Songs with Earlier Histories Than the Hit Version

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Category: 1920s

Bonaparte’s Retreat

First recorded by A.A. Gray (1924).
Also recorded by Crockett’s Kentucky Mountaineers (1927), William Hamilton Stepp (1937).
Hit versions by Pee Wee King & His Golden Western Cowboys (C&W #10 1949), Kay Starr (US #4 1950), Billy Grammer (US #50 1959), Glen Campbell (C&W #3/CAN #1 1974).

From the wiki: “‘Bonaparte’s Retreat’ is the name of two related songs. The original was a wordless melody that existed as various fiddle tunes dating back to at least the late 19th century and probably well before that. In 1950, American country music artist Pee Wee King recorded a modified version of the song, with lyrics added. The song has become associated with American old-time and bluegrass music, and is considered to be a staple in the traditional American songbook. The title originates from Napoleon Bonaparte’s famous retreat from Russia in 1812, and the song is believed to have first been written in the aftermath of that event.

“Fiddler A. A. Gray recorded the song in 1924. In 1937, American ethnomusicologist Alan Lomax, while traveling through Kentucky, recorded violinist William Hamilton Stepp playing ‘Bonaparte’s Retreat’. This recording was inducted in 2016 into the Library of Congress’s National Recording Registry.

Wabash Cannonball (or Wabash Cannon Ball)

First recorded by Hugh Cross (1929).
Also recorded by The Carter Family (1929, released 1932).
Hit version by Roy Acuff & His Crazy Tennesseeans (1936).
Also performed by Woody Guthrie (1944).
Also recorded by Roy Acuff & His Smoky Mountain Boys (1947), Bill Haley (as “Jukebox Cannonball” 1952), Lonnie Donegan (as “Grand Coulee Dam” UK #6 1956).

From the wiki: “J.A. Roff’s 19th-century train song ‘The Great Rock Island Route’ was rewritten in 1904 by William Kindt as ‘Wabash Cannon Ball’, and though the famed Carter Family is sometimes cited as the first to record it (with A.B. Carter credited as composer), an arrangement by Hugh Cross & his guitar was put to wax more than seven months before theirs … and which was released three years prior to the release of the Carter Family recording.

“The artist most commonly associated with the song is Roy Acuff & His Crazy Tennesseeans whose first recording of ‘Wabash Cannonball’ was made in 1936 and released in December 1938. Crazy Tennesseean member Sam ‘Dynamite’ Hatcher was the actual vocalist on the recording, but it was Acuff’s imitation of a train whistle, something he said he learned while working for the L & N Railroad, that made the recording so iconic. Acuff would himself record a vocal version of ‘Wabash Cannonball’ in 1947.

Keep A-Knockin’

First recorded (as “Keep A-Knockin’ An You Can’t Get In”) by James “Boodle It” Wiggins (February 1928), and (as “You Can’t Come In”) Bert Mays (October 1928).
Other versions by Lil Johnson (as “Keep on Knocking” 1935), Milton Brown & His Musical Brownies (as “Keep a Knockin'” 1936), Bob Wills & His Texas Playboys (as “Keep Knockin’ (But You Can’t Come In)” 1938), Louis Jordan & His Tympany Five (as “Keep A-Knockin'” 1939).
Hit version by Little Richard (US #8/R&B #2/UK #21 1957).

From the wiki: “‘Keep A-Knockin” has one of those confounding origin pedigrees more common than not in the early days of recorded music. Several recordings used similar lyrics and similar melody, with a baffling merry-go-round of credits … or non-credits.

“In 1928, a few months apart, James ‘Boodle It’ Wiggins and Bert Mays, each independent of the other, recorded the similarly-titled and similarly-sounding songs ‘Keep a-Knockin’ An You Can’t Get It’ and ‘You Can’t Come In’ – but neither recording listed a writer’s credit. This was followed by recordings in the 1930s by Lil Johnson, Milton Brown, and Bob Wills, respectively titled ‘Keep on Knocking’ (credited to Wiggins), ‘Keep a Knockin” (uncredited), and ‘Keep Knockin’ (But You Can’t Come In) (uncredited)’.

