Fly Me to the Moon has been performed by many artists for years, but my favorite version of it is Frank Sinatra’s. It was first recorded in 1954 by Kaye Ballard. In 1956, Portia Nelson and Johnny Mathis recorded it as well. Felicia Sanders, the original singer of “Fly Me to the Moon,” recorded the song in 1959. Finally in 1962, an instrumental version of Fly Me to the Moon was recorded by Joe Harnell.

Frank Sinatra didn’t record this song on his album called It Might As Well Be Swing, until 1964; however, his version of the song is the most memorable one by many. It is said that Frank Sinatra’s recording was played by the astronauts of Apollo 10, on their lunar mission. (http://apollotribute2.blogspot.com/2006_04_01_archive.html) After Sinatra, Tony Bennett and Oscar Peterson recorded the same song on their albums.

This song can easily be related to our African-American Music class, as it contains multiple layers of instruments and melodies, blue notes and bent notes, and syncopated rhythms, which are the major characteristics of African-American music.

In today’s popular music, there are many evidence to support the strategy of resistance. Some of the artists who apply this strategy to their music are listed as Clint Black, Shania Twain, Faith Hill. They mix popular music with some elements of country in order to express their feelings and relate to everyday people through their slow or upbeat music and daring lyrics.

George Benson, whose one of the biggest goals is to make sure that his fans experience a rousing good time, is appreciated as a musician, performer and an expert improvisor. His childhood foreshadowed Benson’s impeccable talent. As a kid, he entertained his audience by singing, dancing, and playing the ukelele in a nightclub. His recording career began at the age of twenty-one as a jazz guitarist. As his career has progressed, he played with organist Jack McDuff.

By the mid 1970′s, when George Benson recorded for Warner Bros Records, a whole new audience discovered Benson for the first time. With the release of his album, called “Breezin’” in 1976, George Benson decided to put his vocal in the tracks, rather than going instrumental most the time. “This Masquerade,” from the album named “Breezin’,” was the first song to make #1 on the Billboard pop, jazz and R&B charts. And later on, this song won a Grammy Award for Record of the Year.

What I like about this song is the lyrics and how they are in harmony with the instruments and George Benson’s strong voice. This song belongs to this class, for obvious reasons, such that the artist has an African American bacground, and is very succesfull at creating music.

From the album: In Square Circle

Album Release Date: 1985

Label: Motown

Genres: 1980s R&B, Quiet Storm, Classic Soul, Funk, Motown

In Stevie Wonder’s “Overjoyed,” the sounds of crickets, nightingale, as well as other kinds of birds, ocean, pebbles in pond, crushing leaves are listed under “Environmental Percussion” that accompany the music.

Born on May 13, 1950, Stevie Wonder is a multi-instrumental singer, songwriter and a record producer. Having recorded more than thirty top ten hits, he won twenty-five Grammy Awards, including lifetime achievement, the best song, and he has also been inducted into both the Rock and Roll and Songwriters Halls of Fame.

Stevie Wonder, who signed a contract with Motown Records at age twelve, continues to perform and record for the label to this day. Up to this day, he has nine U.S. number-one hits to his name. Although blind from infancy, Wonder skillfully plays the piano, synthesizer, harmonica, talk-box, congas, bongos, drums, bass guitar, organ, melodica, and clarinet.

“Overjoyed” is one of my favorite songs, as it tells a small love story, and expresses emotions that most people are unable to put into words, in a poetic way. This song belongs to an African American Music class, not only because Stevie Wonder has an African background, but also because his music presents a greatly different view of life, filled with love, joy, and optimism.