Songbook site index


This Guy’s in Love With You (m. Burt Bacharach, w. Hal David)

Marva Whitney 1969 (1)Marva Whitney 1

Marva Whitney — “This Girl’s in Love With You” — issued in January 1970 as the B-side of “He’s the One,” King Records 45-6283, a James Brown production


Tony Joe White 2a1969 Continued-Tony Joe White

Tony Joe White — recorded c. 1969; released on the 2006 box set compilation Swamp Music: The Complete Monument Recordings, Rhino Handmade RHM2 7731, where it is included among a dozen previously unreleased tracks on the …Continued disc (disc 2), suggesting that it was recorded around the time of or during sessions for the 1969 album of this title

video created by Paulo Sílvio


Cab Calloway directs, early 1930s-1-sm1890-1899 selected hits and standards

Billie Holiday, capebillie-holiday-pearls-1a

Page index (drop-down) browse demo (1a)

(above) header tab 5 generation browse demonstration: Page Index > Songbook site index > Songwriter > Songwriters to 1954 > Berlin, Irving > Berlin pages (11) — correction: The page Irving Berlin: selected songs of 1909 and 1910 is now included in the Berlin drop down index.


This Girl’s in Love With You — selected early recordings, 1968-1972

This Guy’s in Love With You (m. Burt Bacharach, w. Hal David)

Selected early recordings and live performances of the modified version “This Girl’s in Love With You” — I’m planning a larger page on recordings under the original title

1968 This Girl's in Love With You-Eydie Gorme-Calendar 63-1004

Eydie Gorme — issued in July 1968 on the single Calendar 63-1004, b/w “It’s You Again” — I think we can safely assume that the male voice on the back vocals is that of Steve Lawrence.


Petula Clark — from her album Petula, Pye Records (UK) NPL 18235, released in September 1968 (according to Wikipedia); released on Warner Bros. Records in the US


1968 Dusty...Definitely (LP) Dusty Springfield Philips SBL 7864-(50p)

Dusty Springfield — from her 1968 LP Dusty…Definitely, Philips Records (UK) SBL 7864, released on 22 November 1968 (date according to Wikipedia)


1969 This Girl's In Love With You-Dionne Warwick-Scepter SCE-12241-d33

Dionne Warwick — originally released in November 1968 (according to Wikipedia) on the LP Promises, Promises, Scepter Records SPS 571; later issued in January 1969 on the single Scepter SCE-12241, b/w “Dreamer Sweet Dreamer” — According to, the single peaked at #7 on the Hot 100 after debuting on the chart in February 1969


Brenda Lee — (incomplete) probably from her 1969 LP Johnny One Time, Decca ‎DL 75111 — notes: poor audio quality; “a very old radio cut” according to the provider


Dorothy Ashby 3

Dorothy Ashby — from the album Dorothy’s Harp, Cadet Records LPS 825 — recorded at Ter Mar Studios in Chicago, March 1969


Rainy Days and Mondays


Rainy Days and Mondays (m. Roger Nichols, w. Paul Williams)

useful links:

From Songfacts:

Paul Williams and Roger Nichols (2)Sometimes song lyrics are written on the fly, and that was the case with a line in this song. Says Williams: “On ‘Rainy Days And Mondays’ Chuck Kay, who was head of publishing at A&M, said, ‘That’s a perfect song for The 5th Dimension, let’s play it for them.’ I said, ‘Well, there are a couple of lines that aren’t done yet.’ He said, ‘You’ll finish it in the car.’ So in the car going over there, I came up with a fill line, which was ‘What I’ve got they used to call the blues.’ I didn’t have that line done yet, so I wrote it as just a quick fill line, because I wanted to mention the blues, but it was such a hackneyed expression, ‘I’ve got the blues.’ So I just wrote, ‘What I’ve got they used to call the blues.’ And it actually became my favorite line in the song. I think it’s the best line in the song. I met Johnny Mercer once at A&M Records, and he sat down and I introduced myself, ‘Paul Williams,’ and he shook my hand. And he walked back into the studio where he was mixing, then he stuck his head back out into the hall and he went, ‘Paul Williams, ‘what I’ve got they used to call the blues,’ that Paul Williams?’ I said, ‘Yes, sir.’ It was funny. It was one of the great moments of my life, to meet Johnny Mercer, who I think was the lyricist’s lyricist.”

