Inspired by “Heart & Soul” by Hoagy Carmichael & Frank Loesser (1938).
Hit version by Train (US #41/UK #21/AUS #8 2016).
From the wiki: “‘Play That Song’ incorporates the melody of ‘Heart and Soul‘, written in 1938 by Hoagy Carmichael and Frank Loesser. They are credited as ‘Play That Song’ writers, alongside Train lead singer Patrick Monahan and producer William Wiik Larsen.
“The original recording of ‘Heart and Soul’ was performed by Larry Clinton & his Orchestra featuring Bea Wain, one of three versions that would chart in 1939: Larry Clinton (reaching #1 on the chart), Eddy Duchin (reaching #12), and Al Donahue (reaching #16). ‘Heart and Soul’ later charted as #11 in 1952 by The Four Aces with the Jack Pleis Orchestra. The Cleftones charted a rock ‘n roll version of the song in 1961, a recording that was also popularly used in the 1972 movie American Graffiti.
“‘Play That Song’ was released on September 29, 2016 as the lead single from Train’s tenth studio album A Girl, a Bottle, a Boat (2017). The song has peaked at #41 on the US Billboard Hot 100 but became a Top-10 hit in Australia.”
First recorded by Larry Clinton & His Orchestra with Bea Wain (US #1 February 1938).
Other hit versions by Eddy Duchin (US #12 1939), Al Donahue & His Orchestra (US #16 1939), The Four Aces (US #11 1952), Jan & Dean (US #25 1961), The Cleftones (US #18 1961).
From the wiki: “‘Heart and Soul’ was written by Hoagy Carmichael (‘Stardust‘, ‘Georgia on My Mind‘) with lyrics by Frank Loesser and first recorded in 1938 by Larry Clinton & His Orchestra featuring Bea Wain. In 1939, three versions charted: Larry Clinton (reaching #1 on the chart), Eddy Duchin (reaching #12), and Al Donahue (reaching #16).
“The Four Aces covered and charted ‘Heart and Soul’ in 1952; two different cover versions charted in 1961, with Jan & Dean reaching #25 and The Cleftones reaching #18. The Cleftones’ recording became more widely and popularly known after it was used in the 1972 movie American Graffiti, and was included on the soundtrack album.
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.
Co-written and first recorded by Hoagy Carmichael & His Orchestra (1930).
Hit versions by Frankie Trumbauer (1931), Ray Charles (US #1/R&B #3/UK #24 1960).
Also recorded by The Band (1977).
From the wiki: “Written in 1930 by Hoagy Carmichael (music) and Stuart Gorrell (lyrics). Gorrell wrote the lyrics for Hoagy’s sister, Georgia Carmichael. However, the lyrics of the song are ambiguous enough to refer either to the state or to a woman named ‘Georgia’.
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