt to sign Elvis Presley, but balked at the amount Presley's manager, Colonel Tom Parker, was asking.
A graduate of the Eastman School of Music, Miller is also an accomplished oboe and English horn player. He supported himself in his early career in the 1930s and 1940s as a session oboist; among his more celebrated studio dates in the non-classical field were for The Voice of Frank Sinatra and bebop pioneer Charlie Parker's famous Bird With Strings albums. He played in the CBS house orchestra for the 1938 Orson Welles War of the Worlds broadcast, and he later recorded Sibelius's Swan of Tuonela with Leopold Stokowski for RCA, and the Mozart Oboe Concerto for Columbia. He has also guest-conducted many of the top American orchestras.
Auld Lang Syne
Mitch Miller Lyrics
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And never brought to mind?
Should auld acquaintance be forgot
And days of auld lang syne?
For auld lang syne, my dear
For auld lang syne
We'll take the cup o' kindness yet
For auld lang syne, my dear
For auld lang syne
We'll take the cup o' kindness yet
For auld lang syne
The lyrics to Mitch Miller's song "Auld Lang Syne" are a reflection on the passing of time and the importance of holding onto cherished memories and friendships. The phrase "auld lang syne" translates to "old long since" or "long, long ago" in English, which suggests a nostalgic longing for the past.
The song begins by asking whether old acquaintances should be forgotten and left behind. It questions whether it is right to let go of past connections and the memories associated with them. The repetition of this line emphasizes the uncertainty and contemplation surrounding this idea.
In the chorus, the singer acknowledges the significance of old friendships and the need to honor them. The phrase "cup o' kindness" symbolizes the sharing of goodwill and the toast to the past. It highlights the importance of appreciating the kindness and positive experiences shared with old acquaintances.
Overall, the lyrics of "Auld Lang Syne" encourage the listener to appreciate the value of past relationships and memories, suggesting that they should not be easily forgotten or abandoned.
Line by Line Meaning
Should auld acquaintance be forgot
Should old friendships be forgotten
And never brought to mind?
And never remembered?
Should auld acquaintance be forgot
Should old friendships be forgotten
And days of auld lang syne?
And days of long ago?
For auld lang syne, my dear
For the sake of old times, my dear
For auld lang syne
For the sake of old times
We'll take the cup o' kindness yet
We'll partake in acts of kindness in the future
For auld lang syne
For the sake of old times
For auld lang syne, my dear
For the sake of old times, my dear
For auld lang syne
For the sake of old times
Lyrics © DistroKid, BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Peermusic Publishing, Kobalt Music Publishing Ltd., Warner Chappell Music, Inc.
Written by: Traditional (pd), Robert Burns, Tim Rhys Evans
Lyrics Licensed & Provided by LyricFind
Ki Hyun Kim
HOw sweet and achy breaky heart!!!!!
Jacinthe Corbin
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