Songs with Earlier Histories Than the Hit Version

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Category: 1930s

Sloop John B.

First recorded (as “Histe Up the John B.”) by Cleveland Simmons Group (1935).
First popular version recorded (as “The Wreck of the John B.”) by The Weavers (1950).
Also recorded by Blind Blake Higgs (1952), The Kingston Trio (1958), Johnny Cash (1959), Jimmie Rodgers (1960), Dick Dale & His Del-Tones (1962).
Hit version (titled “The Sloop John B.”) by The Beach Boys (US #3/UK #2 1966).

From the wiki: “According to Blind Blake Higgs, the Bahamanian calypso entertainer, the John B had been a sponger boat that one day went under. That’s not so unusual, all thing considered. So, what made this tragedy so special? One possible explanation is the name of the vessel: to illiterate ears, ‘John B’ sounds like ‘Zombie’. So, when said sloop vanished with no one returning, that’s the stuff where legends are made of.

“The popularity of the song triggered interest in the wreck’s whereabouts. The hull was found and rescued from under the sands of Governor’s Harbor in 1926. John T. McCutcheon, philosopher and cartoonist on holiday with his wife in the West Indies at that time, learned the song and brought the song to New York where poet Carl Sandberg collected it for his songbook The American Songbag (1927).

My Girl’s Pussy

Written and first recorded (as “Pussy”) by Harry Roy & His Bat Club Boys (1931).
Also recorded by R. Crumb & His Cheap Suit Serenaders (1978).

From the wiki: “Harry Roy was born Harry Lipman in Stamford Hill, London, England, and began the study of the clarinet and alto saxophone at the age of 16. He and his brother Sidney formed a band which they called The Darnswells, with Harry on saxophone and clarinet and Sidney on piano. During the 1920s they performed in several prestige venues such as the Alhambra and the London Coliseum, under names such as The Original Lyrical Five and The Original Crichton Lyricals. They spent three years at the Café de Paris, and toured South Africa, Australia and Germany.

“By the early 1930s, Harry Roy was fronting the band under his own name, and broadcasting from the Café Anglais and the Mayfair Hotel. In 1931 he wrote and sang ‘My Girl’s Pussy’, which has since been the subject of many cover versions and remakes, including a novelty 78-rpm 10-inch single released in 1980 by R. Crumb & His Cheap Suit Serenaders (after its 1978 appearance on R. Crumb and his Cheap Suit Serenaders No. 3 long-play album).”

House of the Rising Sun

First recorded (as “Rising Sun Blues”) by Clarence “Tom” Ashley and Gwen Foster (1933).
Also recorded by Woody Guthrie (1941), Lead Belly (1944 |1948), Josh White (1947), Glenn Yarbrough (1957), Pete Seeger (1958), Andy Griffith (1959), Miriam Makeba (1960).
Hit versions by The Animals (US #1/UK #1 1964), Frijid Pink (US #7/UK #4 1970).

From the wiki: “Like many classic folk ballads, the authorship of ‘The House of the Rising Sun’ is uncertain. Musicologists say that it is based on the tradition of broadside ballads such as The Unfortunate Rake of the 18th century and that English emigrants took the song to America where it was adapted to its later New Orleans setting. Alan Price of The Animals has even claimed that the song was originally a sixteenth-century English folk song about a Soho brothel.

In the Mood

First recorded by Edgar Hayes & His Orchestra (1938).
Based on “Tar Paper Stomp” by Wingy Manone (1930).
Hit versions by The Glenn Miller Orchestra (US #1 1939), Ernie Fields & His Orchestra (US #4/R&B #7/UK #14 1959), Ray Stevens (US #40/C&W #39/UK #31 1977).

From the wiki: “‘In The Mood’ was arranged by Joe Garland and Andy Razaf based on a pre-existing melody: The main theme previously appeared under the title of ‘Tar Paper Stomp’ credited to jazz trumpeter/bandleader Wingy Manone. Manone recorded ‘Tar Paper Stomp’ in 1930 but, because the song was not formally registered for copyright, meant that the melody could be appropriated by any musician with a good ear. A story says that after ‘In the Mood’ became a hit, Manone was paid by Miller and his record company not to contest the copyright.