Right or Wrong

First recorded by Mike Markel and His Orchestra (1922).
Also recorded by The Original New Orleans Jazz Band (1925), Art “The Whispering Pianist” Gilham (1926), The Golden Gate Orchestra feat. Scrappy Lambert (1927), Emmett Miller and the Georgia Crackers (1929), Milton Brown & His Musical Brownies (1936), Bob Wills & His Texas Playboys (1937).
Hit version by George Strait (C&W #1/CAN #1 1984).

From the wiki: “‘Right or Wrong’ first came into being as a jazz ballad in 1921. Composed by Arthur Sizemore and Paul Biese, with words by Haven Gillespie, the song was described by the original sheet music as ‘a beautiful fox-trot ballad.’

“‘Right or Wrong’ was recorded by many early jazz and swing orchestras. The earliest known recording is by Mike Markel and His Orchestra the same year the song was published (1921). Other early, and varied, arrangements were recorded by the Original New Orleans Dixie Jazz Band (1925), Scrappy Lambert (1927), and Peggy English (1928). But the arrangement with the longest lasting influence was recorded by Emmett Miller and the Georgia Crackers in 1929. Miller was an American minstrel show performer (often performing in blackface, which accounts for his obscurity today) and recording artist known for his falsetto, yodel-like voice.

“Miller’s singing style – the odd nasal pitch tone, along with the breaking of lines and bars in a song into a high yodel-like yelp – has been imitated by scores of singers since he first began to record in 1924. Jimmie Rodgers, Gene Autry, Lefty Fritzell, Tommy Duncan, Woody Guthrie, Howlin’ Wolf, Leon Redbone, and Bob Dylan have all been influenced by Miller’s one-of-a-kind vocal abilities. Of equal importance was Miller’s visionary fusion of blues and jazz, country and swing, black and white, comedy and crooning. His Georgia Crackers band, too, served as something of an incubator. Members at the time Miller recorded ‘Right or Wrong’ included Tommy Dorsey, Jimmy Dorsey, Gene Krupa, and Eddie Lang.

Just a Gigolo

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.

Side by Side

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.

It Had to Be You

First recorded by Sam Lanin & His Roseland Orchestra (1924).
Hit versions by Isham Jones (US #1 1924), Dick Haymes & Helen Forrest with Victor Young & His Orchestra (US #4 1944).
Also recorded by Harry Connick Jr. (1989).

From the wiki: “‘It Had to Be You’ was written by Isham Jones, with lyrics by Gus Kahn. Jones and Kahn wrote the tune in 1924, shortly after Jones’ wife bought him a baby grand piano for his 30th birthday and he stayed up all night noodling around until he came up with a few melodies, one of them being ‘It Had To Be You.’ Composer Johnny Mercer, no slouch himself at writing lyrics (‘Blues in the Night‘, ‘Jeepers Creepers‘, ‘Satin Doll’), has called ‘It Had to Be You’ the ‘greatest popular song ever written.’

“The first recording of the song occurred on March 20, 1924 and was produced by Sam Lanin & His Roseland Orchestra. Jones’ own recording, produced on April 24, 1924, became a #1 hit later that year. The song charted again in 1944, recorded by Dick Haymes and Helen Forrest with the Victor Young orchestra.

Body and Soul

First recorded by Jack Hylton (Feb 1930).
Hit versions by Libby Holman (US #3 1930), Paul Whiteman & His Orchestra (US #1 1930), Louis Armstrong (US #7 1930), Tony Bennett & Amy Winehouse (US #87 2011).
Also recorded by Coleman Hawkins (1939), Billie Holiday (1957).

