First performed (as “Les Feuilles Mortes”) by Iréne Joachim (1946).
First released by Cora Vaucaire (1948).
Also recorded by Yves Montand (1949).
First English-language release (as ‘Autumn Leaves’) by Jo Stafford (1950).
Also recorded by Bing Crosby (1951). Erroll Garner (1955).
Hit instrumental version by Roger Williams (US #1 1955).
From the wiki: “‘Autumn Leaves’ is a popular French song and jazz standard with music composed by Joseph Kosma. The original French song title was ‘Les Feuilles mortes’ [‘The Dead Leaves’]. But, it had its genesis as a poem, written in 1945 by Jacques Prévert for a French ballet called Le Rendezvous.
“Transformed into a song, it would first appear as the main theme of French movie before being released on record. ‘Les Feuilles mortes’ would later be translated into English by lyricist Johnny Mercer as ‘Autumn Leaves’. An instrumental version in 1955 by pianist Roger Williams became a #1 best-seller in the US, for four weeks.
First recorded (as “Schöner Gigolo”) by Dajos Béla’s Orchestra (1929).
Hit English-language versions by Jack Hylton & His Orchestra (as “Handsome Gigolo” UK 1930), Bing Crosby (US #12 1931), Ted Lewis & His Band (US #1 1931), Louis Prima (1956), David Lee Roth (US #12/CAN #7/AUS #13/NZ #6 1985).
From the wiki: “‘Just a Gigolo’ was from the Austrian tango ‘Schöner Gigolo, armer Gigolo’, composed in 1928 in Vienna by Leonello Casucci to lyrics written in 1924 by Julius Brammer. ‘Schöner Gigolo, armer Gigolo’ was first published by Wiener Boheme Verlag in 1929 and performed by several orchestras in Germany that year, including Dajos Béla’s orchestra with the singer Kurt Mühlhardt.
“Back in the 1920s and ’30s, the definition of ‘gigolo’ wasn’t much different from how the word is used today, although the services he provided weren’t always sexual. Most often, the man was just be a paid dancing partner (‘paid for every dance, selling each romance’). Either way, ‘gigolo’ labels him a ‘kept man’ who can’t provide a living for himself without his good looks: he’s ‘just a gigolo.’ The original version, as written by Julius Brammer, was a poetic vision of the social collapse experienced in Austria after World War I, represented by the figure of a former hussar [cavalry officer] who remembers himself parading in his uniform, while now he has to get by as a lonely hired dancer.
First recorded by Lee Morse (1927).
Hit versions by Ukulele Ike (US #27 1927), Nick Lucas (US #3 1927), Kay Starr (US #3/UK #7 1953), Hayley Mills (US #8 1961).
Also recorded by Paul Whiteman & His Orchestra with the Rhythm Boys (incl. Bing Crosby) (1927), Ray Charles & Betty Carter (1961).
From the wiki: “‘Side by Side’ was written by Harry Woods (‘When the Red, Red Robin (Comes Bob, Bob, Bobbin’ Along)’, ‘I’m Looking Over a Four Leaf Clover’, ‘Try a Little Tenderness‘), a one-handed piano player born without fingers on his left hand.
“Among a slew of ‘Side by Side’ releases in 1927, singer, guitarist and actress Lee Morse was the first to release a recording of the song. Her recording, released on March 16, 1927, preceded other recordings released the same month by Nick Lucas (‘Tip-Toe Thru the Tulips‘), and Ukulele Ike (‘Singin’ in the Rain‘), whose recordings were the first to chart on the Hit Parade.
First recorded by Arthur Collins & Byron G. Harlan (US #1 1911).
Other hit versions by Billy Murray (US #1 1911), Prince’s Orchestra (US #3 1912), Bessie Smith (1927), The Boswell Sisters (1935), Louis Armstrong (1937), Bing Crosby & Connee Boswell (1938).
From the wiki: “‘Alexander’s Ragtime Band’ was written by Irving Berlin in 1911, one of his oldest compositions and his first major hit.
“It is believed by some (especially in New Orlean jazz and ragtime circles) that Berlin was writing about a real band and bandleader, which were popular at the time in New Orleans, and actually was known as Alexander’s Ragtime Band, after its leader, Alexander Joseph Watzke. Others regard the song as a sequel to ‘Alexander and His Clarinet’, which Berlin wrote with Ted Snyder in 1910 (and which was not a hit), with the newer composition telling the story of Jack Alexander, a cornet player and bandleader.