The original recording of ‘In The Mood’ was made by Edgar Hayes & His Orchestra in 1938, with songwriter Garland participating. Popular thought is that the melody had already become popular with Harlem bands (e.g. at the Savoy Ballroom) before being written down by Garland. Before offering it to Glenn Miller, Garland sold the tune to Artie Shaw, who could not record it because the original arrangement was too long.

As Time Goes By

First recorded by Rudy Vallee (1931 |US #1 1942).
Also recorded by Jacques Renard (1931)
Popular version by Dooley Wilson & Elliot Carpenter (1942).

From the wiki: “Herman Hupfeld wrote ‘As Time Goes By’ for the 1931 Broadway musical Everybody’s Welcome. In the original show, it was sung by Frances Williams. It was recorded that year by several artists, including Rudy Vallée and an orchestra recording by Jacques Renard. In terms of popularity at the time, it was a modest hit. The song was re-introduced in 1942 in the film Casablanca, sung by Dooley Wilson accompanied by pianist Elliot Carpenter and heard throughout the film as a leitmotif. Wilson was unable to record his version of the song at the time due to the 1942–44 musicians’ strike, leading Brunswick to reissue the Jacques Renard’s 1931 recording; Victor also re-issued Vallée’s 1931 recording, giving Vallee a #1 hit in 1942. The song was voted #2 on the AFI’s 100 Years…100 Songs special, commemorating the best songs in film. ”

Santa Claus is Coming to Town

First performed by Eddie Cantor (1934).
First recorded by Harry Reser & His Orchestra (1934).
Popular versions by Bing Crosby & The Andrews Sisters (1943), Perry Como (1946), The Four Seasons (US #23 1963), The Jackson 5 (1970), Bruce Springsteen (1975).

From the wiki: “‘Santa Claus is Coming to Town’ was written in 1934 by John Frederick Coots and Haven Gillespie, and first performed on Eddie Cantor’s radio variety show, The Chase and Sanborn How on NBC Radio, in November 1934. Indicative of his effect on the mass audience, Cantor had agreed to introduce the new song, that other well-known artists had rejected as being ‘silly’ and ‘childish’. The song, “Santa Claus Is Comin’ to Town”, became an immediate hit; the publisher had orders for 100,000 copies of sheet music (the measure in those days of a song’s popularity) the next day; over 400,000 copies were sold by Christmas.

“The earliest-known recorded version of the song was by banjoist Harry Reser and his band. It, too, became an instant hit with orders for 100,000 copies of sheet music and more than 30,000 records sold within 24 hours. Bing Crosby & The Andrews Sisters recorded a popular wartime version in 1943. But, it was the Four Seasons who first charted the song on the Billboard Hot 100, reaching #23 in 1963. Bruce Springsteen & The E Street Band recorded a live version in 1975 that was bootlegged to Rock radio stations until it saw its first release in 1982 as part of the Sesame Street compilation album In Harmony 2.”

Christmas Night in Harlem

First recorded by The Paul Whiteman Orchestra (1934).
Also recorded The Raymond Scott Quintette (instrumental, 1939).
Popular version by Louis Armstrong & The Benny Carter Orchestra (1955).

From the wiki: “‘Christmas Night in Harlem’ was written in 1934 by Raymond Scott, and the song was first recorded by The Paul Whiteman Orchestra the same year. ‘Christmas Night in Harlem’ has been covered by Perry Como, Benny Carter, Johnny Mercer, Banu Gibson, The Beau Hunks, Clarence Williams, Paul Whiteman, Maria Muldaur, and Jack Teagarden but the most celebrated recording was made by Louis Armstrong & The Benny Carter Orchestra.

Cotton Fields

Written and first recorded by Lead Belly (1940).
Also recorded by Odetta (1954), Harry Belafonte (1958).
Hit versions by The Highwaymen (US #13 1961), The Beach Boys (UK #5 1970).

From the wiki: “‘Cotton Fields’ was written by Blues musician Huddie Ledbetter, better known as Lead Belly, who made the first recording of the song in 1940. ‘Cotton Fields’ was introduced into the canon of Folk music via its inclusion on the 1954 album release Odetta & Larry which comprised performances by Odetta and accompanist Larry Mohr at the Tin Angel nightclub in San Francisco. The song’s profile was boosted via its recording by Harry Belafonte first on his 1958 albums Belafonte Sings the Blues and Belafonte at Carnegie Hall. (Belafonte had learned ‘Cotton Fields’ from Odetta and been singing it in concert as early as 1955.) The song entered Pop culture with the #13 hit recording in 1961 by The Highwaymen. The Beach Boys reached the UK Top 5 with a 1968 recording, released as a single in 1970, of ‘Cotton Fields’.”

