On Friday, August 29, the twelve-time Emmy-winning and four-time Grammy-nominated Yellow Sound Label released Mark William: If I Can Dream, recorded live last May at his Green Room 42 concert, Technicolor Dreams 2.0, for digital streaming and download. The new album, mixed by Sheridan Glover, mastered by Michael Fossenkemper, and produced by Michael Croiter and Preston and Richard Ridge (the Ridges also directed the concert), marks the label’s second collaboration with the artist, following Mark William: Come Croon With Me in 2019.
The thirteen-track recording by the multi-talented singer, actor, dancer, songwriter, and two-time BroadwayWorld Award winner Mark William leads listeners with his smooth and resonant bass-to-baritone vocals through a selection of eras and genres, from the vintage show tunes, standards, and pop hits of such legendary artists of the 20th century as Jule Styne, Elvis Presley, and Peter Allen, to William’s own original 21st-century songs, backed by a swinging six-piece band (Olivia Hughart on sax, Jane Sycks on trumpet, David Cinquegrana on guitar, Sam Zerna on bass, Jonathan Ward on drums, and musical director Matthew Lowy on piano).
Prior to its upcoming physical release, Mark spoke with me about the album and the songs, artists, and thoughts that inspired it.
What do you enjoy most about recording an album live rather than in the studio?
Mark: The audience is what makes it special, with those added elements of communication, reaction, and connection that you can feel; it’s indescribable. And being in one space with all my musicians instead of in separate rooms in a recording studio completely changes the energy.
At what age were you first introduced to the music of mid-century crooners?
The point when I really grabbed onto it was as a senior in high school, when I was playing Albert in Bye Bye Birdie. My director gave me a Sinatra CD and said, “This is what the song ‘Talk to Me’ needs to be.” I already had the brilliant influence of Dick Van Dyke, who I had watched in the movie version for years, so adding Sinatra’s iconic style was the cherry on top. That was really my introduction to that style.
What do you find most appealing about the songs and stylings of the past decades?
I love the orchestrations and arrangements that were used, the big band sound, and the Nelson Riddle style; they feel so full and reach right to your spirit. Modern pop music is fun but it doesn’t go deep into your soul or touch you without physically touching you. With our six-piece band, it’s not as big, but we’re playing smaller, more intimate venues, so it’s perfect for that.
What was the inspiration for the title of the album and how does that express its overall theme and mood?
My encore for the concert was “If I Can Dream,” from the iconic Elvis TV special, Preston and Richie had shown me. It took a few years before we agreed I was ready to do it – I had matured in my understanding and treatment of the song. And in our current times, an aspirational message of hopes and dreams seemed like the perfect title for the album.
Can you tell us about your process of deciding which specific songs to include?
Sure. The concert was a revamp of a show I did a couple of years ago. So we considered what we loved that needed to stay and what new works we wanted to add. I wanted “When I Look at You,” so I had to convince Preston that it was right for me and what we were creating. In our early rehearsals I would sing through all the songs we were thinking about and discuss different ideas with my music director. Then we whittled the songs down and decided on the order as we crafted the dreamscape of our show.
Is there one artist or song that provided your biggest inspiration?
There are a couple of different ones. For pop, it’s Peter Allen – he was such a showman, and I love his writing, which is simple but evokes emotion, which I try to do in my own writing. As for crooning, in recent years, although I was introduced to the style by Sinatra, Steve Lawrence has been the voice in my head. I said that to my voice teacher, and she said, “No. He may have inspired you, but you’re the voice in your head.” And I do think that’s right – I’m finally secure in my own voice.
What do you hope your listeners take away from the album?
First of all, I hope they enjoy it! And I hope it has given them an escape from what’s going on in their lives and in the world, and they connect with it. I tried to put my heart into it and I hope that comes through in the recording; some people have reached out to me and said it did. That makes me very happy!
What’s up next for you?
This weekend, Friday through Sunday, I’ve been making a short film I wrote, which has been in the works for a while. I’m doing one song in Susie Mosher’s The Lineup on October 7, then I’m returning to EPCOT for my third year in the Candlelight Processional in November-December. We’re planning a live show back at The Green Room 42in March, and we hope to do a small concert tour, to celebrate the album. And we’ll soon have some exciting news about my original new musical that I’ve been working on, Dorian’s Wild(e) Affair, for a potential opening next year.
Many thanks, Mark, for giving our readers insights into the album and its genesis. I look forward to listening to it again and again, and, as always, to your future projects!