“‘Alexander’s Ragtime Band’ was first popularized in 1911 by Emma Carus, a big shouter from Chicago, who worked it into her local vaudeville act. (Her picture’s on the oldest sheet music edition.) The song was more widely introduced that same year by Eddie Miller and Helen Vincent performer in the Frolic of Berlin’s New York City ‘Friars Club’ chapter. In 1911-1912, no fewer than four of the first recordings of ‘Alexander’s Ragtime Band’ charted nationally, including #1 hits by Arthur Collins & Byron Harlon, and Billy Murray.
“The 1927 Bessie Smith cover of ‘Alexander’s Ragtime Band’ featured Coleman Hawkins on clarinet, Fletcher Henderson on piano, along with Joe Smith (cornet) Jimmy Harrison (trombone) and Charlie Dixon (banjo).”
First recorded by Joe Venuti & His Orchestra (1933).
Hit versions by Glen Gray & the Casa Loma Orchestra (US #8 1934), Cab Calloway & His Cotton Club Orchestra (US #7 1934), Duke Ellington & His Orchestra (US #2 1934), Benny Goodman & His Orchestra (US #1 1934), The Benny Goodman Quartet (US #8 1936).
Also recorded by Ethel Waters (1934), Bing Crosby (1956), Sarah Vaughn (1962).
Also recorded (as “Moonglow & Theme from Picnic“) by George Cates (US #4 1956), Morris Stoloff (US #1 1956).
From the wiki: “‘Moonglow’ (also known as ‘Moonglow and Love’) was written in 1933 by Will Hudson and Irving Mills with lyrics by Eddie DeLange. It was first recorded by Joe Venuti & His Orchestra in 1933, with subsequent recordings in the following year by the Duke Ellington Orchestra, Cab Calloway, Glen Gray & the Casa Loma Orchestra, Benny Goodman and his orchestra, Ethel Waters, and Art Tatum. The song has since become a jazz standard, performed and recorded numerous times by a wide array of musical talents.
“In the 1950s a medley of the song and George Duning’s ‘Theme from Picnic‘, orchestrated by Johnny Warrington, became quite popular, especially in instrumental recordings by Morris Stoloff, conductor of the Picnic motion picture soundtrack by the Columbia Pictures Orchestra. Duning wrote the film’s theme to counterpoint ‘Moonglow’. Stoloff’s ‘Moonglow & Theme from Picnic‘ spent three weeks at #1 on the U.S. Billboard Hot 100.
First recorded (as “Leilani”) by Sol Ho’opi’i & His Novelty Quartet (1935).
Hit version by Bing Crosby (US #1 1937).
Also recorded by Harry Owens & His Royal Hawaiians (1938), Andy Williams (1959), Sam Cooke (1960).
From the wiki: “Harry Owens wrote the song in 1934 for his just-born daughter, Leilani. The name has a figurative meaning: Small Hawaiian children were carried on their parents’ shoulders like a lei (garland), so the name took on the meaning ‘heavenly child’.
“‘Leilani’ was first recorded in Hawaii by Sol Ho’opi’i & His Novelty Quartet in 1935, as the B-side of the Brunswick Records’ 78-rpm ‘Hawaiian Honeymoon’. The song was famously featured in the 1937 motion picture, Waikiki Wedding, for which its Bing Crosby recording won the Academy Award for Best Original Song with Crosby’s recording going on to become one of the top hits of 1937. The song made another film appearance in the 1938 comedy Cocoanut Grove (set in Los Angeles; not Hawaii), starring Fred MacMurray, performed by the song’s composer Harry Owens & His Royal Hawaiians.
First performed by Lucille Ball & Paula Stewart (1960).
Popular versions by Peggy Lee (1963), Rosemary Clooney (1963), Bing Crosby & Rosemary Clooney (1963), Judy Garland (1963), Louis Armstrong (1964).
From the wiki: “‘Hey, Look Me Over’ was from the 1960 Broadway musical Wildcat, and was first performed by comedy actress Lucille Ball in what was the only Broadway appearance of her career.
First recorded by Alvino Rey & His Orchestra (US #1 Feb 1942).
Also performed by Gene Autry (1942).