From the wiki: “The popular jazz standard, ‘Body and Soul’, was written in 1930 by Johnny Green (music) with lyrics by Edward Heyman, Robert Sour and Frank Eyton. It was composed in New York City for the British actress and singer Gertrude Lawrence, who introduced it first on stage to London audiences. ‘Body and Soul’ would also be first recorded in London by the orchestra of Jack Hylton, the ‘British King of Jazz’, on February 7, 1930.

“In the US, the song was first performed on stage by Libby Holman in 1930 Broadway revue, Three’s a Crowd. The tune grew quickly in popularity and, by the end of 1930, at least 11 American bands had recorded it, including a release by Holman with the Brunswick Records studio orchestra. The Paul Whiteman Orchestra, featuring Jack Fulton on vocals, recorded the most popular version; Louis Armstrong would the first jazz musician to record ‘Body and Soul’, in October 1930.

When the Levee Breaks

First recorded by Kansas Joe McCoy & Memphis Minnie (1929).
Hit album version by Led Zeppelin (1971).

From the wiki: “The blues song ‘When the Levee Breaks’ was written and first recorded by husband and wife Kansas Joe McCoy and Memphis Minnie in 1929, in reaction to the upheaval caused by the Great Mississippi Flood of 1927 that ravaged the state of Mississippi and surrounding areas. The flood destroyed tens of thousands of homes and devastated the agricultural economy of the whole Mississippi Basin, forcing people to flee to the cities of the Midwest in search of work and contributing to the ‘Great Migration’ of African Americans to the industrial North in the first half of the 20th century.

“The song was re-worked in 1971 by UK rock group Led Zeppelin, and released as the final track on Led Zeppelin IV. According to Led Zeppelin guitarist and producer Jimmy Page, the famous drum performance of John Bonham was a happy accident:

Yes! We Have No Bananas

First recorded by Edward Furman & William Nash (1923).
Hit versions by Billy Jones (US #1 1923), Selvin’s Orchestra (US #1 1923), The Great White Way Orchestra (US #3 1923).
Also recorded by Spike Jones & His City Slickers (1950), Louis Prima & Keely Smith (1950).
Also recorded (as “I’ve Got the Yes! We Have No Bananas Blues”) by Eddie Cantor (US #2 1923).

From the wiki: “‘Yes! We Have No Bananas’ is a novelty song by Frank Silver and Irving Cohn published July 19, 1923. The song title was inspired by the yell of a Long Island fruit salesman.

“First introduced by both authors (as Frank Silver’s Music Masters) in a Long Island roadhouse, then later in Murray’s restaurant in New York, ‘Yes, We Have No Bananas’ was widely popularized on stage by Eddie Cantor in his revue Make It Snappy. The song was first recorded in 1923 by Edward Furman & William Nash. Nationally popular recordings were also released in 1923 by Billy Jones, Ben Selvin, and The Great White Way Orchestra, and others, before Cantor released a popular parody titled ‘I’ve Got the Yes! We Have No Bananas Blues’. Covers of ‘Yes! We Have No Bananas’ were recorded a decade later by Benny Goodman & His Rhythm Makers (1935), and in 1950 by Spike Jones & His City Slickers (1950), and Louis Prima & Keely Smith (1950).

“In his book, A History Of Popular Music In America, Sigmund Spaeth noticed a striking similarity between the melodies of ‘My Bonnie Is Over The Ocean’ and Händel’s ‘Hallelujah Chorus’. Try for yourself: ‘Hallelujah bananas, oh bring back my Bonnie to me.’ No wonder Spike Jones & His City Slickers cut a version.”

Ain’t Misbehavin’

First released by The Charleston Chasers (1929).
Hit versions by Leo Reisman & His Orchestra (US #2 1929), Louis Armstrong’s Hot Five (US #7 1929), Bill “Bojangles” Robinson (US #8 1929), Fats Waller (US #17 1929 |1943), The Teddy Wilson Quartet (US #6 1937), Dinah Washington (R&B #6 1948), Johnnie Ray (UK #17 1956), Tommy Bruce & the Bruisers (UK #3 1960), Hank Williams, Jr. (C&W #1 1986).
Also recorded by King Cole Trio & Anita O’Day (1945), Bill Haley & His Comets (1957), Sam Cooke (1958), Leon Redbone (1975).

