1. A Stranger in Town (1945)
Long before his lush orchestral albums, a young Mel Tormé showcased his storytelling prowess with this moody, noir-inflected ballad. He wrote it himself, and the song tells a bittersweet tale of returning to a hometown that no longer recognizes you. The
lyrics paint a vivid picture of loneliness and alienation, themes Tormé would revisit but never with such raw, youthful melancholy. While his later work is celebrated for its polish and sophisticated arrangements, "A Stranger in Town" reveals the foundation of his greatness: an innate ability to inhabit a lyric and convey profound emotion. It’s a masterful piece of narrative songwriting that proves the “Velvet Fog” had a flair for the dramatic from the very beginning.
2. Born to Be Blue (1946)
While Tormé is famous for co-writing "The Christmas Song," his other major compositional contribution, "Born to Be Blue," is often more associated with other artists like Chet Baker and Ella Fitzgerald. Yet Tormé's own versions are essential listening. He and Robert Wells penned this masterful torch song in 1946, and Tormé's initial recording is a beautifully understated performance that captures the song's sophisticated gloom. It’s a perfect example of his songwriting talent, combining a memorable melody with lyrics of elegant despair. Hearing the song from its creator provides a direct connection to its intended feeling, a sense of refined heartbreak that became a calling card for countless jazz vocalists. It’s a reminder that Tormé wasn't just a world-class interpreter; he was a world-class creator, too.
3. The Carioca (1956)
If you want to understand the sheer musical horsepower Tormé possessed, look no further than his work with arranger Marty Paich and his Dek-Tette. Their album "Mel Tormé Sings Fred Astaire" is a classic, but the track "The Carioca" is a particular standout that showcases their telepathic chemistry. The arrangement is a whirlwind of rhythmic complexity, tight horn stabs, and shifting dynamics. Tormé navigates it all with breathtaking ease, his voice acting as both the lead instrument and a percussive element. The opening section, where he sings against only bass and light percussion, is a masterclass in timing and phrasing. This isn't just singing; it's high-wire vocal athletics, a joyful and technically dazzling performance that many fans of his smoother ballads might have completely missed.
4. Right Now (1962)
By the early 1960s, Tormé was experimenting with a harder, more aggressive sound, and this track is the thrilling result. Originally a Herbie Mann instrumental, Tormé's version on the "Comin' Home Baby!" album is a blast of raw energy. With its driving rhythm, bold brass, and Tormé's almost snarling delivery, "Right Now" feels miles away from the gentle crooning of the "Velvet Fog." It’s a commanding, almost defiant performance that proves he could swing with the best of them and wasn't afraid to push his sound into more modern, pop-adjacent territory. The song found a second life when it was covered by Siouxsie and the Creatures in the 80s, but Tormé’s original still packs a punch, showcasing a powerful and fiery side of his artistry that is too often overlooked.