Other hit versions by Ted Weems & His Orchestra with Perry Como (US #23 Feb 1942), Bing Crosby with Woody Herman & His Woodchoppers (US #3 March 1942), Horace Heidt & His Musical Knights (US #7 March 1942), The Merry Macs (US #11 March 1942), Duane Eddy (US #78/UK #19 1962).
Also recorded by Gene Autry (1944), Bob Wills (1955), Ray Charles (1960).
From the wiki: “‘Deep in the Heart of Texas’ was written by June Hershey with music by Don Swander, with a title taken from a movie Western of the same name starring Tex Ritter. (The song was not performed in that particular movie, but would make an appearance in the Western movie Heart of the Rio Grande, released in 1942, sung by movie cowboy Gene Autry.)
“The first recording was by Alvino Rey and his orchestra, on November 21, 1941. It first charted in early 1942, eventually spending five weeks at #1 on the Hit Parade. The song was covered by Ted Weems & His Orchestra (with Perry Como on vocals) on December 9, 1941 for Decca Records, also released in early 1942 as the flip-side to ‘Ollie Ollie Out’s in Free’.
First performed and recorded by Bing Crosby (US #1 1944).
Other hit versions by Big Dee Irwin & Little Eva (US #38/UK #7 1963), Spooky & Sue (NL #2 1974).
From the wiki: “The Pop standard ‘Swinging on a Star’ was composed by Jimmy Van Heusen with lyrics by Johnny Burke, and was first introduced by Bing Crosby in the 1944 film Going My Way, winning an Academy Award for Best Original Song that year.
“Composer Van Heusen was at Crosby’s house one evening for dinner, to discuss a song for the movie. During a meal with the family, one of the children began complained about how he didn’t want to go to school the next day. Crosbyr turned to his son and said to him, ‘If you don’t go to school, you might grow up to be a mule. Do you wanna do that?’
First recorded by Vaughn De Leath (1927).
Popular recordings by Ben Selvin (US #1 1927), Al Jolson (1927, in The Jazz Singer), Benny Goodman (1935), Count Basie & His Orchestra (US #8 1946), Bing Crosby (1946), Willie Nelson (MOR #32/C&W #1/CAN #1 1978).
Inspired Theolonious Monk “In Walked Bud” (1947).
From the wiki: “‘Blue Skies’ was composed by Irving Berlin in 1926 as a last-minute addition to the Rodgers and Hart musical Betsy. Although the show ran for 39 performances only, the song was an instant success, with audiences on opening night demanding 24 encores of the piece from star Belle Baker. During the final repetition, Ms. Baker forgot her lyrics, prompting Berlin to sing them from his seat in the front row.
First recorded by Bing Crosby (US #12 1946).
Other popular versions by Ethel Merman & Ray Middleton (1946), Frank Sinatra (US# 2 1946), Perry Como (US #4 1946)
From the wiki: “‘They Say It’s Wonderful’ was written by Irving Berlin for the musical Annie Get Your Gun (1946), where it was introduced on Broadway by Ethel Merman and Ray Middleton. The song was first recorded and released on a 78 rpm by Bing Crosby in 1946, a version that say modest chart success. Merman and Middleton released a recorded ‘cast’ version later in 1946. Frank Sinatra and Perry Como both charted in 1946 with covers of ‘They Say It’s Wonderful’.
“In 1979, Merman recorded a ‘camp’ version for The Ethel Merman Disco Album but it was not released until issued as a bonus track on the CD reissue in 2002.”
First recorded by Frances Langford (US #6 1937).
Other hit versions by Swing and Sway with Sammy Kaye (US #1 1950), Guy Lombardo & His Royal Canadians (US #2 1950), Ray Anthony & His Orchestra (US #4 1950), Bing Crosby (US #8 1950), Dinah Washington (R&B #10 1951), The Platters (US #8/R&B #15/UK #11 1960).
From the wiki: “‘Harbor Lights’ was written by Hugh Williams (pseudonym for Will Grosz) with lyrics by Jimmy Kennedy, and first recorded by Frances Langford (with Sam Koki & His Islanders) in 1937.
“The most-popular version was recorded in 1950 by Swing & Sway with Sammy Kaye, lasting 25 weeks on the Billboard chart and peaking at #1. Other charting covers in 1950 were recorded by The Guy Lombardo Orchestra, Ray Anthony & His Orchestra, and Bing Crosby. Dinah Washington charted R&B Top 10 in 1951, while The Platters returned ‘Harbor Lights’ to the US Top 40 in 1960.”