1971 Rainy Days and Mondays-Carpenters-AM 1260-sleeve(front)1971 Rainy Days and Mondays-Carpenters-AM-1260-S


Wikipedia says of the single by the Carpenters,

“Rainy Days and Mondays”went to #2 on the Billboard Hot 100 chart and it was the duo’s fourth #1 song on the Adult Contemporary singles chart.[1] However, the song failed to chart in the United Kingdom until it went to #63 in a reissue there in 1993.

The single was issued on the A&M (US) label on 23 April 1971, according to, under the following three catalog numbers (variants found on first pressings from three different plants): AM-1260-S, AM-1260, and 1260-S, backed with “Saturday.” Both sides were arranged by Richard Carpenter. This recording of “Rainy Days and Mondays” also became the first track on the album Carpenters, released on 14 May 1971.

Carpenters c.1971 (1)Karen Carpenter sings, 1971 (2)



(below) music video with a copyright date of 1985, provided by CarpentersVEVO; I’ve thus far been unable to identify the source of the lip-sync performance (from about :44 on), which is evidently from the early 197os


(below) lip-sync performance for the television special “The 5th Dimension Traveling Sunshine Show,” which aired on 18 August 1971


Live at the BBC, September(?) 1971


1971 You've Got a Friend-Andy Williams-Columbia KC 30797 (1)-f201971 You've Got a Friend-Andy Williams-Columbia KC 30797 (back)

Andy Williams — from his 1971 album You’ve Got a Friend, Columbia KC 30797


We’ve Only Just Begun

We’ve Only Just Begun (m. Roger Nichols, w. Paul Williams)

From Wikipedia (image added):

Paul Williams and Roger Nichols (2)The song was originally recorded by Smokey Roberds, a friend of [Roger] Nichols, under the name “Freddie Allen”.[1] It debuted in a wedding-themed television commercial for Crocker National Bank in California in the winter of 1970 with [Paul] Williams on vocals. Hal Riney, founder of the San Francisco-based advertising agency Hal Riney & Partners, commissioned the song to help Crocker appeal to young people. The song played over footage of a young couple getting married and just starting out. Direct reference to the bank was left out, in part to make the song more marketable. The commercial was very popular and Crocker National’s business flourished.

Richard Carpenter saw the commercial and guessed correctly that it was Paul Williams (both of them were under contract to A&M records). Carpenter ran into Williams on the record company’s lot and asked if a full-length version was available. Although it had only two verses and no bridge, Williams confirmed that there was a bridge and an additional verse, forming a complete song; he and Nichols went on to write them. Carpenter selected the composition for the duo’s third single and included it on the LP Close to You.

Released in the late summer of 1970, the single featured Karen’s lead vocals and the overdubbed harmonies of both siblings. Following their hit, “(They Long to Be) Close to You” onto the charts, “We’ve Only Just Begun” hit #1 on the Cash Box singles chart and #2 on the U.S. Billboard Hot 100, becoming the pair’s second million-selling Gold single. It was considered by both Karen and Richard to be their signature song.[2]

Selected links:




Crocker National Bank commercial, vocal by Paul Williams — 1970

Portions of the complete song were used in at least two Crocker Bank commercials. The first, “Wedding” (below), uses the same first two verses recorded by the Carpenters (with a slightly different back vocal). A later commercial, “Moving,” uses an alternate first verse, which is a combination of the first two verses as published, plus the third verse. Neither commercial includes the bridge: “Sharing horizons that are new to us…”


 1970 recordings

1970 We've Only Just Begun-Freddie Allen-B-side of White Whale WW-345

Smokey Roberds (as “Freddie Allen”) — B-side of “I’m Gonna Make You Love Me,” White Whale WW-345, issued in March 1970

An incomplete copy of the recording begins the following VBR MP3, 109.4 MB file, provided by Internet Archive (


1970 Close to You (LP) Carpenters, A&M Records SP-4271Carpenters c. 1970 (1)

Carpenters — from the Carpenters’ second album, Close to You, A&M Records SP 4271, released on 19 August 1970; also issued two days later as the single A&M 1217, b/w “All of My Life”



(below) lead vocal with bass and drums; some back vocals can be faintly heard (1:00-1:06, and 1:52-1:57)



Do You Know Where You’re Going To (1973) and Theme From Mahogany (1975)

Do You Know Where You’re Going To (m. Michael Masser, w. Gerry Goffin)

Thelma Houston — single Tamla Motown (New Zealand) TMM.872, b/w “Together” (M. Masser, Pam Sawyer), issued in New Zealand in 1973