From the wiki: “With lyrics by Andy Razaf and score by Thomas ‘Fats’ Waller and Harry Brooks, ‘An’t Misbehavin” was created specifically as a theme song for the Razaf/Waller/Brooks Broadway musical comedy Connie’s Hot Chocolates. In a 1941 interview with Eddie ‘Rochester’ Anderson, of The Jack Benny Show fame, Fats said the song was written while ‘lodging’ in alimony prison, and that is why he was not ‘misbehavin’.’

“The song was first performed at the premiere of Connie’s Hot Chocolates at Connie’s Inn in Harlem as an opening number by Margaret Simms and Paul Bass, and repeated later in the musical by Russell Wooding’s Hallelujah Singers. Connie’s Hot Chocolates transferred to the Hudson Theatre on Broadway in June 1929, where it was renamed to Hot Chocolates and where Louis Armstrong took over as orchestra director. The script also required Armstrong to play ‘Ain’t Misbehavin” in a trumpet solo, and although this was initially slated to only be a reprise of the opening song, Armstrong’s performance was so well received that the trumpeter was asked to climb out of the orchestra pit and play the piece on stage.

Pass Me By

First performed by Digby Wolfe (1964).
Also recorded by Frank Sinatra (1964).
Popular version by Peggy Lee (US #93/MOR #19 1965).

(Above): Opening credits clip from ‘Father Goose’.

From the wiki: “‘Pass Me By’ was composed by Cy Coleman with lyrics by Carolyn Leigh for the 1964 romantic comedy film Father Goose, set in World War II, starring Cary Grant. The film would go on to win an Academy Award for its screenplay. Although ignored by Oscar, the film’s theme song, ‘Pass Me By’, would later become a hit for Peggy Lee.

“Digby Wolfe, the original performer of ‘Pass Me By’, was an English television and film actor, screenwriter and university lecturer in dramatic writing. Among his writing credits was a stint in the early ’60s as a writer on the seminal TV satirical review That Was the Week That Was. After migrating the US in 1964, Wolfe expanded his television writing credits to include The Monkees, Bewitched, I Dream of Jeannie, and The Munsters. He also became one of the staff writers for Rowan and Martin’s Laugh-in (for which he won an Emmy in 1968) and The Goldie Hawn Special (1978), as well as writing material for Shirley MacLaine, John Denver, Cher, and Jackie Mason.

When the Saints Go Marching In

First recorded by The Paramount Jubilee Singers (1923).
Hit versions by Louis Armstrong (US #10 1939), The Weavers (US #27 1951), Percy Faith & His Singers (US #29 1951), Bill Haley & His Comets (as “The Saints Rock ‘n Roll” US #18/UK #5 1956), Fats Domino (US #50 1959).
Also recorded by The Million Dollar Quartet (1956), Tony Sheridan & The Beat Brothers (1961).

From the wiki: “‘When the Saints Go Marching In’, often referred to as ‘The Saints’, is an American gospel hymn. According to jazz critic Al Rose this tune was first published as a Baptist hymn in 1916 and credited to Edward Boatner, the man behind religious-classic ‘He’s Got The Whole World In His Hands’. Though it originated as a Christian hymn, it is often played by jazz bands. This song was famously recorded on May 13, 1938 by Louis Armstrong and his Orchestra.

“The first known recorded version was in 1923 by the Paramount Jubilee Singers on Paramount 12073. Although the title given on the label is ‘When All the Saints Come Marching In’, the group sings the modern lyrics beginning with “When the saints go marching in”. No author is shown on the label. The earliest versions were slow and stately, but as time passed the recordings became more rhythmic. Louis Armstrong was one of the first to make the tune into a nationally known Pop tune in the 1930s. (Armstrong wrote that his sister told him she thought the secular performance style of the traditional church tune was inappropriate and irreligious.)