First recorded by Albert Clough (US #2 1911).
Other popular versions by The Peerless Quartet (US #1 1911), Oliver Hardy & Stan Laurel (1938), Mitch Miller (1961), Timi Yuro (MOR #15 1962).
Also recorded by Bing Crosby (1934).
From the wiki: “‘Let Me Call You Sweetheart’ was written by Leo Friedman with lyrics by Beth Slater Whitson. The song was published in 1910 and first recorded by Albert Clough in May, 1911. The Peerless Quartet recorded their version in November, 1911, topping the sheet music chart that year. The song was also comically sung by Oliver Hardy (with Stan Laurel playing the tuba) in the 1938 motion picture Swiss Miss.”
First recorded by Walter Scanlan (US #9 1915).
Other hit versions by Gene Austin (US #3 1928), Teddy Wilson & His Orchestra (US #6 1936), Bing Crosby (US #14 1939), Sam Donahue & His Orchestra (US #5 1945), Tommy Edwards (US #26/R&B #27/UK #29 1959).
From the wiki: “‘Melancholy Baby’ was written by Ernie Burnett with lyrics by George Norton. The song was first publicly performed (as ‘Melancholy’) in 1912 by William Frawley (‘Fred Mertz’ on I Love Lucy, and ‘Bub’ on My Three Sons). According to IMDb:
‘[Mertz] was appearing at the Mozart Cafe in Denver, Colorado. He happened to visit a pub on Curtis Street, where he knew the proprietor. Knowing Bill was looking for a new song for his act, the proprietor directed him to the pub’s back room, where Ernie Burnett and George Norton were in the process of composing ‘My Melancholy Baby’.
‘Mertz introduced the song that very night at the Mozart Cafe. In the audience was writer Damon Runyon, well known for his drinking. After Frawley introduced the song, Runyan, drunk and maudlin, repeatedly called out ‘Get Frawley to sing ‘Melancholy Baby’!’ throughout the rest of the evening. Bill sang many encores. The comedy staple of a drunk requesting ‘My Melancholy Baby’ actually has a basis in fact.’
“Forty-five years later, Frawley would record ‘My Melancholy Baby’ in 1957, for his album Bill Frawley Sings the Old Ones.
First performed by Iréne Bordoni (1928).
First recorded and released by Irving Aaronson & His Commanders (1928).
Hit versions by The Paul Whiteman Orchestra (US #5 1929), Dorsey Brothers & their Orchestra (US #9 1929).
From the wiki: “‘Let’s Do It, Let’s Fall in Love’ (also known as ‘Let’s Do It (Let’s Fall in Love)’ or simply ‘Let’s Do It’) was written in 1928 by Cole Porter. It was introduced in Porter’s first Broadway success, the musical Paris (A Play with Songs) (1928), by French chanteuse Irène Bordoni for whom Porter had written the musical as a starring vehicle. The song was later used in the English production of Wake Up and Dream (1929) and was also used as the title theme music in the 1933 Hollywood movie, Grand Slam.
“Irving Aaronson & His Commanders (who also performed as the ‘house band’ for the Broadway production of Paris) was the first group to release a commercial recording, in October 1928 on the Victor label. The following year, a young Bing Crosby recorded two versions of ‘Let’s Do It’ for two different but popular bands. The first was an uncredited performance in 1929 with The Paul Whiteman Orchestra. Crosby’s subsequent recording later that year with the Dorsey Brothers, however, did list him on the label as the featured vocalist.
First recorded (as “One Horse Open Sleigh” in the medley “Sleigh Ride Party”) by The Edison Male Quartette (1898).
Popular versions by The King Cole Trio (1938), Glenn Miller & His Orchestra (US #5 1941), Bing Crosby & the Andrews Sisters (1943), Primo Scala & the Keynotes (US #10 1948), Les Paul (US #10 1951), The Hysterics (UK #44 1981).
From the wiki: “James Lord Pierpont’s 1857 composition ‘Jingle Bells’ became one of the most performed and most recognizable secular holiday songs ever written, not only in the United States, but around the world. In recognition of this achievement, James Lord Pierpont was voted into the Songwriters Hall of Fame.