(Somewhere) Over the Rainbow

First released by The Larry Clinton Orchestra & Bea Wain (US #10 1939).
Other hit versions by The Glenn Miller Orchestra (US #1 1939), Judy Garland (US #5 1939), Bob Crosby & His Orchestra (US #2 1939), The Demensions (US #16 1960), Patti LaBelle & The Bluebells (R&B #20 1966), Eva Cassidy (UK #42 2001), Israel Kamakawiwo’ole (US #22 2002).

From the wiki: “‘Over the Rainbow’ (often referred to as ‘Somewhere Over the Rainbow’) is a classic Academy Award-winning ballad, with music by Harold Arlen (‘Stormy Weather‘, ‘Blues in the Night‘) and lyrics by E.Y. Harburg. Arlen came up with the melody while sitting in his car in front of the original Schwab’s Drug Store in Hollywood. Harburg hated it at first because he thought the tempo was too slow. After Arlen consulted with his friend, Ira Gershwin, he sped up the tempo and Harburg came up with the lyrics. A lot of effort went into the first line. Ideas that didn’t make the cut included ‘I’ll go over the rainbow’ and ‘Someday over the rainbow’.

Jeepers Creepers

First performed by Louis Armstrong (1938).
First recorded by Ethel Waters (1938).
Hit versions by Al Donahue & His Orchestra (US #1 1938), Larry Clinton & His Orchestra (US #12 1938), Louis Armstrong (US #12 1939).

From the wiki: “‘Jeepers Creepers’ was written by Harry Warren, with lyrics by Johnny Mercer (Mercer claims to have first heard the expression from Henry Fonda), for the 1938 Warner Brothers movie Going Places. Louis Armstrong appears in the part of Gabriel, the trainer of a race horse named Jeepers Creepers. Jeepers Creepers is a very wild horse and can only be soothed enough to let someone ride him when Gabriel plays the song ‘Jeepers Creepers’ on his trumpet or sings it to him. Warren and Mercer would share an Academy Award nomination for Best Song in 1939.

I Got Rhythm

First recorded by Fred Rich & His Orchestra (1930).
Hit versions by Red Nichols & His Five Pennies (US #5 1930), Ethel Waters (US #17 1931), Louis Armstrong (US #17 1932), The Happenings (US #3/UK #28 1967).

From the wiki: “‘I Got Rhythm’ was composed by George Gershwin with lyrics by Ira Gershwin and first published in 1930. It has since become a Jazz standard; its chord progression, known as the ‘rhythm changes’, is the foundation for other popular jazz tunes such as Charlie Parker’s & Dizzy Gillespie’s Bebop standard ‘Anthropology (Thrivin’ From a Riff)’. ‘I Got Rhythm’ was first performed in the musical Girl Crazy. Ethel Merman sang the song in the original Broadway production, and Broadway lore holds that George Gershwin, after seeing Merman’s opening reviews, warned her never to take a singing lesson. A complete list of notable singers who have recorded ‘I Got Rhythm’ would take up several pages. The most popular versions are those by Red Nichols & His Five Pennies (US #5 1930), and The Happenings (#3 on the US charts in 1967). A version of the song, set to a Disco beat, was re-recorded by Ethel Merman for her Ethel Merman Disco Album in 1979.

The Way You Look Tonight

First commercial release by Bing Crosby & Dixie Lee (1936).
Also recorded by Billie Holiday (1936).
Hit versions by Fred Astaire (US #1 1936), The Jaguars (1956), The Lettermen (US #13/UK #36 1961).

From the wiki: “”The Way You Look Tonight” is a song featured in the film Swing Time, originally performed by Fred Astaire, winning the Academy Award for Best Original Song in 1936. ‘The Way You Look Tonight’ was written by Jerome Kern with lyrics by Dorothy Fields, who later remarked, ‘The first time Jerry played that melody for me I went out and started to cry.’ The song was first released commercially in 1936 as a duet between Bing Crosby and his then-wife Dixie Lee.