1973 Do You Know Where You're Going To-Thelma Houston,Tamla Motown (NZ) TMM.872 (with sleeve)-d201973 Do You Know Where You're Going To-Thelma Houston,Tamla Motown (NZ) TMM.872 (label)-d50

Conflicting reports regarding the year the song was recorded by Thelma Houston, and whether it was released by Motown in the US:

  • Labels of the New Zealand single displayed at,, and bear the date 1973. A note in the page on the single says, “Originally scheduled for U.S. release in late 1973 as Motown M-1260, but apparently cancelled. As far as I know, New Zealand is the only country where this single was released.”
  • In its Thelma Houston page, appears to be three years off on the date of the original single:

Thelma’s 1976 version of the song ‘Do You Know Where You’re Going To’ was set to be released, however, the song was given to Diana Ross as part of the movie soundtrack for the film ‘Mahogany’.

  • In the comments section of an article on the song at, John in Nashville, Tennessee, says,

“Do You Know Where You’re Going To” was originally recorded by Motown artist Thelma Houston in 1973. Her version was released as Motown single #1260.

In a post featuring the Mahogany soundtrack version with the revised lyric, recorded in 1975 by Diana Ross, blogger Abagond says,

“Do You Know Where You’re Going To” had been kicking around at Motown for years. Thelma Houston was about to do it as a single but then it was given to Diana Ross to use as the theme song for her film “Mahogany” (1975). Thus the strange two-part name. It became one of those theme songs that are more famous than the film itself.

Thelma Houston’s recording of the song is included in the Motown Records singles discography at Global Dog Productions (GDP) as Motown 1260, b/w “Together,” dated July 1973. I’ve used GDP’s discographies periodically over the past couple of years, and have not previously noticed it to be their practice to report in their lists, undifferentiated from verifiable releases, scheduled releases that were cancelled. However, being cancelled is what some of the major discography sites such as and Second Hand Songs report happened to Motown 1260.

The existence of a published catalog number, and the fact that I’ve yet to see or hear of any evidence of a Motown 1260 disc or label, together suggest that a U.S. single release was planned, assigned a catalog number, probably announced in notices, but cancelled. A less likely scenario, one which might help explain the inclusion in the GDP discography, is that a limited number of singles were issued before the record was withdrawn from the market.


(below) In 2009, Thelma Houston performs “Do You Know Where You’re Going To” using the original 1973 lyric, with a few minor modifications


Lyric, 1973 version
The Sections I’ve numbered 3 and 4 are heavily rewritten in the 1975 (Diana Ross) version, with only a couple of lines having any resemblance to the the lines they replace. The lines about “Stony Brook” (University, presumably) in section 3 of the 1973 version indicate that the first person, the narrative speaker, is rather down on the institution. While “just hanging out” there, she and the second person (the “you” to whom the monologue is directed) had “had a look,” and having done so the first person concludes that they’d now “seen what nothing’s about.” The original section 4 doesn’t slam any places of higher learning, but its relation to the rest of the lyric is far from clear.


“Do You Know Where You’re Going To?” lyric by Gerry Goffin, 1973 Thelma Houston version — transcribed by doc on 9 June 2014:

Do you know where you’re going to
Do you like the things that life is showing you
Where are you going to
Do you know

Do you get what you’re hoping for
When you look behind you there’s no open doors
What are you hoping for
Do you know

Sometimes while standing still in time
You think you’ll live the thoughts that fill your mind
Now we’ve both been to Stony Brook, just hanging out
We’ve had a look and seen what nothing’s about

repeat 1

Now, what am I to say to you
What kind of prayer am I to pray for you
I can only do my best and tell you what I see
And if you see the rest, please send it to me

repeat 1 & 2


Theme From Mahogany (Do You Know Where You’re Going To?) (m. Michael Masser, w. Gerry Goffin) — 1975 version

1975 Theme From Mahogany (Do You Know Where You're Going To) Motown M 1377F (sleeve)Diana Ross-Mahogany 1

From the chapter “Forget Diana,” of the book Diana Ross: A Biography (2014) by J. Randy Taraborelli, page 295:

In September 1975, “Theme from Mahogany (Do You Know Where You’re Going To?)” was released. Prior to its release Berry Gordy and Michael Mass, who also composed the soundtrack to the film argued over the mix– the actual sound of the recording. Berry wanted one version released, Michael another. As a last resort to get his way, Michael sneaked in to the recording studio and erased a portion of the version Berry preferred, thereby causing his (Masser’s) version to actually be released. It was a clever trick on Michael’ part, and Berry wasn’t pleased about it at the time. Since then, he’s learned to laugh about it, especially since Michael’s version went straight to number one of the pop charts. It remains one of Diana Ross’s most popular songs. Her performance on it was imaginative and compelling and set the stage beautifully for the release of the movie.

