Songbook site index


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.

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Billie Holiday, capebillie-holiday-pearls-1a

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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:

Wikipedia:

lyric:

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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…”

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 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 (archive.org):

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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”

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

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Tony Mottola – from the 1970 LP Close To You, Project 3 Total Sound PR 5050SD, PR 5050 SD

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1971 It's Impossible (LP) Perry Como, RCA Victor LSP-4473 (d35)

Perry Como – from his 1970 album It’s Impossible, RCA Victor LSP-4473

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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 45cat.com, Discogs.com, and SwissCharts.com bear the date 1973. A note in the Discogs.com 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, soulwalking.co.uk 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 SongFacts.com, 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 Discogs.com 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.

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

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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.

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

1
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

2
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

3
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

4
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

repeat 2

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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 on 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)

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The following video includes a nice montage of clips from the film, but the sound quality is lower.

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Touch Me In the Morning


Touch Me In the Morning (Michael Masser, Ronald Miller)

The song was first recorded by Diana Ross, featuring an arrangement by Tom Baird and Gene Page, produced by Michael Masser and Tom Baird. Issued on 3 May 1973, the single Motown 1239F, b/w “I Won’t Last a Day Without You,” climbed to #1 on the Billboard Hot 100 chart (1 week, 18 August), and remained on the chart for 21 weeks. It also topped the Adult Contemporary chart, and became a #5 R&B hit. A somewhat shorter version appeared as the first track of the 1973 Diana Ross album Touch Me in the Morning, Motown MKK 1008, released on 22 June 1973.

Diana Ross, feathers (1a)1973 Touch Me in the Morning (LP)-Diana Ross-1977 reissue, Kory Records KK 1008

From Wikipedia:

Diana Ross-Touch Me in the Morning (fr)It was conceived by then-unproven songwriter and producer Michael Masser. He had been recruited by Motown CEO Berry Gordy and A&R chief Suzanne de Passe. Masser teamed up with the proven ballad lyricist Ron Miller to write it.

According to Masser, in a video documentary about Ross, she “always tried to push hard to get the vocals right for this particular song”, calling it a “draining experience” that resulted in several near-emotional breakdowns when she wasn’t up to her abilities. It was recorded in the early morning hours, as was her custom after she began raising her children. In a Barbara Walters Mother’s Day interview special, her second-oldest daughter, Tracee Ellis Ross, said Diana would put them to bed and record all night, in order to wake her children and send them to school the next morning.

1973 Touch Me in the Morning-Diana Ross-single Tamla Motown (France)Tamla Motown 2 C 006-945081973 Touch Me in the Morning-Diana Ross-single Tamla Motown (Italy) Tamla Motown TSM-NP 64161, Tamla Motown TSM NP 641611973 Touch Me in the Morning-Diana Ross-single Tamla Motown (Germany) C 006-94 508, EMI Electrola C 006-94 508

Diana Ross

single Motown 1239F, b/w “I Won’t Last a Day Without You,” issued on 3 May 1973 — At 3:51, the single is 25 seconds longer than the album track

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MFSB — from the 1973 LP Love Is the Message, Philadelphia International Records KZ 32707; also issued as the B-side of the 1974 single TSOP (The Sound of Philadelphia) in some countries, including Germany, Italy, and Portugal

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Billy Green and the Love Machine — instrumental from the 1974 LP Satin Soul, EMI (Brazil) EMI Records EMCB 7007

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John O’Banion — from the John O’Banion Show (TV), May 1974

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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

Clips from the “short film” described by Dr. Lotz above are combined in the following video. Except that the clips come from a series of five short films, not one, and they were made by Louis Lumière, not the French Pathé company as suggested by Dr. Lotz.

The index from a page of the book Catalogue des vues pour cinématographe, by la Société A. Lumière et ses Fils (Lyon, 1907) shown in the image above indicates that the title “Le Cake-Walk au Nouveau Cirque” used by the video provider refers not to a single film but to a series of five Louis Lumière short films, numbered sequentially 1350 through 1354. Most, if not all, of the performers in the films were evidently — see the quote from Deaville’s abstract above, and the postcards above and below — members of a troupe of dancers performing at the Nouveau Cirque in the revue Les Joyeux Nègres at about the same time the films were made. The description under the index confirms that, as Dr. Lotz says, the films were shot on the stage of the Nouveau Cirque: “Ces vues ont été prises au Nouveau Cirque à Paris.” Of the five dance teams, only the Elks are mentioned by name in the index, but four of the dance teams in the film series can be readily named by matching each with a corresponding postcard series, while the fifth dance pair (Lumière n°1352) is not so easily identified.***

Dating the Lumière “Le Cake-Walk” film series:

  • Though the video provider dates the “film” 1902, each of the five short films is dated 1903 in a comprehensive chronological catalog of restored and digitized Lumière films at the website of les Archives françaises du film.
  • A page on the series at Catalogue Lumière dates each film 15 March 1903 (though each is also dated “hiver 1902-1903). The description of the series provided by Catalogue Lumière is adapted from that in the 1907 Catalogue des vues pour cinématographe.

