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She was wrong, of course, as it became her theme song, and she sang it thousands of time.Īsked what this experience taught them, both men said in unison, “ Nobody knows!”-meaning that nobody can predict what will become a hit.Īs an example, they related a story about Paramount telling songwriters Harold Arlen and Johnny Mercer that “That Old Black Magic” was too long and, therefore, worthless. She didn’t like anything about the song, and was especially unhappy with the title, which she felt nobody would understand (although the translation is in the chorus itself).ĭoris Day, “Que Sera Sera,” a song she so disliked she didn’t want to record it. “This is a child’s song,” she said, declaring that this would be the first and final time she’d ever sing the song. She felt it was all wrong for her, and refused to do more than one take in the studio. Hitchcock’s famous response was, “Gentlemen, I didn’t know what kind of song I wanted, and that is the kind of song I want!”ĭoris Day, however, didn’t want it at all. Livingston, knowing this just-completed song was ideal, waited for two weeks so it appeared they wrote it expressly for Hitch, and went to play it for him.
#Who sang the song que sera sera movie
Two weeks later, a call came from Alfred Hitchcock’s office saying the director needed a song for a movie in which Doris Day would sing to a little boy. The title of “Que Sera Sera” was found by Jay Livingston in the film The Barefoot Contessa, where those words are seen carved in stone, translated in the film by Rosanna Brazzi as “What will be, will be.” Jay recognized a good title when he saw it, and the team wrote the song, one of their only hits written without an assignment.
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Livingston and Evans at their office at Paramount, Hollywood.
#Who sang the song que sera sera full
Ed.” “Bonanza” has a full set of lyrics, which were not used. They also made an impact on television, writing the theme songs to both “Bonanza” and “Mr. Only one, actually, but a classic: Sunset Boulevard, in which they make a brief appearance – as songwriters at the piano playing their song “Buttons & Bow.” at a party. Not only did Livingston and Evans write songs for the movies, they were in the movies. The overriding sense I got was one of great love: for each other, for their remarkable catalog of songs, and for a life lucky enough to be spent making music. They were so familiar with each other that one knew the other’s opinions by heart, could easily finish the other’s sentence, and they would fall into occasional squabbles only to return to a strong appreciation for the other. Talking to them was like talking to a married couple who had been together for decades. They also wrote “Mona Lisa,” “Tammy,” “To Each His Own” and “Buttons and Bows.” But these guys wrote standards such as “Silver Bells,” which seemed to have existed forever, like a folk song. Speaking to songwriters of standards is always a thrill, as their song is everywhere at once and known throughout the world. I interviewed the songwriters, Livingston & Evans, back in 1987. Saxophone: Jerry Martini Trumpet: Cynthia Robinson
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Guitar, Keyboards, Vocal, Producer: Sly Stone Guitar and vocal: Freddie Stone ĭrums: Andy Newmark Keyboards: Rosie Stone Bass: Rusty Allen Sly & The Family Stone, “Que Sera Sera.” 1973.