Diana RossMotown M 1377F, issued on 24 September 1975, b/w “No One’s Gonna Be A Fool Forever” (Michael Masser, Pam Sawyer) — chart peaks: #1 Hot 100 (1 week, 24 January 1976), and #1 Easy Listening (1 week, 6 December 1975)


Le Cake-Walk au Nouveau Cirque (1903) by Louis Lumière, featuring Rudy and Fredy Walker

From the abstract of the article “Debussy’s Cakewalk: Race, Modernism and Music in Early Twentieth-Century Paris,” by James Deaville, volume 2, n° 1, janvier 2014 of La Revue musicale OICRM*:

Between November, 1902 and January, 1903, Paris experienced its first tastes of the danced cakewalk through the performances of two American touring ensembles: “Les Elks” and their troupe of black and white dancers appeared in the revue Les Joyeux Nègres at the Nouveau Cirque, while the “Florida Creole Girls [link added]—seven African-American women—performed the cakewalk at the Casino de Paris. Within a matter of weeks the dance became the latest sensation of the capital, as reported in Paris qui chante of January, 1903, although not without serious dissension. It was upon this field of social and cultural contestation that Debussy entered into the world of syncopated Americanism with Golliwogg’s Cake-walk from the Children’s Corner (1908).

Rudy and Fredy Walker, c. 1903 postcard # 142/5Rudy and Fredy Walker, c. 1903 postcard # 142/8Rudy and Fredy Walker, c. 1903 postcard # 142/7

(above) n°s 142/5, 142/8, and 142/7 from the set of ten c. 1903 French S.I.P. ** postcards, series n°142: “Le Cake-Walk, Dansé au Nouveau Cirque, Les Enfants Nègres,” featuring juvenile brother and sister dance team Rudy and Fredy Walker. The complete set of ten postcards can be found on my page Rudy and Fredy Walker, c.1903 postcard series “Le Cake-Walk. On that page you will also find excerpts from a biographical sketch of the Walkers by Dr. Rainer E. Lotz.

From the biography of the Walkers by Dr. Lotz:

Ruth “Rudy” and Frederick “Fredy” Walker (31 Aug. 1891–after 1928) and (9 Nov. 1893–May 1977) [respectively], known as The Walkers, song and dance entertainers and actors, were both born in Chicago. It appears that at some time in 1902 the two juvenile dancers, brother and sister, traveled to Europe in the company of their mother, Ella Walker, herself an artist, born in Chicago in 1960 or 1964, according to her own conflicting statements.

That they traveled with their own mother is mentioned in June 1903 and again in the winter 1904/1904 in Vienna, December 1906 in Stockholm, in November 1907 in Berlin, and again in February 1908 in Copenhagen. Billed as “Les Enfants Nègres,” their presentations of the cakewalk dance attracted a lot of attention at the Nouveau Cirque at Paris and paved the way for a long career in Europe. They became so popular that they inspired a composer, a sculptor, and a movie film director, as well as cartoonists.

In his brief biography of the Walkers, Dr. Lotz indicates that there was a short film produced featuring Rudy and Fredy Walker (as “Les enfants nègres”), and several other cakewalk artists, performing on the stage of the Nouveau Cirque:

It was presumably the French Pathé company that produced a short film featuring the cake walk performances by both black and white artists on the stage of the Nouveau Cirque. All the artists that can be seen in the film also had a series of postcards devoted to them. They are “Les enfants nègres,” with ten postcards in series 142 (by early 1904 motifs of the original French series 142 were marketed in the United States by Franz Huld, Publisher, New York, in their series III “Cake Walk—Negro Dance”), “Les Soeurs Pérès” from Spain (postcard series 143), “Les Nègres” from the United States (series 144), and “The Elks”, also from the United States (postcard series 145). Charles Gregory also had his own series of postcards, but he is not identified by name and the cards simply state “Nègre Joyeux.”

