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Archive 1

Lyrics

Quoting the complete lyrics of a copyrighted song (as opposed to a brief extract) is copyright infringement. Saving objection, I propose to remove the lyrics from this article. Dermot 17:54, 23 July 2006 (UTC)

go ahead. wikipedia's not a place for song lyrics, anyway... ka1iban 18:46, 23 July 2006 (UTC)

Cover songs

Are the last four `covers of note' really `notable'? Or are they just mentioned because they are recent? At least I think so, someone singing the song in an Idols-contest doesn't seem very notable to me. I think the `covers of note' should be a list of songs which have proven to influential recordings, over time. Therefore making it hard for recent songs to appear in such a list. But I might be wrong of course, anyone who shares/disagrees upon this opinion? Jaapkroe 18:36, 11 August 2006 (UTC)

OR?

The third stanza seems quite odd at first. It begins with a series of accusatory and rude questions that one wouldn't necessarily expect in a romantic tune. However, on second glance, one might guess what Hart was trying to accomplish. His song resonates with all the normal folks - the unsmart, the weak, and those without the figures of gods/goddesses. It quickly apologizes for the odd posers with a couple of negations to settle the nerves and then ends with the romantic sentiments of the last two verses.

a lot of this paragraph seems the writer's own opinions. i fixed it up -- left in the "one wouldn't necessarily expect" part, which i suppose strictly is opinion but seems general enough -- and took out about half of it. they seem like fairly obvious and reasonable opinions, though, so i'm sure if anyone were so inclined they could find somewhere to cite from. also changed 'posers' and 'negations' which sounded odd to me. that might just be a dialect thing though. --dan 05:42, 23 October 2006 (UTC)

Sung vs instrumental

the list of sung versions is informative; are there any instrumental versions? 207.29.128.130 11:56, 12 June 2007 (UTC)

The '63 Jim Hall/Bill Evans album Undercurrent has two really nice renditions of it.208.3.91.194 (talk) —Preceding undated comment added 15:31, 16 August 2010 (UTC).

Original research - need refs

Please provide WP:RS for the below removed text:

The song reemerged in the 1950s and was performed by most of the jazz musicians and popular vocalists of the time including: Mary Kaye Trio,Gerry Mulligan, Chet Baker, Frank Sinatra, Johnny Mathis, Ella Fitzgerald, Barbra Streisand, Bing Crosby, Miles Davis, Sarah Vaughan, Stan Getz, Paul Desmond, Tony Bennett, Ben Webster, Buddy Rich, Anita O'Day, Shirley Horn, Mel Tormé, Sammy Davis, Jr. and many others.

The song made it to the top of the charts when Chet Baker released a very popular and influential version (released on the album My Funny Valentine / Blue Note Records). His soft, delicate and serene delivery introduced the world to his singing skills (he was previously known for his trumpet, also displayed on this recording). Baker is still associated more with "My Funny Valentine" than with any other tune.

In 1959 The Mary Kaye Trio released a version of "My Funny Valentine" on their debut album on Decca named, "A Night In Las Vegas With The Mary Kaye Trio" It was known that Louis B. Armstong had played her version in his dressing rooms on the road before his nightly performances. He had several copies which he wore out over time. He and Gene Austin in 1961 inducted Mary Kaye into the "Musicians Hall Of Fame" along with Ella Fitzgerald and Sarah Vaughn for "Best Female Vocalists Of An Era" and closed the category down thereafter.

Baker's version of the song leaves out the introductory verse and begins with the chorus ("My funny Valentine, sweet comic valentine"). As a result, many subsequent version also skip the verse. The most notable exception to this rule are songs recorded from the many performances of the musicals Babes in Arms and (in the film version) Pal Joey. (The verse is clearly a female voice speaking about her man, giving male singers an additional reason to omit it.)

The B-section, or bridge, is a good example of the quirky approach of lyricist Hart. It begins with a series of accusatory, even rude questions that one wouldn't necessarily expect in a romantic tune. It quickly apologizes for the odd questions with assurances, and then ends with the romantic sentiments of the last two verses.

♫ Cricket02 (talk) 22:47, 9 July 2009 (UTC)

List of appearances

I've removed the list to the talk page for now. Actual list numbers over 1000 entries, and informal consensus on song articles appears to be against including unsourced lists like this. Viriditas (talk) 03:48, 13 February 2010 (UTC)

Article content does not belong on the Talk pages. This belongs back in the main page or on a separate page. The fact that not everything is properly sourced just means that it needs improvement -- not that it should be removed entirely. -- David Booth 209.6.50.145 (talk) 18:39, 14 November 2014 (UTC)
Notable recordings
Movie performances

A movie was released in 2005 entitled Funny Valentine.

Television performances

May 2013

Reception

In a 2006 survey of people between 10 and 49 years of age in Japan, Oricon Style found "My Funny Valentine" to be the fifth most popular Valentine's Day song in Japan. The most popular song was Sayuri Kokushō's 1986 debut single "Valentine Kiss" followed by "Love Love Love" from Dreams Come True, "Valentine's Radio" from Yumi Matsutoya, and "Happy Happy Greeting" from the KinKi Kids.[7]

References

  1. ^ http://www.discogs.com/sergio-franchi
  2. ^ "Toku Do overview". Allmusic.com.
  3. ^ "My Shining Hour overview". Allmusic.
  4. ^ "Love's Silhouette overview". Allmusic.com.
  5. ^ "A Thousand Kisses Deep overview". Allmusic.com.
  6. ^ "Chris Botti - A Thousand Kisses Deep". JazzReview.com.
  7. ^ "大公開！『バレンタインソング』といえばこの曲！" (in Japanese). Oricon Style. February 3, 2006. Archived from the original on March 17, 2010. Retrieved March 17, 2010. {{cite web}}: Unknown parameter |trans_title= ignored (|trans-title= suggested) (help)

"simple structure"

the article states that this song has a simple structure yet to someone who is only comfortable with handful of voicings of extensions (so far, I'm working on it!!) it seems pretty complicated. Relative to a basic I-V rock progression or even a basic twelve bar blues, this progression seems downright convoluted. My guess is that the author meant that it is simple in the sense that the tonal center isn't challenged very much, that it (mostly) stays in the same key. Could this be clarified? On a second note, this progression is not the same as the one in my Real Book (7th edition) and I wonder why this version has the extra measures and different substitutions. Considering the Real Book's publishers' have to pay royalties I'm sure it is at least "semi-official"208.3.91.194 (talk) —Preceding undated comment added 03:34, 8 August 2010 (UTC).

Might mean that the chords follow an aaba format mostly, except for the last 4 bars. I've got a 6th edition Real Book, it says the last chord is Ebmaj7.
8/14/2020: I removed the "simple structure" comment and added that the spelling of chords varies.Marty Mangold (talk) 11:55, 14 August 2020 (UTC)

Steyn's Song of the Week Extra

I added an interesting link in the further reading to My Funny Valentine: Steyn's Song of the Week Extra. Maybe someone will want to use it to add to the article. — Preceding unsigned comment added by Wnmyers (talk • contribs) 01:24, 15 February 2014 (UTC)

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