Ain’t She Sweet

First recorded by Lou Gold & His Orchestra (1926).
Hit versions by Ben Bernie & His Hotel Roosevelt Orchestra (US #1 1927), Johnny Marvin (US #14 1927), Gene Austin (US #4 1927), Mr. Ford & Mr. Goon-Bones (US #14 1947), The Beatles (recording as “The Beat Brothers”, 1961 |US #19/UK #29 1964).
Also recorded by Gene Vincent (1956), Duffy Power (1959), The Beatles (1969).

From the wiki: “‘Ain’t She Sweet’ was composed by Milton Ager (music) and Jack Yellen (lyrics). Ager wrote the song for his daughter Shana Ager, who in her adult life was known as the political commentator Shana Alexander. ‘Ain’t She Sweet’ became popular in the first half of the 20th century as one of the hit songs that typified the Roaring Twenties. Like ‘Happy Days Are Here Again’ (1929), it became a Tin Pan Alley standard. Both Ager and Yellen were later elected to membership in the Songwriters Hall of Fame.

Blue Skies

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.

Beale Street Blues

First recorded by Prince’s Band (1917).
Popular versions by W.C. Handy (1917), Marion Harris (1921), Jelly Roll Morton (1926), Fats Waller & Alberta Hunter (1927), “Big” Joe Turner (1940), Louis Armstrong (1954), Ella Fitzgerald (1958).

From the wiki: “‘Beale Street Blues’ was written in 1917 by American composer and lyricist W.C. Handy. The title refers to Beale Street in Memphis, Tennessee, the main entertainment district for the city’s African American population in the early part of the twentieth century, and a place closely associated with the development of the Blues.

“‘Beale Street Blues’ was popularized for an audience when sung on Broadway by Gilda Gray in the 1919 musical revue Schubert’s Gaieties but first gained mass circulation when Prince’s Band recorded the song for Columbia Records in 1917. One of the earliest vocal arrangements of ‘Beale Street Blues’ was recorded by Marion Harris in 1921.

Sugar Blues

First recorded by Leona Williams & Her Dixie Band (1922).
Popular versions by Clyde McCoy (US #2 1931), Fats Waller (1935), Bob Wills & His Texas Playboys (1936), Ella Fitzgerald & the Chick Webb Orchestra (1940), Johnny Mercer (US #4 1947).

From the wiki: “‘Sugar Blues’ was written in 1920 by Clarence Williams and recorded for the first time by Leona Williams (no relation) and Her Dixie Band in 1922. The song was made popular by Clyde McCoy in 1931, featuring the sound of the growling wah-wah mute. McCoy recorded it no less than four times, and it became his trademark song.

“‘Sugar Blues’ would also be recorded by Fats Waller (1935), Bob Wills and his Texas Playboys (1936), and Ella Fitzgerald (1940), and chart again on the Hit Parade in 1947 with a vocal cover by noted songwriter-lyricist Johnny Mercer (‘Satin Doll’, ‘Fools Rush In‘, ‘Jeepers Creepers‘).”

My Babe

First recorded (as “Dis Train”) by The Florida Normal and Industrial Institute Quartette (1924).
Also recorded (as “This Train”) by Sister Rosetta Tharpe (1939).
Hit version adapted by Willie Dixon and recorded (as “My Babe”) by Little Walter & His Jukes (R&B #1 1955).
Also recorded (as “My Babe”) by Cliff Richard (1959), The Uniques (1969), Willie Dixon (1970).

From the wiki: “‘My Babe’ was based on the traditional Gospel song ‘This Train (Is Bound For Glory)’, first recorded in 1924 by The Florida Normal and Industrial Institute Quartette. It was also first recorded by Sister Rosetta Tharpe as ‘This Train’ in 1939; a second version would be recorded by Tharpe in 1947 with the Sam Price Trio.

