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"Can't We Be Friends?" is a 1929 song with lyrics by Paul James and music by Kay Swift, introduced on Broadway in The Little Show by Libby Holman. It was later recorded by many artists including Bing Crosby, Ella Fitzgerald, and Frank Sinatra.
Return of Benny Goodman to the wax fold is an item of major import from this front. Solid rhythmic sendings on both sides for Peckin'n and Can't We Be Friends? (25621). There's a terrific lifting spirit to the Goodman syncopation that defies one to refrain from rockin' in the rhythm. Each inspires each for a brand of swing that sets the pace for all other cats.
Abbreviations: V-Victor; B-Brunswick; D-Decca; Bl-Bluebird; VO-Vocalion [...] Cats will find BOB CROSBY'S BOBCATS a lap-up for the unrestrained dixielanding to the top tootling of You're Driving Me Crazy and Can't We Be Friends? (D).
Milumbu—FT; Can't We Be Friends?—FT [...] Side A is light and infectious, and the reverse side throws the tempo into high gear for the renowned Libby Holman song of first Little Show glory. The power and punch of a side like this come not from the amount of aimless noise that a trumpet, sax and clarinet can make, but from the enjoyment engendered by expert instrumentation of the highest order. Billy Kyle's piano stands out...
Chicago—FT. Can't We Be Friends?—FT [...] These sides mark the bow of this cornet-playing maestro on the Decca label. [...] This is the first waxing with his new and enlarged band.
Mildred Bailey (Ellis Larkins Trio) (Majestic 1209) Can't We Be Friends? Bailey imparts that 'certain something' to oldie. Relaxed and soothing.
Light and bouncy instrumental interpretation of the standard is pleasant listening, featuring the Stacy piano; George Van Eps, guitar; Nick Fatool, drums, and Marty Corbs, bass.
Memories of You; Let's Fall in Love; Dancing on the Ceiling; Isn't It Romantic; September in the Rain; They Can't Take That Away From Me; Can't We Be Friends; On the Sunny Side of the Street. [...] His playing is not remarkably technical nor even especially original in conception, but it is relaxed, tasty, and his tempos are excellent. One engaging trick he uses is playing second choruses in a blues idiom, while yet not losing the melody. Kind of thing you can listen to with full attention or play as a backdrop for chit-chat, or even dance to, and enjoy no matter what.
The ditties are all standards with the exception of 'Threesome,' a Bryant original. Included are 'Moonlight in Vermont,' 'Old Devil Moon,' 'Can't We Be Friends,' etc.