The Wild Side of Life

Inspired by “Great Speckled Bird” by Roy Acuff (1936).
First recorded (as “Wild Side of Life”) by Jimmie Heap & The Melody Masters (1951).
Hit versions by Hank Thompson (C&W #1 1952), Burl Ives & Grady Martin & His Slew Foot Five (US #30/C&W #6 1952), Tommy Quickly & The Remo 4 (UK #33 1964), Freddy Fender (C&W #13 1976), Status Quo (UK #9 1976).

From the wiki: “‘The Wild Side of Life’ carries one of the most distinctive melodies of early country music, used in ‘Thrills That I Can’t Forget’ (recorded by Welby Toomey and Edgar Boaz in 1925), ‘I’m Thinking Tonight of My Blue Eyes’ (by the Carter Family in 1929), and ‘Great Speckled Bird’ (by Roy Acuff in 1936). That, along with the song’s story of a woman shedding her role as domestic provider to follow the night life, combined to become one of the most famous country songs of the early 1950s. According to Country music historian Bill Malone, ‘Wild Side’ co-writer William Warren was inspired to create the song after his experiences with a young woman he met when he was younger — a honky tonk angel, as it were — who ‘found the glitter of the gay night life too hard to resist.’

What a Difference a Day Makes

Originally recorded (in Spanish as “Cuando vuelva a tu lado”) by Maria Grever (1934).
First recorded in English (as “What a Diff’rence a Day Made”) by Jimmie Ague (1934).
Also recorded by Freddy Martin & His Orchestra (1934).
Hit versions by The Dorsey Brothers Orchestra (US #5 1934), Andy Russell (US #15 1944), Dinah Washington (US #8/R&B #1 1959), Esther Phillips (US #20/R&B #10/DISCO #2/UK #6 1975), Bobby Lewis (C&W #81 1977).

From the wiki: “‘What a Diff’rence a Day Made’ is a popular song originally written in Spanish by María Grever, a Mexican songwriter, in 1934 and originallly titled ‘Cuando vuelva a tu lado’ (‘When I Return to Your Side’). The English lyrics were written by Stanley Adams.

“The earliest English-language renditions of the song were recorded in 1934 by Jimmie Ague, and also by Freddy Martin & His Orchestra the same year. The Dorsey Brothers Orchestra charted first with the song, in 1934, featuring vocals by Bob Crosby. Andy Russell, a Mexican-American singer, recorded a bilingual version of the song in 1944 that reached #15 on the Hit Parade chart.

“Dinah Washington’s 1959 Billboard Top-20 (and #1 R&B) recording earned her the Grammy Award for Best Rhythm & Blues Performance. Esther Phillips reached into the UK Top 10 with her disco-fied recording.”

Try a Little Tenderness

First recorded by Roy Noble Orchestra (1932).
Hit versions by Ruth Etting (US #16 1933), Ted Lewis & His Band (US #6 1933), Aretha Franklin (US #100 1962), Otis Redding (US #25/R&B #4/UK #26 1966), Three Dog Night (US #29 1969).
Also recorded by Little Miss Cornshucks (1951), Sam Cooke (1964).
Also performed by Tom Jones (1969), Paul Giamatti & Andre Braugher (2000).

From the wiki: “‘Try a Little Tenderness’ is a song written by Jimmy Campbell and Reg Connelly, a British songwriting team who often collaborated with a third composer – in this case the American, Harry Woods. The song was first recorded on December 8, 1932 by the Ray Noble Orchestra (with vocals by Val Rosing) followed in early 1933 by Ruth Etting’s first charting version. The song quickly became a standard. Subsequent productions were recorded by Frank Sinatra, Mel Tormé, Frankie Laine, Earl Grant, Nina Simone, Etta James and others – including a discovery by Atlantic Records founder, Ahmet Ertegun: Little Miss Cornshucks.

Deep Purple

First recorded (as an instrumental) by Paul Whiteman & His Concert Orchestra (1934).
First vocal recording by Larry Clinton & His Orchestra with Bea Wain (US #1 1939).
Other hit versions by Artie Shaw with Helen Forrest (US #17 1939), Billy Ward & His Dominoes (US #20/UK #30 1957), Nino Tempo & April Stevens (US #1/UK #17 1963), Donny & Marie Osmond (US #14/UK #25 1976).

From the wiki: “‘Deep Purple’ was the biggest hit written by pianist Peter DeRose, who broadcast, 1923 to 1939, with May Singhi as ‘The Sweethearts of the Air’ on the NBC radio network. ‘Deep Purple’ was first published in 1933 as a piano composition. The following year, Paul Whiteman had ‘Deep Purple’ scored for his suave orchestra that was ‘making a lady out of jazz’ and the song became so popular in sheet music sales that Mitchell Parish added lyrics in 1938.