“‘My Babe’ was written by Willie Dixon (‘Hoochie Coochie Man’, ‘Spoonful’, ‘Little Red Rooster‘) for Little Walter. Dixon reworked the Gospel arrangement and lyrics from the sacred (the procession of saints into Heaven) into the secular (a story about a woman who won’t stand for her man to cheat): ‘My baby, she don’t stand no cheating, my babe, she don’t stand none of that midnight creeping.’

“Released in 1955 on Checker Records, the song was the only Dixon composition ever to become a #1 R&B single, one of the biggest hits of either of Dixon’s or Walter’s careers. Backing Little Walter’s vocals and harmonica were Robert Lockwood, Jr. and Leonard Caston on guitars, Willie Dixon on double-bass, and Fred Below on drums.

Going Up the Country

First recorded (as “Bull Doze Blues”) by Henry Thomas (1928).
Hit version by Canned Heat (US #11 1969).

From the wiki: “Canned Heat, who were early Blues enthusiasts, based ‘Going Up the Country’ on ‘Bull Doze Blues’, recorded in Chicago for Vocalion Records in 1928 by Texas bluesman Henry Thomas. Thomas was from the songster tradition and had a unique sound, sometimes accompanying himself on quills, an early Afro-American wind instrument similar to panpipes.

“For Canned Heat’s recording ‘Going Up the Country’, Alan Wilson used Thomas’ melody on the quills and his basic rhythm, but re-arranged it for a rock setting and rewrote the lyrics; multi-instrumentalist Jim Horn reproduced Thomas’ quill parts on the flute.

Frankie and Johnny

First recorded (as “Frankie and Johnnie”) by Gene Greene & Charley Straight (1912).
First US recording by Al Bernard (1921).
Also recorded by Mississippi John Hurt (1928), Mae West (1933).
Popular versions by Ted Lewis & His Band (US #9 1927), Brook Benton (US #20/MOR #6/R&B #14 1961), Mr. Acker Bilk (UK #42 1962), Sam Cooke (US #14/MOR #2/R&B #4/UK #30 1963), Elvis Presley (US #25/UK #21 1966).

From the wiki: “The song ‘Frankie and Johnny’ (sometimes spelled ‘Frankie and Johnnie’; also known as ‘Frankie and Albert’ or just ‘Frankie’) was inspired by one or more actual murders. One took place in St. Louis, Missouri, in 1899 when Frankie Baker, a 22-year-old woman, shot her 17-year-old lover Allen (also known as ‘Albert’) Britt in the abdomen. The song has also been linked to Frances ‘Frankie’ Stewart Silver, convicted in 1832 of murdering her husband Charles Silver in Burke County, North Carolina. Popular St Louis balladeer Bill Dooley composed ‘Frankie Killed Allen’ shortly after the Baker murder case. The first published version of the music to ‘Frankie and Johnny’ appeared in 1904, credited to and copyrighted by Hughie Cannon, the composer of ‘Won’t You Come Home Bill Bailey’.

“In 1934, John A. & Alan Lomax counted some 300 published versions in their American Ballads And Folk Songs. Comment of the Lomaxes: ‘No one has ever publicly heard the same version twice, unless from two convict performers who shared the same cell for years.’ These 300 variations begged for a doctorate’s degree paper, finally written by Bruce Buckley who makes a clear distinction between the Frankie & Albert’s following the St. Louis facts and the more popular fantasy variation, ‘Frankie & Johnny’, published in 1912.

Midnight Special

First recorded (as “Pistol Pete’s Midnight Special”) by Dave Cutrell (1926).
Also recorded (as “The Midnight Special Blues”) by Sam Collins (1927).
Hit versions by Lead Belly (1934), Wilma Lee & Stoney Cooper (C&W #4 1959), Paul Evans (US #16/UK #41 1960), Johnny Rivers (US #20/CAN #36/AUS #86 1965).
Also recorded by Harry Belafonte (1962), Creedence Clearwater Revival (1969).

