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 “I’ve Got The Love-sick Blues”) by Elsie Clark (1922).
Also recorded by Jack Shea (1922), Emmett Miller & His Georgia Crackers (1928), Rex Griffin (1939).
Hit versions by Hank Williams (US #24/C&W #1 1949), Frank Ifield (US #44/UK #1 1962).
From the wiki: “First published as ‘I’ve Got The Love-sick Blues’ and introduced by Vaudeville singer Anna Chandler in the musical Oh, Ernest, ‘Lovesick Blues’ was first recorded by Elsie Clark in a March 1922 for OKeh Records, then was covered by Jack Shea for Vocalion Records later the same year. In 1928, ‘Lovesick Blues’ was covered by Emmet Miller (accompanied by his ‘Georgia Crackers’, including Tommy Dorsey, Jimmy Dorsey, Eddie Lang, and Leo McConville) and, in 1939, by Country singer Rex Griffin.
“The recordings by Miller and Griffin would inspire Hank Williams to perform the song during his first appearances on The Louisiana Hayride in 1948. Receiving an enthusiastic reception by the audience, Williams decided to record his own version despite an initial push-back from his producer Fred Rose and his band.
“Williams’ recording would go on to become one of the biggest country hits ever – spending 16 weeks at #1 in 1949. Co-writer Irving Mills also wrote ‘It Don’t Mean A Thing If It Ain’t Got That Swing’, ‘Mood Indigo’ and ‘Caravan‘ in partnership with Duke Ellington. The other co-author, Cliff Friend, sold his share for $500 during the Depression.”
First recorded by The Benny Carter Orchestra (1941).
Hit versions by Vaughn Monroe (US #1 1945), Jimmy Dorsey & His Orchestra (US #8 1945), The Modernaires (US #11 1945), Sam Cooke (US #81/R&B #25 1959), Bobby Vinton (US#1/UK #34 1963).
From the wiki: “‘There! I’ve Said It Again’ was written by Redd Evans and David Mann – popularized originally by Vaughn Monroe (with the Norton Sisters) in 1945, along with other charting versions by Jimmy Dorsey, and the Modernaires.
“Sam Cooke charted in lower reaches of the Hot 100 in 1959 with his arrangement. But, it was the late 1963 single release by Bobby Vinton that returned ‘There! I’ve Said It Again’ back to the top of the national charts. Vinton would remain #1 on the Billboard Hot 100 chart for four weeks in January 1964 before being displaced by an import from England. ‘There! I’ve Said It Again’ gained the auspicious claim of being the last #1 on the Billboard Hot 100 before the Beatles’ scored their first #1 with ‘I Want to Hold Your Hand’, changing the course of music history – and dominating the Hot 100 the remainder of 1964.”
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.”
First recorded by Emilio Tuero (1941).
Hit versions by Jimmy Dorsey & His Orchestra (US #1 1944), Lucho Gatica (1953), The Coasters (US #70 1960), The Beatles (1962|1969).
From the wiki: “‘Besame Mucho’ (‘Kiss Me Much’) was written in 1940 by Mexican songwriter Consuelo Velázquez. According to Velázquez herself, she wrote this song even though she had not yet ever been kissed at the time; she’d heard kissing was considered a sin. ‘Besame Mucho’ has since become of the most famous boleros, and was recognized in 1999 as the most sung and recorded Mexican song in the world. Emilio Tuero was the first to record the song, but the Lucho Gatica recording in 1953 made the song world-famous.
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