Le Cake-Wak au Nouveau Cirque, Lumière films 1350-1354  index, old film catalog

Unsung lyrics, transcribed by doc

Below is a list of links to pages containing lyrics I’ve transcribed during the past four years, with assistance in couple of cases. The transcription of the 1928 version of “Hello Bluebird” by Blossom Seeley and Benny Fields reveals the intricacies of a unique and extraordinary duet version of a standard by this prominent vaudeville team, filmed live for a Vitaphone short. The remainder of the transcribed songs are less well-known, but each one drew and captured my interest for a variety of reasons, eventually compelling me to do my part in not allowing it be forgotten. For these others, in many cases I decided to transcribe the words because I was unable to find the lyric in online searches. In other cases (“Blue Butterfly,” “Love Thy Neighbor,” “You Broke Our Hearts,” “Our Winter Love,” “Everydays”*) I had found at least one transcription or copy of the lyric online before I took on the task of transcribing, but none with a degree of accuracy that I considered satisfactory.

“Unsung” in the title, means uncelebrated, unacclaimed, neglected, forgotten.

1926 — Hello Bluebird (Cliff Friend) — Blossom Seeley and Benny Fields Vitaphone short film version of 1928
1929 — Blue Butterfly (Johnny Tucker, Joe Schuster)
1929 — In the Land of Let’s Pretend (m. Harry Akst, w. Grant Clarke)
1929 — Does My Baby Love? (m. Milton Ager, w. Jack Yellen)
1930 — I’m in Training for You (m. Abel Baer, w. L. Wolfe Gilbert)
1934 — Love Thy Neighbor (m. Harry Revel, w. Mack Gordon)
1934 — Shoein’ the Mare (m. Harold Arlen, w. Ira Gershwin and E.Y. Harburg)
1941 — Jig in the Jungle (Jungle Jig) — songwriters unknown
1958 — You Broke Our Hearts (Johnnie Richardson)
c.1958-1961 — Early in the Morning (Quinton Claunch, Charles Feathers)
1961 — Come Home Soon (Intruders)
1962 — Our Winter Love (m. Johnny Cowell, w. Bob Tubert)
1962? — Who’s Got the Action (m. Burt Bacharach, w. Bob Hilliard)
1966 — The Reason Why (Dale Hawkins, Jerry Strickland, Don Griffin)
1967 — Everydays (Stephen Stills)
1973 — Do You Know Where You’re Going To (m. Michael Masser, w. Gerry Goffin) — original lyric recorded by Thelma Houston in 1973


* “Our Winter Love” is a special case in which two of the three vocal versions that I am aware of appear to use partly garbled and incoherent versions of the original lyric, a set of circumstances which I’ve addressed and attempted to remedy. Transcriptions or copies available elsewhere online compound the problem by providing, for a couple of central lines, incorrect renderings of the (wrong) words actually sung by the artists.

“Everydays” is another case in which problems with getting the lyric straight may have been a factor in its remaining in relative obscurity. As far as I know, there are only two released vocal recordings in existence, and one instrumental:

  • 15 March 1967 recording by Buffalo Springfield, featuring a barbed social-commentary lyric; issued on 1967 LP Buffalo Springfield Again
  • 1968 instrumental by Kenny Burrell
  • 1969 version by the band YES, which is spoiled by a sanitizing adulteration of the original lyric


Let’s Face the Music and Dance

Let’s Face the Music and Dance (Irving Berlin) was originally registered for copyright as an unpublished song on 14 June 1935.* It was introduced in the musical film Follow the Fleet (1936) in a production number in which the song is sung by Fred Astaire (Bake Baker) to Ginger Rogers (Sherry Martin), followed by a dance sequence by the pair.

selected links:

Astaire and Rogers-Follow the Fleet-Let's Face the Music-2a

Astaire and Rogers-Follow the Fleet-Let's Face the Music-1a

Astaire and Rogers-Follow the Fleet-Let's Face the Music-4a

Let’s Face The Music And Dance

Astaire and Rogers-Follow the Fleet-Let's Face the Music-3aThere may be trouble ahead
But while there’s moonlight and music and love and romance
Let’s face the music and dance

Before the fiddlers have fled
Before they ask us to pay the bill
And while we still have the chance
Let’s face the music and dance

We’ll be without the moon
Humming a diff’rent tune
And then

There may be teardrops to shed
So while there’s moonlight and music and love and romance
Let’s face the music and dance, dance
Let’s face the music and dance

From Wikipedia’s page on Follow the Fleet:

Let’s Face the Music and Dance“: Astaire sings this to Rogers after which the dance begins slowly and culminates in a static exit pose. The dance is filmed in one continuous shot lasting two minutes and fifty seconds. During the first take, Ginger’s dress, which was heavily weighted so as to achieve a controlled swirling action, hit Astaire in the face[7] midway through the routine, though the effect is barely discernible. He nonetheless selected[8] this take out of twenty overall for the final picture.