Internet Movie Database gives the length of one of the films (“Les Elkes champions du Cake-Walk,” dated 1903) as 1 minute. This is the only one of the five films listed in the Louis Lumière filmography at IMDb. Note, however, the description under the Catologue index which says, “La longeur de ces vues varie entre 21 et 25 m.” (The length of these short films vary between 21 and 25 m.). Various sites indicate that first film screenings of Auguste and Louis Lumière in 1895 consisted of films which were each 17 meters long. Each film ran for approximately 50 seconds when hand cranked through the projector (though the duration of content varied between 38 and 48 seconds). If we use 50 seconds per 17 meters as the standard, then the five short films of “Le Cake-Walk au Nouveau Cirque” would each be between 61.8 and 73.5 seconds in duration. This agrees pretty well with the overall length of the five clips combined in the video, since it is apparent in places that some frames might be missing.

The dance pairs in the film series “Le Cake-Walk au Nouveau Cirque” include:

  • n°1350…….“Les Nègres,” a team which consists of two men, the taller one in drag
  • n°1351……. “Les enfants nègres,” siblings Rudy and Fredy Walker — The title of the film “Négrillon,” means “black children”
  • n°1352……. Unidentified; the male dancer doesn’t look like the images of Charles Gregory found in the aforementioned “Nègre Joyeux” postcard series***
  • n°1353……. “Les Elks” (spelled “Les Elkes” in the 1907 Lumière catalog, but “Les Elks” in their postcard series)
  • n°1354…….“Les Soeurs Pérès” — sisters Jeanne and Nina Pérès, from Spain; they are eventually joined by the other eight dancers in a finale

In the video, Rudy and Fredy Walker are the second cakewalk team to appear. Their extraordinary performance begins at about 57 sec. During the routine by the fourth team, the Elks, while the three teams who have already performed are grouped at the rear of the stage (upstage), Rudy Walker is seen lifting her arms defensively and flinching a couple of times as the wildly flailing cane of the male member of the Elks appears to come dangerously close to her head. Evidently anticipating further threat, she quickly changes her position, and then immediately begins blowing two-handed finger whistles (wolf whistles) toward the Elks. Moments after she begins whistling, the dancer in the top hat on the far left and she briefly engage in what seems to be a serious shoving match.

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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

forever-autumn-sun-image-31000

* “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

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P.S. I Love You – 1934


rudy-vallee-conducts

P. S. I Love You (m. Gordon Jenkins, w. Johnny Mercer) – Rudy Vallée’s popular recording, released in December 1934, introduced the song. A recording by the Hilltoppers peaked at #4 in June 1953 (charting for 21 weeks), and the Vogues charted with their version in 1960. Others to record the song include Billie Holiday, Frank Sinatra, Mel Tormé, Rosemary Clooney, Kay Starr, the Starlets (#106), and Diana Krall. Film soundtrack recordings include Bette Midler: For the Boys (1991), and Nellie McKay: P.S. I Love You (2007).

Suggested song links:

Rudy Vallée and his Connecticut Yankees, with vocal by Rudy Vallée — recorded on 9 September 1934; issued on Victor Victor 24723 as the B-side of “Strange”

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Eddie Stone and his Orchestra, vocal: Eddie Stone — recorded 9 October 1934, New York; issued on Bluebird 5678, b/w “If I Had a Million Dollars” (m. Matty Malneck, w. Johnny Mercer)

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Gerald Bright 2Gerald Bright 1

Geraldo and his Sweet Music, vocal: Cyril Grantham — recorded on 26 October 1934, issued on Columbia CB-802, c/w “Just A-Wearyin’ For You” (Geraldo was a stage name for Gerald Bright)

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Lew-Stone-11934 P.S. I Love You-Lew Stone and His Band-Decca (UK) F.5241

