First recorded by The Nick Lucas Troubadors (US #1 1929).
Other hit versions by Roy Fox & His Montmartre Orchestra (US #11 1929), Johnny Marvin (US #11 1929), Tiny Tim (US #17 1968).
Also recorded by The Humane Society (1967).
From the wiki: “‘Tiptoe Through the Tulips’ was written by Al Dubin and Joe Burke, and first published in 1929. Nick Lucas’ recording of ‘Tip-Toe’ hit the top of the Hit Parade in May 1929, first introduced to the public by Lucas in the 1929 musical talkie Gold Diggers of Broadway. His recording held the #1 position for 10 weeks. The song was also used in ‘Sinkin’ in the Bathtub’, the first Looney Tunes cartoon ever, in 1930.
“The song was revived in 1967 by the California rock group The Humane Society and again, in 1968, by Tiny Tim, whose version charted in the US Top 20.”
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 “Parade of the Tin Soldiers”) by Russian Orchestra (1911).
First US recording by The Vincent Lopez Orchestra (1922).
Other popular versions by Paul Whiteman & His Orchestra (1923), The Andrews Sisters (1950), The Crystals (1963), Harry Connick, Jr. (1993).
From the wiki:”‘The Parade of the Wooden Soldiers’ (originally titled ‘Parade of the Tin Soldiers’) was composed in 1897 for solo piano by Leon Jessel who later published it for orchestra in 1905, as ‘Opus 123’. In 1911, Russian impresario Nikita Balieff chose Jessel’s whimsically rakish ‘Parade of the Tin Soldiers’ for a choreography routine in his ‘The Bat’ vaudeville revue, changing the title to ‘The Parade of the Wooden Soldiers’. Balieff’s wooden-soldier choreography referenced a legend regarding Tsar Paul I: that he left his parade grounds without issuing a ‘halt’ order to his marching soldiers, so they marched to Siberia before being remembered and ordered back.
“In December 1920 Nikita Balieff’s La Chauve-Souris (The Bat) revue reached Paris, to great acclaim, and in 1922 it was brought to Broadway. In 1922, an instrumental version of ‘The Parade of the Wooden Soldiers’ recording performed by The Vincent Lopez Orchestra became a US hit 78 rpm in 1922. Paul Whiteman’s recording also topped the Hit Parade the following year (1923).
“In 1933, a Betty Boop cartoon, Parade of the Wooden Soldiers, was created by animator David Fleischer with music performed by popular Russian-American conductor David Rubinoff and His Orchestra. Also in 1933, The Rockettes began annually performing their own choreographed version of the piece, based on Balieff’s original, in their Radio City Christmas Spectacular.
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 (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 band and his producer, Fred Rose.
First recorded (as “Big Rock Candy Mountains”) by Harry McClintock (1928).
Popular versions by Burl Ives (1949), Pete Seeger (1957), Dorsey Burnette (B-side US #102 1960).
From the wiki: “‘Big Rock Candy Mountain’, first recorded by Harry McClintock in 1928, is a folk music song about a hobo’s idea of paradise – a place where ‘hens lay soft boiled eggs’ and there are ‘cigarette trees’. McClintock claimed to have written the song in 1895, based on tales from his youth hobo-ing through the United States, but some believe that at least aspects of the song have existed for far longer. McClintock was a member of the Industrial Workers of the World (I.W.W.), and the author of other labor songs as ‘Haywire Mac’, ‘Sam Bass’ and ‘Hallelujah Bum Again’. His original 1928 recording was used on the O Brother, Where Art Thou soundtrack (minus the plural form). The song achieved widespread popularity in 1949 when a sanitized version intended for children was recorded by Burl Ives. A version recorded in 1960 by Dorsey Burnette reached #102 on Billboard’s chart.
Inspired by “Muskrat Ramble” by Louis Armstrong & His Hot Five (1926).
Also recorded (as “Muskrat Ramble”) by Dean Martin (1950).
Popular version by Country Joe & The Fish (1967).
