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Always You
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Original 1962 album liner notes

Music By De Vol

Side 1 – 17:16

The Lamp Is Low
-M. Parish-P. DeRose-B. Shefter-
Robbins Music Corp. (ASCAP)

And This Is My Beloved  2:18
-R. Wright-G. Forrest-
Frank Music Corp. (ASCAP)

You’re Breaking My Heart  2:53
-P. Genard-S. Skylar-
Algonquin Music, Inc. (BMI & ASCAP)

It’s All In The Game  3:22
-C. Sigman-C.G. Dawes-
Remick Music Corp. (ASCAP)

Full Moon And Empty Arms
-B. Kaye-T. Mossman-
Barton Music Corp. (ASCAP)

The Breeze And I  2:48
-A. Stillman-E. Lecuona-
E.B. Marks Music Corp. (ASCAP & BMI)

Side 2 – 19:00

Strange Music
-R. Wright-G. Forrest-
Chappell & Co., Inc. (ASCAP)

Always You  2:51
-S. Robin-W. Jason-
Ivan Mogull Music Corp. (ASCAP)

Here  3:04
-D. Cochran-H. Grant-
Hill & Range Songs, Inc. (BMI)

The Things I Love  3:18
-H. Barlow-L. Harris-
Cherio Music Pub., Inc. (BMI)

The Story Of A Starry Night 
-A. Hoffman-M. Curtis-J. Livingston-
Mutual Music Society, Inc. (ASCAP)

If You Are But A Dream
-M. Jaffe-J. Fulton-N. Bonx-
Barton Music Corp. (ASCAP)


As a Robert Goulet fan, and as his golf partner, I’m delighted that he suggested that I write something on the occasion of his first album.

Let me precede this by recalling that recently, when Associated Press TV writer, Cynthia Lowry and Margaret McManus, top gal writer with the Bell syndicate, interviewed Goulet, the handsome young “Camelot” baritone went out of his way to emphasize to both of these writers what his appearances on our show meant to him, professionally.

It is this inbred Goulet graciousness and modesty that amplifies his equipment as a star, because these qualities are apparent in the timbre of his voice, whether you hear him in his first Goulet album or on the stage at the Majestic Theater, as “Lancelot” in the Lerner-Loewe musical smash hit.

Young Goulet inherited his graciousness, modesty, his magnificent voice and his looks from his French-Canadian parents.  When he was a little boy in Lawrence, Massachusetts, his mother and late father insisted on an affectionate but stern discipline.  When Bob would bashfully try to get out of singing at a family or church functions, his dad would say sternly: “God gave you a beautiful voice.  Be proud to use it.”  In this sort of family setting, there was no chance that young Goulet might be tempted to become other than a modest, gentlemanly youngster; no possible chance that he ever could take his voice or his good looks too seriously.

His father died when Bob was 14.  So his mother took Bob and his sister from Lawrence, Massachusetts to join relatives in Edmonton, Alberta, Canada.  While a schoolboy in Edmonton, young Goulet started making singing appearances with a local theater orchestra.  He won a greater knowledge of music as a disc jockey on Edmonton Station CKUA.  His local fame started to build and he was awarded a scholarship, because of his singing, to Toronto’s Royal Conservatory of Music.  His mother insisted that Bob move to Toronto.  “Your father would have wished you to do this,” she told him.  “You have always been a good boy so I know that you will work hard and develop your voice as your father would have wanted.”

The most heartbreaking experience of his career – certainly the bleakest – happened during the winter of 1954-55, when Goulet came to Broadway.  He was hopeful that his voice plus his experience in bit parts on Canadian TV, and small roles in Canadian theater musicals and reviews had qualified him for the competition of Broadway.  “I shared a small, dismal apartment with an actor friend,” Bob recalls, “and the only work I got was a part-time job selling stationery in a department store.”

Discouraged, he went back to Toronto and the minute he crossed the border, it seemed that luck had veered in his favor.  The Canadian Broadcasting Company picked him for the leading male role for their TV production of “Little Women.”  From there, he leaped to one of the original leads in Canada’s famed annual stage satire, “Spring Thaw.”  Now he was rolling at full speed.  Continually his mother reminded him of the debt he owed to God for his good luck.  Then he landed the co-starring role on Canada’s famous TV variety show, “Showtime.”  He remained on that show for 3 years and acquired a tremendous amount of knowledge about the techniques of show business.  The first time I ever saw him, as a matter of fact, was when he played a leading role in a CBS-TV production of Canada’s comedy stars, Wayne & Shuster.

Broadway composers, Alan Lerner and Fritz Loewe, shortly after that, were seeking desperately for a singer to play the important role of “Lancelot” in their forthcoming production of “Camelot.”  They had auditioned more than 20 fine young singers but couldn’t find the particular things they were seeking.  Somebody, at a party, told them of the Canadian youngster he had seen in Toronto.  Lerner & Loewe, like other producers, had small hope that the Canadian singer would prove to be better than average.  But they wired him and Goulet came to New York to audition for them.  On the way to his audition, he asked the cab driver to take him past the New York department store where he once sold stationery, on a part-time job, in 1954-55.

To the delighted amazement of Lerner & Loewe, the handsome Canadian youngster literally knocked them out of their seats.  His voice, his acting ability, his eagerness and his good looks were exactly what they had been looking for.  They signed him instantly.

Now, I invite you to open this album and experience the same thrill that Alan Jay Lerner and Fritz Loewe experienced when he first sang for them.

Host of The Ed Sullivan Show on the CBS Television Network and New York Daily News syndicated columnist.

Cover Photo: Columbia Records Photo Studio – Henry Parker

Tuxedo by AFTER SIX

“360 SOUND”



This Columbia Stereo Fidelity Recording Is Designed For Use On 33 1/3 RPM Stereophonic Reproducers.

® “Columbia” Marcas Reg. Printed in U.S.A.

CS 8476

Available on Regular – CL 1676
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