The set – designed by Carroll Clark under the direction of Van Nest Polglase – is frequently cited as a leading example of Art Deco-influenced art direction known as Hollywood Moderne. Film clips of this routine were featured in the 1981 film Pennies from Heaven – detested by Astaire,[9] – where it was also reinterpreted by Steve Martin and Bernadette Peters with revised choreography by Danny Daniels.

full number (almost)


from the beginning of the vocal sequence — mirror image (to be replaced)


Astaire and Rogers-Follow the Fleet-Let's Face the Music-8'Follow the Fleet' Movie Stills

Astaire and Rogers-Follow the Fleet-Let's Face the Music-7-t25-sh15

Al Bowlly-NBC-signed 1Ray Noble, inscribed-1-t40-cr1-d20-hx8

Ray Noble and his Orchestra, vocal by Al Bowlly — recorded on 23 January 1936 (matrix 98672-1); issued as Victor 25241A, b/w “Let Yourself Go” (also issued on HMV BD-5047, and HMV EA-1670)


Johnny Green and Fred Astaire-Packard Hour, 1936 (1)

Fred Astaire with Johnny Green and his Orchestra — recorded on 30 January 1936 (matrix LA 1088); issued on Brunswick 7608, Columbia (US) 3116D, and on Columbia (UK) DB 1633, c/w “Let Yourself Go” in each case



Carolina in the Morning

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Carolina in the Morning (m.Walter Donaldson, w. Gus Kahn)

1922_carolina-in-the-morning-donaldson_aileen-stanley_1_f44The song had its debut in the Broadway musical revue The Passing Show of 1922 at the Winter Garden Theater, which opened on 20 September 1922, and closed after 85 performances on 2 December 1922. Vaudeville performers incorporated the song into their acts and helped popularize it. Notable recordings when the song was new were made by such artists as Marion Harris, and Van and Schenck.*
Other artists to have later successes with the song included Bing Crosby, Dean Martin, Jimmy Durante, Dinah Shore, Judy Garland, and Danny Kaye. In 1957, Bill Haley & His Comets recorded a rock and roll version.

The original 1922 lyrics (now public domain in the United States due to age) are given below. The chorus remains well known, but the verses have generally been omitted from vocal performances since the early years of the song’s popularity. The verses give a hint of melancholy to the song, while the chorus on its own can be an almost ecstatic reverie. — adapted from the Wikipedia song profile


1st verse:
Wishing is good time wasted
Still it’s a habit they say
Wishing for sweets I’ve tasted
That’s all I do all day
Maybe there’s nothing in wishing
But speaking of wishing I’ll say:

Nothing could be finer than to be in Carolina in the morning
No one could be sweeter than my sweetie when I meet her in the morning
Where the morning glories
Twine around the door
Whispering pretty stories
I long to hear once more

Strolling with my girlie where the dew is pearly early in the morning
Butterflies all flutter up and kiss each little buttercup at dawning,
If I had Aladdin’s lamp for only a day
I’d make a wish and here’s what I’d say:
Nothing could be finer than to be with Carolina in the morning.

2nd verse:
Dreaming was meant for nighttime
I live in dreams all the day
I know it’s not the right time
But still I dream away
What could be sweeter than dreaming
Just dreaming and drifting away


1922 Carolina in the Morning--Van and Schenck, Columbia A-3712, recorded on 18 September 1922-d40-g151922 Carolina In the Morning, Van and Shenck, Columbia A 3712

Van and Schenk – recorded on 18 September 1922; issued on Columbia A 3712, c/w “I’m Gonna Plant Myself In My Old Plantation Home”; the recording date is two days prior to the Broadway premiere of The Passing Show of 1922

Video or audio file to be replaced


Paul Whiteman Orch. c.1922_1

1922 Carolina in the Morning (Donaldson), Paul Whiteman, Victor 18962-A (1)-f8-hx371922 Cow Bells (Al Piantadosi), Zez Confrey, Victor 18962-B-f8-hx50

Paul Whiteman and his Orchestra — recorded on 21 September 1922; issued on Victor 18962, b/w “Cow Bells,” recorded by Zez Confrey and his Orchestra


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