From the wiki: “‘Muskrat Ramble’ was written by Kid Ory and first recorded by Louis Armstrong & His Hot Five (including Ory, on trombone) in 1926. The song served as the B-side to Armstrong’s first solo outing as a recording artist, ‘Heebie Jeebies’. In 2001, the heirs of Kid Ory launched a lawsuit against Country Joe McDonald, claiming that the music of ‘I-Feel-Like-I’m-Fixin’-to-Die Rag’ constituted plagiarism of ‘Muskrat Ramble’. In 2005, courts ruled in McDonald’s favor primarily because the original 1926 recording had fallen into the public domain.
First recorded by The Sunset Four Jubilee Singers (1925).
Also recorded by Birmingham Jubilee Singers (1930), Odetta (1954), Johnny Griffin & the Big Soul Band (1960), Graham Bond Organisation (1965).
Hit versions by Ramsey Lewis (US #19/R&B #3/UK #31 1966), Herb Alpert (US #37/MOR #5 1967).
Melodic refrain used (in “Little Walter”) by Tony! Toni! Toné! (US #47/R&B #1 1988).
From the wiki: “‘Wade in the Water’ is the name of a Negro Spiritual first published in New Jubilee Songs as Sung by the Fisk Jubilee Singers (1901). It is associated with the songs of the Underground Railroad, and the verses reflect the Israelites’ escape out of Egypt as found in the Book of Exodus. Some sources claim that songs such as ‘Wade in the Water’ contained explicit instructions to fugitive slaves on how to avoid capture. (This particular song allegedly recommends leaving dry land and taking to the water as a strategy to throw pursuing bloodhounds off one’s trail.) The first known recording was made in 1925 by The Sunset Four Jubilee Singers.
“Other early recordings were published by the Birmingham Jubilee Singers (1930), and Odetta (1954). A 1960 instrumental recording by Johnny Griffin & the Big Soul Band is thought to have inspired both the Graham Bond and Ramsey Lewis recordings.
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 recorded (as “Jail House Blues”) by Whistler & His Jug Band (1924).
Also recorded by Earl McDonald’s Original Louisville Jug Band (1927), Jim Jackson (1928), Tim Blake Nelson (2000).
Popular versions by Jimmie Rodgers (US #14 1928), Webb Pierce (C&W #1 1955), Johnny Cash (C&W #8 1962), Sonny James (C&W #15 1977), Willie Nelson & Webb Pierce (C&W #72 1982).
From the wiki: “‘In The Jailhouse Now’ is an American novelty Blues song originally found in vaudeville performances from the early 20th century. In 1924, Whistler’s Jug Band from Louisville, Kentucky, recorded it under the title ‘Jail House Blues’. In 1927, Earl McDonald’s Original Louisville Jug Band made another recording of the song; in January 1928, Jim Jackson recorded ‘Jailhouse’ and established the first song’s first copyright titled as ‘In the Jailhouse Now’ although the song is usually now credited to Jimmie Rodgers. Rodgers recording of ‘In the Jailhouse Now’ was recorded February 15, 1928, in Camden, New Jersey, and features Rodgers’ famous yodel throughout the song. In 1938, Gene Autry and his side-kick, Smiley Burnette (as ‘Frog’), sang the Jimmie Rodgers version in the movie Prairie Moon.
First recorded (as ‘See See Rider Blues’) by Ma Rainey (US #12 1925).
Other popular versions by “Wee” Bea Booze (R&B #1 1943), Chuck Willis (US #12/R&B #1 1957), LaVern Baker (US #34/R&B #9 1963), Mitch Ryder & The Detroit Wheels (US #10 1965), The Animals (US #10/CAN #1/AUS #8 1966).
Also recorded by The Orioles (1952), Elvis Presley (1970 |1973).
From the wiki: “Although the song is generally regarded as being traditional in origin, ‘See See Rider Blues’ is attributed to Ma Rainey & Lena Arant. Rainey’s version became popular during 1925, telling the story of an unfaithful lover, commonly called ‘easy riders’ (‘See See rider, see what you have done’), making a play on the word ‘see’ and the sound of ‘easy’. The song has since become one of the most famous of all Blues songs, with well over 100 versions.