Lew Stone and his Band — recorded in 1934, issued on Decca (UK) F.5241, b/w “Two Cigarettes in the Dark” (m. Lew Pollack, w. Paul Francis Webster)

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Four Vagabonds-(l.to r.) Robert O'Neal (first tenor), John Jordan (lead tenor), Ray Grant (bass & guitarist), Norval Taborn (baritone)

The Four Vagabonds , with lead vocal by John Jordan — recorded on 26 March 1947; issued on Apollo 1057, c/w “The Freckle Song”

The Four Vagabonds profiles:

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Sonny Stitt Quartet — recorded in NYC on 1 February 1951; issued on the 78 rpm 10″ shellac single Prestige 757, c/w “Liza,” and on various albums

Personnel:
Sonny Stitt – Baritone Sax
Charlie Bateman – Piano
Gene Wright – Bass
Teddy Stewart – Drums

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Billie Holiday-3 September 1954 (1)-gx-rt1Billie Holiday-3 September 1954 (2)-t50d40

Billie Holliday and her Orchestra — recorded on 3 September 1954 at Capitol Studios in Los Angeles (Verve) — Harry ‘Sweets’ Edison (tp) Willie Smith (as) Bobby Tucker (p) Barney Kessel (g) Red Callender (b) Chico Hamilton (d) Billie Holiday (v)

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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

Soon
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)

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

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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)

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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

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Remember (“You Forgot to Remember”)


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Remember (Irving Berlin) aka “You Forgot to Remember”

According to The Complete Lyrics of Irving Berlin, eds. Robert Kimball and Linda Emmet (2001), p.228*, the song was registered for copyright in early 1925 under the titles “Remember” and “You Forgot to Remember.” The latter title was used more frequently for the earliest recordings. The tenors Franklyn Baur, Henry Burr, and John McCormack each recorded the song in 1925, as did Al Jolson and Cliff Edwards.

Jazz heavyweights such as Red Norvo, Ben Webster, Oscar Peterson, Thelonious Monk, Hank Mobley, and Ray Brown have periodically reinterpreted the song, usually under the title “Remember,” since the late 1930s. Their efforts and those of a number of major vocalists who recorded the song, particularly in the 1950s and 1960s, including Connee Boswell (1938), Billie Holiday (1952), Sarah Vaughan & Billy Eckstine (1957), Ella Fitzgerald (1958), Betty Carter (1960, 1969), Anita O’Day (1961), Frank Sinatra (1962, 1978), Connie Francis (1963), and Andy Williams (1966) have certainly each contributed to making “Remember” a standard.

1925 Remember (Irving Berlin)-1-d45Franklyn Baur (1)-40p-t40-d25

Seven of the following eight 1925 recordings bear the title “You Forgot to Remember.” Among them, only Cliff Edwards recorded the song as “Remember.”

Franklyn Baur — recorded on 12 August 1925 — issued on Harmony 16-H, c/w “Sometime” (Ted Fiorito, Gus Kahn) — This is the earliest recording I’ve found

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Henry Burr (2)

Henry Burr, with piano accompaniment by LeRoy Shield, and featuring saxophone obbligato by Rudy Wiedoeft — recorded on 14 September 1925, the 10th of 12 takes — issued as Victor 19780 A, b/w “Alone At Last” (Ted Fiorito, Gus Kahn)

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Victor Salon Orchestra, directed by Nathaniel Shilkret — recorded on 29 September 1925; issued as Victor 19802 A, b/w “June Brought the Roses”

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John McCormack 1

John McCormack with orchestra directed by Nathaniel Shilkret (Victor’s house band) — recorded by Victor in Camden, NJ on 14 October 1925 — The first of three takes became the master (Matrix BVE-33464). The single Victor 1121 (Red Seal), b/w “Oh, How I Miss You Tonight,” was also issued as Gramophone DA-760

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Two piano rolls:

Ampico # 206441 E piano roll played by Adam Carroll; released in October 1925

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Welte-Mignon # Y7192 piano roll played by Stuart Gregory; released in October 1925 — The provider suggests that “Stuart Gregory” may be a pseudonym for Howard Lutter

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Cliff Edwards 1

Cliff Edwards (Ukulele Ike) – recorded in NYC on 9 November 1925 — issued as “Remember” on Pathé Actuelle 25163, and on Perfect 11597, c/w “Someone’s Stolen My Sweet, Sweet Baby” in each case

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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.
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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

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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:

chorus:
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

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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

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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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