From the wiki: “‘Midnight Special’ was first commercially recorded on the OKeh label in 1926 as ‘Pistol Pete’s Midnight Special’ by Dave ‘Pistol Pete’ Cutrell (a member of McGinty’s Oklahoma Cow Boy Band). (In March 1929, the band, now named ‘Otto Gray and the Oklahoma Cowboys’, recorded the song again, this time with the traditional title using only the traditional lyrics.)

“Sam Collins recorded the song commercially in 1927 under the title ‘The Midnight Special Blues’ for Gennett Records. Collins’ version also follows the traditional style but his recording was the first to name the woman in the story, Little Nora, and he was the first singer to refer to the Midnight Special’s ‘ever-living’ light. In 1934 Huddie William ‘Lead Belly’ Ledbetter recorded a version of the song at Angola Prison for John and Alan Lomax, who mistakenly attributed it to him as the author. Ledbetter recorded at least three versions of the song, including one in 1940 with the Golden Gate Quartet, a gospel group.

The Peanut Vendor

First recorded (as “El manisero”) by Rita Montaner con Orquesta (1927).
Hit versions by Don Azpiazu & His Havana Casino Orchestra (US #1 1930), Louis Armstrong (US #15 1930), Red Nichols & His Five Pennies (US #5 1931), The California Ramblers (US #5 1931), Stan Kenton & His Orchestra (US #1 1947).
Also recorded by Stan Kenton (1956 |1959), by Stan Kenton & June Christy (1960).

From the wiki: “‘El manisero’, known in English as ‘The Peanut Vendor’, is a Cuban son-pregón composed by Moisés Simons. Together with ‘Guantanamera’, it is arguably the most famous piece of music created by a Cuban musician. ‘The Peanut Vendor'” has been recorded more than 160 times, sold over a million copies of the sheet music, and was the first million-selling 78 rpm of Cuban music. Its success was far-reaching, directly leading to the ‘Rumba craze’ in the US and Europe which lasted through the 1940s.

Jolé Blon

First recorded (as “Ma blonde est partie”) by Amede, Ophy & Cleoma Breaux (1929).
Hit version by Red Foley (C&W #1 1947).
Also recorded by Waylon Jennings (1958), Bruce Springsteen & the E Street Band (1980), Gary “U.S.” Bonds (1981).

From the wiki: “‘Jolé Blon’ is a traditional Cajun waltz, often called ‘the Cajun national anthem’ because of the popularity it had in Cajun culture’; is considered to be the very first Cajun recording. The song was then later popularized on a nationwide scale by a series of renditions and references in late 1940s country songs. There is some mystery to the song’s origin: According to Cleoma Breaux’s daughter, while Amede Breaux is credited with writing the song, it was his sister, Cleoma, who actually wrote the lyrics and Amede sang the song. Dennis McGee claims the original song was written by Angelas Lejeune as ‘La Fille De La Veuve (The Widows Daughter)’ during WWI and Cleoma simply rewrote the lyrics, allegedly about Amede’s first wife.

Walk Right In

First recorded by Cannon’s Jug Stompers (1929).
Hit version by The Rooftop Singers (US #1/MOR #1/R&B #4/C&W #23/UK #10/AUS #1 1962).

From the wiki: “‘Walk Right In” is the title of a country-blues song written by Gus Cannon and originally recorded by Cannon’s Jug Stompers in 1929. Gus constructed his first banjo out of a steelpan and racoon skin, and began his career entertaining at sawmills, levee and railroad camps in the Mississippi Delta around the turn of the century.

“Cannon helped to popularize jug bands when, along with Noah Lewis and Ashley Thompson, he formed a band to play parties and dances. In 1914 Cannon began touring in medicine shows. He supported his family through a variety of jobs, including sharecropping, ditch digging, and yard work, but supplemented his income with music. Cannon’s Jug Stompers first recorded at the Memphis Auditorium in January 1928. (Modern listeners can also hear Cannon’s Jug Stompers’ recording of ‘Big Railroad Blues’ on the compilation album The Music Never Stopped: Roots of the Grateful Dead.)