Early recordings of Susannah McCorkle exposed her vulnerabilities, as she sang classic show tunes composed by
Johnny Mercer,
Yip Harburg, and in this case Harry Warren. As the ultimate little girl blue in the tradition of
Peggy Lee, McCorkle steadily gained a considerable following in New York City's cabaret circuit that would expand -- nationally and internationally over time -- up until her tragic suicide at age 55 in 2001. This reissued recording shows her as an imperfect singer in a flawed world, yet she still shines time after time with the adorable exuberance of youth and a keen ear for the great lyrics Warren wrote in the golden age of American popular songsmithing. Alongside pianist
Keith Ingham in duo, trio, and quartet settings, McCorkle gives these tunes a good go, has fun doing it, and never maintains or dips below a level of being sanguine or sappy. McCorkle is actually quite delightful for the most part, and on songs like "With Plenty of Money and You," "I Take to You," and "42nd Street," she exudes the carefree, girlish personality her voice extends. She is also capable of rendering heartfelt regret during the patient and calculated "There Will Never Be Another You," acts conversely corny on the klezmer-inflected "The Girlfriend of the Whirling Dervish," goes into utter disappointment for the torch song "You Let Me Down," and adopts a sly, moving-on attitude in the wordplay of "Remember My Forgotten Man." Where Warren's lyrics always tell a story, there are many chapters on this well-programmed disc that represent a roller coaster of emotional ups and downs that every romantic uptown city girl endures. Perhaps McCorkle is consistent in emoting these feelings throughout the album, but lapses at times, overemphasizing to the point of unnatural phoniness. She's far too flat in her intonation on "Lullaby of Broadway," and painfully so during "The Gold Digger's Song," but she generally toes the line for tunefulness. There's also a downhearted "Me and the Blues" that
Mildred Bailey originally performed with pianist
Ellis Larkins, done convincingly by the then thirtysomething McCorkle. Clarinetist
Bruce Turner shows up on a few tracks, adding to the old-time quality of Warren's stage songs, written from 1932 up to 1946. It's important to note that such singers as
Betty Grable, Wini Shaw,
Ginger Rogers, Joan Merrill,
Alice Faye,
Ruby Keeler, and
Helen Forrest did these numbers well before McCorkle was born. Though the material is not of her generation, Susannah McCorkle offers faithful renditions of this vintage standard fare, adding a twist and turn here and there, while paying homage to a previous generation of swing-oriented music blessed by hummable melodies and witty, prosaic drama wrapped up in a warm, wholesome, smiling face.
