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 recorded by Hayden Quartet (1901).
Hit versions by Alma Gluck & the Orpheus Quartet (US #10 1919), Vipers Skiffle Group (1955), Duane Eddy (as “Bonnie Come Back”, US #23/UK #12 1960), Tony Sheridan & the Beat Brothers (as “My Bonnie”, GER #5 1961 |UK #48 1963 |US #26 1964), Bonnie Brooks (as “Bring Back My Beatles (to Me)”, 1964).
From the wiki: “In 1881, under the duo of pseudonyms H.J. Fuller and J.T. Wood, Charles E. Pratt published sheet music for ‘Bring Back My Bonnie to Me’. The first recording of the song was done in 1901 by the Hayden Quartet. Alma Gluck charted with her 1919 recording. A Duane Eddy rock ‘n roll instrumental cover in 1960 charted in both the UK and the US.
“‘My Bonnie …’ became a part of the UK skiffle craze repertoire in the mid-1950s when recorded by Vipers Skiffle Group in 1955. In popular culture, though, the song is now best remembered as the one that caught Brian Epstein’s attention in 1962: the 1961 recording by Tony Sheridan backed by the Beatles (recording as ‘The Beat Brothers’). The Beatles were familiar with the Vipers’ recordings, having themselves evolved from the Liverpool skiffle group, the Quarrymen, and would go on to record another Vipers song in 1969 – Maggie May – that would appear on the album Abbey Road.
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