“Pierpont wrote it in the 1850s in Medford, Massachusetts as ‘The One-horse Open Sleigh’ for the choir of the First Unitarian Church, where his father was pastor. The choir introduced the new song during a Thanksgiving Day service; there was not a single reference to Christmas in the original lyrics. But, due to the public’s enthusiasm, the performance was renewed during that same year’s Christmas celebration. In 1857 the song was copyrighted as ‘The One Horse Open Sleigh’. Two years later it was first published as ‘Jingle Bells’ in Savannah, GA, where Pierpont’s brother, John, was pastor. His Unitarian Universalist Church became, and still is, locally known as ‘The Jingle Bells Church’.
First recorded by The Royal Military Band (1904).
Also recorded by The Edison Carol Singers (1905).
Popular versions by Bing Crosby (1942), Nat “King” Cole (1960), Mannheim Steamroller (1984), Garth Brooks (C&W #69 2000), MercyMe (MOR #34 2006), Barenaked Ladies & Sarah McLachlan (2010).
From the wiki: “‘God Rest You Merry, Gentlemen’, also known as ‘God Rest Ye Merry, Gentlemen’, and ‘God Rest You Merry People All’, is an English traditional Christmas carol. It was published by William B. Sandys in 1833, although the author is unknown. Like so many early Christmas songs, the carol was written as a direct reaction to the church music of the 15th century. However, in the earliest known publication of the carol, on a c. 1760 broadsheet, it is described as a ‘new Christmas carol’, suggesting its origin is actually in the mid-18th century.
“‘God Rest Yet Merry, Gentlemen’ is referred to in Charles Dickens’ A Christmas Carol: ‘…at the first sound of ‘God bless you, merry gentlemen! May nothing you dismay!’, Scrooge seized the ruler with such energy of action that the singer fled in terror, leaving the keyhole to the fog and even more congenial frost.'”
First recorded by An Anonymous Bell Ringer (1899).
Popular versions by Associated Glee Clubs of America (1925), Bing Crosby (recorded 1942| reissued 1945).
From the wiki: “‘Adeste Fideles’ is a Christmas carol which has been attributed to various authors. The English translation of ‘O Come, All Ye Faithful’ by the English Catholic priest Frederick Oakeley, written in 1841, is widespread in most English speaking countries. The 1925 recording by the Associated Glee Clubs of America was the first electrically-recorded disc recording to create a popular impact, and featured the largest choir (according to Columbia Records) popular music has ever known: some 4,800 voices.
“Bing Crosby recorded ‘Adeste Fidelis’ in 1942, for Merry Christmas. The original album consisted of ten songs (including ‘White Christmas’) on five 78 records. The 78rpm album quickly reached the top of the Billboard Best-selling popular record albums chart in 1945 and remained there for several weeks. The 1955 vinyl LP configuration is the one extant to date, consisting of the entirety of the Decca 78s plus four additional tracks.”
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.”
First recorded (as “Carol of the Drum”) by The Trapp Family Singers (1954).
Popular versions by The Harry Simone Chorale (1958), Lou Rawls (1967), Bing Crosby & David Bowie (1977).
From the wiki: “‘Little Drummer Boy’ – originally titled ‘Carol of the Drum’ – was written in 1941 by Katherine K. Davis. It was first recorded in 1954 by The Trapp Family Singers during sessions for their albums Christmas With The Trapp Family Singers and Yuletide Songs Of Many Lands, and further popularized by a 1958 recording by the Harry Simeone Chorale. The original manuscript is headed ‘Czech Carol freely transcribed by K.K.D’, these initials then deleted and replaced with ‘C.R.W. Robinson’, a name under which Davis sometimes published. Although Davis did search far and wide for suitable material, the Czech original has never been identified, though the style is comparable with the Czech ‘Rocking Carol’. ‘Carol of the Drum’ appealed to the Austrian Trapp Family Singers, who first brought the song to wider prominence when they recorded it in 1955, shortly before they retired.”
First recorded (as “Stille Nacht, Heilige Nacht”) by Trompeter Quartett (1892).
First English-language recording by Edison Male Quartette (1905).
Popular versions by Paul Whiteman & His Orchestra (US #6 1928), Bing Crosby (US #16 1942), The Ravens (R&B #8 1948), Simon & Garfunkel (as “7 O’Clock News/Silent Night”, 1966).
