Marlene Dietrich Sings is a compilation album by actress and singer Marlene Dietrich, released in 1947 on Vox Records label.[1] The album features German-language recordings originally released on Polydor masters, with piano accompaniment by Peter Kreuder. The repertoire reflects cabaret-style performances associated with post-World War I Europe.[2]
Marlene Dietrich's original 1933 Paris recordings with Peter Kreuder were reissued by Vox in 1947 as three 10-inch 78 RPM shellac singles, then as a 10" LP (1950), featuring German classics like "Jonny" and "Mein blondes Baby", plus added French tracks. The album preserved the Weimar-era sound without translations, capturing her pre-Hollywood repertoire.
Critics acknowledged Marlene Dietrich's album as a period piece, with some praising its nostalgic value and distinctive vocal style, though often noting its dated production and limited appeal. While her husky delivery and European cabaret aesthetic were recognized as historically significant, reviewers pointed out the uneven sound quality and lack of accessibility for non-German or French-speaking audiences.
Background and release
The recordings feature Marlene Dietrich performing a selection of songs in German and French, accompanied by orchestras led by Peter Kreuder in Paris during July 1933. The tracks include "Assez", "Moi, je m’ennuie", "Ja, so bin ich", "Wo ist der Mann?", "Mein blondes Baby", and "Allei... in einer grossen Stadt", with instrumental backing provided by either Orchestra Wal-Berg or Jazz Orchester Freddie Johnson. The sessions took place between July 12 and July 19, 1933, documenting Dietrich’s early cabaret-style repertoire before her rise to international fame as a singer.[3]
On August 9, 1947, Billboard listed Marlene Dietrich’s upcoming album in its "Advanced Record Releases" section — a feature that previewed records supplied by companies roughly two weeks before their official launch.[4] Two months later, in October 1947, the magazine confirmed the official release: Vox Records would introduce its first 78 rpm singles in the "Spotlight Series" (previously reserved for albums), starting with Dietrich's pair of records, priced at one dollar each.[5]
The album was first released as a three-disc 10-inch set, compiling original recordings made by the singer and actress and released as singles in Germany. It features Dietrich's iconic German-language songs, including "Jonny", "Peter", "Mein blondes Baby", "Allein in einer großen Stadt", "Wo ist der Mann?" and "Ja, so bin ich", all tied to her repertoire from Weimar-era cinema and cabaret. The tracks were remastered from original Polydor sources, preserving the sonic character of the era, and the liner notes reference the songs’ cultural context—though no lyric translations are provided. The album is officially credit in its cover as A Polydor Recording – Spotlight Series: Vox Presents Marlene Dietrich Sings – Accompanied by Peter Kreuder, His Piano and His Orchestra.[6] In 1950, the label reissued the album as a 10" LP, adding the songs "Moi Je M'ennuie" and "Assez" to the tracklist.[7]
James Norwood of The American Record Guide (Dec. 1947), acknowledges the album's nostalgic value for Dietrich's fans, praising her "husky, sensual" voice as a vessel for the decadent post-WWI atmosphere. However, he criticizes the lack of translations and the uneven sound quality, a result of the aged source material. While calling the discs "far from perfect", the reviewer concedes their appeal as a relic for devotees, particularly those who associate Dietrich with German Expressionist film and her collaborations with Emil Jannings.[6]
Regarding the 10" LP reissue, the Billboard critic praised Dietrich's striking sensuality and unique style, which they felt transcended the language barriers of the German and French songs. Backed by what they called Peter Kreuder's "highly imaginative" work, Dietrich's performance was deemed captivating. While acknowledging the album's artistic appeal, the critic considered its niche audience and suggestive content as factors that might ultimately limit its commercial reach.[10]
The critic from Down Beat wrote that some American women claim to be able to put sex appeal in a song, but Dietrich's recordings conveyed this quality despite the language barrier. He noted that her performances are more a parody of European café singing than traditional singing, yet he concluded that the album remains a worthwhile possession for listeners.[9]
Carter Harmar of The New York Times praises the album as a valuable addition to musical heritage, noting that Vox Records has done the public a service by making these rare recordings accessible again. He highlights the enduring quality of Dietrich’s performances, which remain captivating for their emotional depth and unique charm, even after years out of print. Harmar also suggests that the album is essential not only for Dietrich’s admirers but for anyone interested in exploring the sophisticated and shadowy world of early 20th-century European entertainment.[2]
Bruce Eder of AllMusic wrote that the material is surprisingly blues- and jazz-influenced, more so than her later recordings, and described Dietrich as a German artist striving to sound American circa 1930, largely succeeding. Eder called the performances delightfully decadent and seductive.[8]
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