Begin the Beguine

First performed by Charles Walters & June Knight from Jubilee (1935).
First commercial release by Xavier Cugat & His Waldorf-Astoria Orchestra (1935).
Hit version by The Artie Shaw Orchestra (US #3 1938).
Also recorded by Josephine Baker (1936), Eddie Heywood (1944)

From the wiki: “‘Begin the Beguine’ is a song written by Cole Porter, who first witnessed the beguine as a dance in Paris. He later composed the song during a 1935 Pacific cruise aboard Cunard’s ocean liner Franconia. The song was first introduced by June Knight in the Broadway musical Jubilee, produced at the Imperial Theatre in New York City in October 1935. Knight and Charles Walters would later release a recorded version for the Victor Records label.

The Lady is a Tramp

First popular recording by Tommy Dorsey & His Clambake 7 with Edythe Wright (1937).
Hit/popular versions by Sophie Tucker (US #19 1937), Frank Sinatra (1957), Ella Fitzgerald (1957), Shirley Bassey, Tony Bennett & Lady Gaga (US #121/UK #188/BEL #21/JPN #33 2011).
Also recorded by Midge Williams & Her Jazz Jesters (1937), Carl Perkins (1960), Alice Cooper (1974).
Also recorded (as “The Lady is a Champ”) by Frank Sinatra (1968).

From the wiki: “‘The Lady Is a Tramp’ was a show tune from the 1937 Richard Rodgers and Lorenzo Hart musical Babes in Arms in which it was introduced by former child star Mitzi Green. The song is a spoof of New York high society and its strict etiquette (the first line of the verse is ‘I get too hungry for dinner at eight…’). Early recordings from 1937 include one by Tommy Dorsey and His Orchestra (featuring Edythe Wright on vocals), Midge Williams and Her Jazz Jesters, and Sophie Tucker.

The Clapping Song

First recorded (as “Little Rubber Dolly”) by The Light Crust Doughboys (c. 1935).
Also recorded (as “Rubber Dolly”) by Bill Parsons & His Orchestra (1958).
Hit versions by Shirley Ellis (US #8/UK #6 1965), The Belle Stars (UK #11 1982), Pia Zadora (US #36 1983).

From the wiki: “‘The Clapping Song’ was written by Lincoln Chase and Shirley Ellis, with lyrics borrowed from the song ‘Little Rubber Dolly’, a 1930s song first recorded by Texas Swing band The Light Crust Doughboys. Ellis was an American singer and songwriter of West Indian origin best known for her 1963 novelty hit ‘The Name Game’. Ellis was originally in the group The Metronomes and her solo hits were written by her and her manager, record producer, and songwriting partner, Lincoln Chase.

Puttin’ on the Ritz

First recorded by Harry Richman (US #1 1930).
Other hit versions by Leo Reisman & His Orchestra (US #20 1930), Clark Gable (1939), Fred Astaire (1946), Ella Fitzgerald (1958), Taco (US #4/CAN #5/SWE #1/NZ #1 1983).

From the wiki: “‘Puttin’ On the Ritz’ is a popular song written and published in 1929 by Irving Berlin and first introduced by Harry Richman in the musical Puttin’ On the Ritz (1930). The expression was inspired by the opulent Ritz Hotel. Another hit version was recorded in 1930 by Leo Reisman & His Orchestra. Clark Gable performed the song on film (Idiot’s Delight) in 1939, but the song was most-famously performed (with new lyrics) by Fred Astaire, with whom the song is particularly associated, in the 1946 film Blue Skies. Gene Wilder and Peter Boyle teamed up in Mel Brooks’ Young Frankenstein (1974) to give the song a comedic spike.

I’m Gonna Sit Right Down and Write Myself a Letter

First recorded by Fats Waller & His Rhythm (US #5 1935).
Other hit versions by The Boswell Sisters (US #3 1936), Billy Williams (US #3 1957), Willie Nelson (C&W #26/CAN #25 1981).
Also recorded by Frank Sinatra (1954 & 1962), Bing Crosby with Bob Scobey’s Frisco Jazz Band (1957), Bill Haley & His Comets (1957).