From the wiki: “‘Silent Night’ (German: ‘Stille Nacht, Heilige Nacht’) is a popular Christmas carol, composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr in the small town of Oberndorf bei Salzburg, Austria. It was declared an intangible cultural heritage by UNESCO in March 2011. ‘Stille Nacht’ was first performed on Christmas Eve 1818 at St Nicholas parish church in Oberndorf, a village on the Salzach river. In 1859, the Episcopal priest John Freeman Young, then serving at Trinity Church, New York City, published the English translation that is most frequently sung today.
Co-written and first recorded (as an instrumental) by Hoagy Carmichael (1927).
Hit versions by Irving Mills & His Hotsy Totsy Gang (US #20 1929), Isham Jones & His Orchestra (US #1 1930), Bing Crosby (US #5 1931), Louis Armstrong (US #16 1931), Frank Sinatra with The Tommy Dorsey Orchestra (US #7 1941), Nat “King” Cole (US #79/UK #24 1957), Billy Ward & His Dominoes (US #12/R&B #5/UK #13 1957), Nino Tempo & April Stevens (US #32 1964).
Also recorded by Jon Hendricks (1990).
From the JazzStandards.com: “On October 31, 1927, Hoagy Carmichael and His Pals recorded ‘Stardust’ at the Gennett Records studio in Richmond, Indiana. Hoagy’s ‘pals,’ Emil Seidel and His Orchestra, agreed to record the medium-tempo instrumental in between their Sunday evening and Monday matinee performances in Indianapolis, seventy miles away. In 1928 Carmichael again recorded ‘Stardust,’ this time with lyrics he had written, but Gennett rejected it because the instrumental had sold so poorly. The following year, at Mills Music, Mitchell Parish was asked to set lyrics to coworker Carmichael’s song. The result was the 1929 publication date of ‘Star Dust’ with the music and lyrics we know today.
“According to the Carmichael, inspiration for the song struck while visiting his old university campus. Sitting on a wall reminiscing about the town, his college days, and past romances, he looked up at the starlit sky and whistled ‘Star Dust’. Richard Sudhalter’s biography ( Stardust Melody: The Life and Music of Hoagy Carmichael) contends that the melody may have begun with fragments, evolving over months and maybe years, but Carmichael preferred to perpetuate a myth that sweet songs are conceived in romantic settings.
First recorded by Ben Bernie & His Hotel Roosevelt Orchestra (US #1 1925).
Also recorded by Ethel Waters (US #6 1925), Isham Jones & His Orchestra (US #5 1925), Red Nichols & His Orchestra (1930).
Best-known recordings by Bing Crosby (US #5 1932), Stéphane Grappelli & Django Reinhardt (1938), Brother Bones & His Shadows (US #10/R&B #9 1948), Tony Sheridan & The Beat Brothers (1962).
From the wiki: “”Sweet Georgia Brown” is a Jazz standard and Pop tune written in 1925 by Ben Bernie, Maceo Pinkard (music) and Kenneth Casey (lyrics). It is believed Ben Bernie came up with the concept for the song’s lyrics – although he is not the accredited lyricist – after meeting Dr. George Thaddeus Brown in New York City: Dr. Brown, a longtime member of the State House of Representatives for Georgia, told Bernie about Dr. Brown’s daughter Georgia Brown and how subsequent to the baby girl’s birth on August 11, 1911 the Georgia General Assembly had issued a declaration that she was to be named Georgia after the state, an anecdote which would be directly referenced by the song’s lyric: ‘Georgia claimed her – Georgia named her.’ The tune was first recorded in March 1925 by Bernie & his Hotel Roosevelt Orchestra, resulting in a five-week run at #1.
First performed by Fred Astaire (1936).
First commercial release by Bing Crosby & Dixie Lee (1936).
Also recorded by Billie Holiday (1936), The Jaguars (1956).
Hit versions by Fred Astaire (US #1 1936), The Lettermen (US #13/UK #36 1961).
From the wiki: “‘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’featured in the film Swing Time, first performed by Fred Astaire, winning the Academy Award for Best Original Song in 1936.
” ‘The Way You Look Tonight’ would be first released commercially in 1936 as a duet between Bing Crosby and his then-wife Dixie Lee. Fred Astaire followed up with his 78 rpm recording on the Brunswick label, backed by the Johnny Green Orchestra, that would top the Hit Parade.
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