The Greatest Oldies Music

Oldies Musics

‘High Noon’ by Frankie Laine

Frankie Laine - Biography - IMDb

About the Song

Frankie Laine was an American singer with a powerful baritone voice and an emotional performing style. He was known for his pop, country, and blues songs during the 1940s and 1950s. High Noon is one of Laine’s most famous songs, and it has become a classic of American culture.

The song was first released in 1952, and it was the theme song for the movie of the same name. High Noon is a dramatic ballad that tells the story of a sheriff who must face an outlaw gunfighter alone.

The lyrics of the song were written by Ned Washington, and the music was composed by Dimitri Tiomkin. Both were well-known and Oscar-winning musicians.

High Noon became an instant hit, and it won the Academy Award for Best Original Song in 1953. The song has also sold over 1 million copies, and it has been covered by many different artists, including Bing Crosby, Frank Sinatra, and Bob Dylan.

Here are some reasons why High Noon is a famous song:

  • Dramatic lyrics: The lyrics of the song tell a thrilling and suspenseful story that keeps the listener engaged.
  • Memorable music: The music of the song is dramatic and memorable, and it helps to create the tense and suspenseful atmosphere of the song.
  • Frankie Laine’s powerful voice: Laine’s powerful and emotional voice perfectly conveys the message of the song.

High Noon is a classic song that has stood the test of time. It is a beautiful and moving song that people of all ages can enjoy.Frankie Laine - The Official Licensing Website of Frankie Laine

Video

Lyrics: High Noon

Do not forsake me, oh my darlin’On this, our weddin’ dayDo not forsake me, oh my darlin’Wait, wait along
I do not know what fate awaits meI only know I must be braveAnd I must face a man who hates meOr lie a coward, a craven cowardOr lie a coward in my grave
Oh, to be torn ‘tweenst love and dutyS’posin’ I lose my fair-haired beautyLook at that big hand move alongNearin’ high noon
He made a vow while in state prisonVowed it would be my life or his’nI’m not afraid of death but ohWhat will I do if you leave me?
Do not forsake me, oh my darlin’You made that promise as a brideDo not forsake me, oh my darlin’Although you’re grievin’, don’t think of leavin’Now that I need you by my side
Wait along, (wait along) wait alongWait along, wait along(Wait along, wait along, wait along, wait along)

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Oldies Musics

Tucked away in a private drawer, far from the polished sets of her television show, lay a bundle of 341 letters. These were not press clippings or scripts; they were brittle, handwritten testimonies from servicemen stationed in remote barracks, deep in war-torn tunnels, and across desolate battlefields. During the long years of the Second World War, as Hollywood presented a glossy, curated image of American life, Donna Reed spent her nights reading these letters and, more remarkably, personally answering them. This was the quiet, invisible work that defined her, long before the public labeled her the quintessential television mother. Behind the camera during her production years, Reed was a different person entirely. She was rarely seen holding a script for a scene; she was more likely to be found hunched over lighting diagrams or studying the intricacies of cinematography. She possessed an uncredited producer’s mind, constantly analyzing how the frame could better reflect the reality of the family she was trying to depict. The studio environment was frequently cold and high-pressured, but she moved through it with a meticulous attention to detail that frustrated those who wanted to treat her as merely another pretty face in the cast. These tactile remnants—the stacks of ink-stained paper and the forgotten notes on camera angles—tell the story of a woman who never truly fit the box Hollywood built for her. While the world remembers the steady, comforting image of a television home, she lived a life carved out of hard labor and deep empathy. She carried the weight of those soldiers’ stories and the technical burdens of the studio floor until her final days, forever balancing the fragility of her public image against the demanding, gritty reality of her actual life.