From the wiki: “‘I’m Gonna Sit Right Down and Write Myself a Letter’ was composed in 1935 by Fred E. Ahlert and Joe Young, and has become a standard of the Great American Songbook. The first recording on the song was by Fats Waller & His Rhythm, in a Victor Records recording session on May 8, 1935. It was covered the following year by The Boswell Sisters, reaching #3 on US popular music charts. (Connee Boswell would record a solo version in 1952.)

Dream a Little Dream of Me

First recorded by Ozzie Nelson & His Orchestra (1931).
Also recorded by Wayne King & His Orchestra (1931), Kate Smith (1931).
Hit versions by Frankie Laine (US #18 1950), Jack Owens (US #14 1950), “Mama” Cass with The Mamas & The Papas (US #12/MOR #2/UK #11/AUS #1 1968).

From the wiki: “‘Dream a Little Dream of Me’, written by Fabian Andre and Wilbur Schwandt and lyrics by Gus Kahn, was first recorded in February 1931 by Ozzie Nelson & His Orchestra (with the vocal by Nelson) and also by Wayne King and His Orchestra (with vocal by Ernie Birchill). “Dream a Little Dream of Me” was also an early signature tune of Kate Smith (‘God Bless America’).

“Then, in the summer of 1950, seven recordings of ‘Dream a Little Dream of Me’ were in release, with the versions by Frankie Laine and Jack Owens reaching the US Top 20 at respectively #18 and #14.

Caravan

First recorded by Barney Bigard & His Jazzopaters (1936).
Hit versions by The Duke Ellington Orchestra (1937), Billy Eckstine (US #27/R&B #14 1949), Ralph Marterie (US #6 1953), Santo & Johnny (US #48 1959), Duane Eddy (UK #42 1961).
Also recorded by The Mills Brothers (1941).

From the wiki: “‘Caravan’ is a jazz standard composed by Juan Tizol. The first version of the song was recorded in Hollywood in 1936, performed as an instrumental by Barney Bigard & His Jazzopators. The band members were: Cootie Williams (trumpet), Juan Tizol (trombone), Barney Bigard (clarinet), Harry Carney (baritone sax), Duke Ellington (piano), Billy Taylor (bass), Sonny Greer (drums).

“All the players on the original recorded were members of the Duke Ellington Orchestra, which often split into smaller units to record small-band discs. Although Ellington performed in this recording, the session leader was Bigard under whose name the song was first released. The following year, the Duke Ellington Orchestra itself covered ‘Caravan’, the first of more than 350 recordings Ellington made of the song.

“In 1941, the Mills Brothers paid tribute to Ellington by recording an a capella version of ‘Caravan’, substituting their voices for instruments. A vocal cover, with lyrics by Irving Mills, was recorded in December 1948 by Billy Eckstine, with orchestration by Hugo Winterhalter, that charted Billboard Top-30 and Top-20 R&B in 1949, a recording an accomplishment Ellington is said to have been especially elated.

“Ralph Materie charted even higher in 1953 with his cover. Santo & Johnny also charted with their ‘Caravan’ cover in 1959. In 1961, a version credited to Duane Eddy appeared on the label Gregmark Records. It did not chart in the US, but was issued on Parlophone in the UK, where it peaked at #42.”

Smoke Gets in Your Eyes

First recorded by Gertrude Niesen (1933).
Hit versions by Paul Whiteman & His Orchestra (US #1 1934), Artie Shaw & The Gramercy Five (US #24 1941), The Platters (US#1/R&B #3/UK #1/AUS #1/NETH #4 1958), Blue Haze (US #27/NETH #4 1973), Bryan Ferry (UK #17 1974).
Also recorded by Jerry Garcia (1990).

From the wiki: “‘Smoke Gets in Your Eyes’ is a show tune written by American composer Jerome Kern and lyricist Otto Harbach for their 1933 musical Roberta. It was sung in the original show by Tamara Drasin and was first recorded by Gertrude Niesen on October 13, 1933. It was performed by Irene Dunne for the 1935 film adaptation, co-starring Fred Astaire and Ginger Roger.

“The song has been covered by numerous artists, beginning with Paul Whiteman & His Orchestra with Bob Lawrence on vocal, which went to the top of the charts in 1934. Possibly the most famous version was recorded in 1958 by The Platters, which became a #1 hit on the U.S. Billboard Hot 100 — it reached #3 on the R&B charts, and topped both the UK and Australians singles charts.

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