“‘C.C. Rider’ has been recorded by Big Bill Broonzy, Mississippi John Hurt, Lead Belly, Lightnin’ Hopkins, Peggy Lee and many others. In 1943, a version by ‘Wee’ Bea Booze became a #1 hit on the Billboard ‘Harlem Hit Parade,’ precursor of the Rhythm & Blues chart. Some Blues critics consider Booze’s recording to be the definitive version of the song. A doo-wop version was recorded by the Orioles in 1952.
Written and first recorded (as “Match Box Blues”) by Blind Lemon Jefferson (1927).
Also recorded by The Shelton Brothers (1947), Jerry Lee Lewis (1958).
Hit versions by Carl Perkins (B-side 1956), The Beatles (US #17 1964).
From the wiki: “It was Carl Perkins’s father, Buck, who suggested that Carl record ‘Match Box Blues’. Buck knew only a few lines from the song, either from the 1927 recording by Blind Lemon Jefferson, or from a version recorded by country musicians The Shelton Brothers. As Perkins began singing the few words his father had suggested, Jerry Lee Lewis, who was at that time a session piano player at Sun Studios, began a restrained boogie-woogie riff. Carl picked out a melody on the guitar to the riff and improvised more lyrics. Perkins’ recording was released in February 1957 with no apparent chart impact.
First recorded by The Jan Garber Orchestra (US #1 1926).
Other popular versions by Ipana Troubadours (US #10 1926), Art Mooney (US #3 1948), Little Richard (US #41/R&B #12/UK #2/NOR #1 1958), Bobby Darin (US #42/UK #40 1962), Wing and a Prayer Fife & Drum Corps (US #14/Soul #32 1976).
From the wiki: “‘Baby Face’ was written by Harry Akst, the lyrics by Benny Davis. The song was published in 1926, and first became popular that same year when recorded by the Jan Garber Orchestra. It has since been covered by many recording artists, including Al Jolson, The Revelers, Bobby Darin, and Wing and a Prayer Fife & Drum Corps. Swan Districts, an Australian Rules club in the WAFL since 1934, bases its club song on this tune.
First released by Charles Hart (1927).
Also recorded by Vaughn DeLeath (1927), Henry Burr (1927), The Carter Family (1936), Al Jolson (1950).
Hit versions by Blue Barron Orchestra (US #19 1950), Jaye P. Morgan (US #65 1959), Elvis Presley (US #1/C&W #22/R&B #3 1960).
From the wiki: “‘Are You Lonesome Tonight?’ was written by Lou Handman and Roy Turk in 1926, and first published in 1927. A number of artists first recorded the song in 1927, most notably by Ned Jakobs on May 8 but the first released recording belongs to Charles Hart whose production was released on May 9, 1927. (Jakobs’ version was released on May 17.)
“Vaughn De Leath (also known as ‘The Original Radio Girl’) recorded two versions of the song in 1927, the second as vocalist for The Colonial Club Orchestra. Another version was released later that year by famed tenor Henry Burr.
First recorded by Gertrude Lawrence (US #2 1926).
Other hit versions by George Gershwin (US #13 1926), George Olsen & His Orchestra (US #3 1927), Frank Sinatra (UK #13 1954), Linda Ronstadt (1980).
Also recorded by Margaret Whiting (1944).
From the wiki: “‘Someone to Watch Over Me’ was composed by George Gershwin with lyrics by Ira Gershwin for the musical Oh, Kay! (1926). George Gershwin originally approached the song as an uptempo jazz tune, but his brother Ira suggested that it might work much better as a ballad, and George ultimately agreed.
First recorded by The Bay Harbor Society Orchestra (1922).
Hit version by Frank Sinatra (1958).
From the wiki: “‘Chicago’ is a popular song written by Fred Fisher, and first published in 1922 and recorded by The Bay Harbor Society Orchestra. Other early recordings of the song were made by Django Reinhardt (1937), and Earl Hines (1950). ‘Chicago’ was featured in H.C. Potter’s 1939 film, The Story of Vernon and Irene Castle, starring Ginger Rogers and Fred Astaire. It was later performed by Sinatra in the 1957 movie, The Joker Is Wild, and recorded for Sinatra’s 1958 album Come Fly with Me. Other popular versions of ‘Chicago’ were also recorded by Tony Bennett, Rosemary Clooney, and The Dudley Moore Trio.”
Written and first recorded by Duke Ellington & His Kentucky Club Orchestra (1926).
Hit version by Duke Ellington & His Washingtonians (US #10 1927).
Covered by Steely Dan (1974).
From the wiki: “‘East St Louis Toodle-Oo’ is a composition written by Duke Ellington and Bubber Miley and recorded several times by Ellington for various labels from 1926-1930 using various band names. The original recording features a growling plunger-muted trumpet part played by co-composer Miley, one of the first jazz trumpeters to utilize the style. This style was carried on by later Ellington trumpeters Cootie Williams and Ray Nance.
First hit version by Ukulele Ike (US #1 1929).
Also performed by Judy Garland (1940).
Most familiar version performed by Gene Kelly (1952).
From the wiki: “‘Singin’ In the Rain’ is a song with lyrics by Arthur Freed and music by Nacio Herb Brown, published in 1929. However, it is unclear exactly when the song was written; it has been claimed that the song was performed as early as 1927.
“We do know it was first performed on film by Doris Eaton Travis in the 1929 talkie The Hollywood Music Box Revue. The song was an immediate success and recorded on disc by a number of artists, first and most notably by Ukulele Ike (Cliff Edwards) on May 28, 1929, in Los Angeles, for Columbia Records. Edwards would also perform the number on-screen in 1929 with the Brox Sisters in the early MGM musical The Hollywood Revue of 1929.
“‘Singin’ in the Rain’ was also performed on film by Jimmy Durante in Speak Easily (1932), and by Judy Garland in Little Nellie Kelly (1940) prior to it being highlighted in the 1952 Oscar-nominated Gene Kelly-Danny Kaye musical Singin’ in the Rain.”
First recorded (as “Corrine, Corrina”) by Bo Carter (Chatmon) & Charlie McCoy (1928).
Hit versions by Bob Wills & His Texas Playboys (1940), Ray Peterson (US #9/UK #41 1960), The Rising Sons (1966).
Also recorded by Elston Gunn (Bob Dylan) (1962).
From the wiki: “‘Corrina, Corrina’ may have traditional roots; however, early versions vary musically and lyrically. One of the earliest is the commercial sheet music song ‘Has Anybody Seen My Corrine?’ published by Roger Graham in 1918. ‘Corrine, Corrina’ was first recorded by Bo Carter in December 1928.
“Just prior to World War II, Bob Wills adapted the song to a Western swing dance song. Following his recording with The Texas Playboys in April 1940, the song (recorded as “Corrine, Corrina”) entered the standard repertoire of all Western swing bands, influencing the adoption of ‘Corrina, Corrina’ by Cajun bands and later by individual country artists.
First recorded (as “Loveless Love”) by Noble Sissle & His Sizzling Syncopaters (1921).
Also recorded (as “Loveless Love”) by W.C. Handy’s Memphis Blues Band (1921), James P. Johnson (1921), Alberta Hunter (1923).
Other popular versions (as “Careless Love”) by Bessie Smith (US #5 1925), T. Texas Tyler (1946), The Ravens (1949), Fats Domino (1951), Ray Charles (1962).
From the wiki: “‘Careless Love’ is a traditional song of obscure origins. The song lyrics change from version to version, but usually speak of the heartbreak brought on by ‘careless love’; most often a girl’s lament for having loved unwisely, worrying what her mother will say when she returns home, ‘wearing her apron high’ (i. e. pregnant).
“The song was one of the best-known pieces in the repertory of the Buddy Bolden band in New Orleans, Louisiana, at the very start of the 20th century, but it is thought that the first recording of ‘Loveless Love/Careless Love’ was made by Noble Sissle & His Sizzling Syncopaters at a New York City recording session in January, 1921.
