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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Blue Skies


Irving Berlin_playing piano_overhead shot_1

Blue Skies (Irving Berlin) — 1926

Ziegfeld-Follies-1927-Cantor-Ziegfeld-Berlin-chorusgirlsFrom Wikipedia (excerpts):

The song was composed in 1926 as a last-minute addition to the Rodgers and Hart musical Betsy. Although the show ran for 39 performances only, “Blue Skies” was an instant success, with audiences on opening night demanding 24 encores of the piece from star Belle Baker.[1] During the final repetition, Ms. Baker forgot her lyrics, prompting Berlin to sing them from his seat in the front row.[2]

In 1927it became one of the first songs to be featured in a talkie, when Al Jolson performed it in The Jazz Singer. The song was recorded in all of the major and dime store labels of the time. Another version of the song was recorded by Benny Goodman and his Orchestra in 1935. 1946 was also a notable year for the song, with a Bing Crosby/Fred Astaire film taking its title along with two recorded versions by Count Basie and Benny Goodman reaching #8 and #9 on the pop charts, respectively. Crossing genres, Willie Nelson’s recording of “Blue Skies” was a #1 country music hit in 1978.

The image (above right) is from a photo taken during rehearsals of Ziegfeld Follies of 1927, which featured a number of Berlin compositions. Left to right, front, are Eddie Cantor, Florence Ziegfeld, and Irving Berlin.

Irving Kaufman (1)-f30t0

Irving Kaufman vocal with unidentified piano and guitar accompaniment — recorded on 6 January 1927; issued on Banner 1932, c/w “Pal of My Heart,” recorded by Charles Harrison

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Vaughn-Deleath-1920s

Vaughn De Leath — recorded on 11 January 1927*, issued on Okeh 40750, c/w “There Ain’t No Maybe in My Baby’s Eyes” (Donaldson, Kahn, Egan) — Evidently also issued as Edison Blue Amberol 5312

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Josephine Baker_Murray Korman_1Josephine Baker_jewelry_1

Le Jacob’s Jazz featuring Josephine Baker recorded in Paris, France on 15 January 1927; issued on Odèon 166.042, c/w “I’m Leaving For Albany”

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Ben Selvin and his Orchestra (as the Knickerbockers; see redhotjazz.com)  —  recorded on 15 January 1927; issued on Columbia-860D, c/w “Tonight You Belong to Me” recorded by the Cavaliers (another Ben Selvin pseudonym)

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1927 Blue Skies-George Olsen and Orchestra, Victor 20455-A

George Olsen and His Music; vocals by Bob Borger, Fran Frey & Bob Rice – recorded on 19 January 1927; issued as the A-side of Victor 20455, b/w “Where’s That Rainbow”

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Spring Can Really Hang You Up the Most


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Spring Can Really Hang You Up the Most (m. Tommy Wolfe, w. Fran Landesman)

Jackie and Roy (Jackie Cain and Roy Kral) — recorded in May 1955 and released on the 1955 LP Storyville Presents Jackie and Roy, Storyville STLP 904 (12″, Mono)

From Wikipedia:
Jackie and Roy was a jazz vocal team consisting of husband and wife singer Jackie Cain and singer/pianist Roy Kral. They first joined forces in 1946, and in 1996 they celebrated their 50th anniversary as a vocal duo. [read more]

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Herbie Mann — recorded in NYC in March 1956 and released that year on the album Love and Weather, Bethlehem Records BCP 63

Herbie Mann (flute), Joe Puma (guitar), Milt Hinton (bass), Don Lamond (drums), Ralph Burns (director), unidentified large orchestra, including strings

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1958-The Song is June-June Christy, Capitol T1114, ST1114

June Christy with orchestra conducted by Pete Rugolo – first track on the 1958 LP The Song is June!, Capitol Records T1114 (Mono), ST1114 (Stereo); arrangement by Pete Rugolo

The Song is June! – Wikipedia page

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Barbra Streisand — live 1962 performance on the Tonight Show (TV), introduced by host Johnny Carson

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1964 A Chip Off the Old Block, Stanley Turrentine, Blue Note 4150 (Mono)1964 A Chip Off the Old Block, Stanley Turrentine, Blue Note 4150 (Mono) back

Stanley Turrentine with Shirley Scott, Blue Mitchell, Earl May & Al Harewood — recorded on 21 October 1963; released on the 1964 LP A Chip Off the Old Block, Blue Note BLP 4150 (Mono), BST-84150 (Stereo)

  • Stanley Turrentine – tenor saxophone
  • Blue Mitchell – trumpet
  • Shirley Scott – organ
  • Earl May – bass
  • Al Harewood – drums

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Carmen McRae and Sarah Vaughan-by Moneta Sleet, Jr., Stamford, Connecticut-1964 (2)Carmen McRae and Sarah Vaughan-by Moneta Sleet, Jr., Stamford, Connecticut-1964 (1)

(above) Carmen McRae and Sarah Vaughan, photographed by Moneta Sleet, Jr. during a benefit jazz concert held on the lawn of Jackie and Rachel Robinson’s home in North Stamford, Connecticut in 1964

Sarah Vaughan — from the 1964 album Snowbound, Roulette Records R 52091 (Mono), SR 52091 (Stereo)

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Vivo Sonhando (Dreamer)


Tom Jobim_10Tom Jobim_composes-at-piano-1-t100

Vivo Sonhando (Dreamer) — music and original Portuguese lyric by Antônio Carlos Jobim; English lyric by Gene Lees

links:

1963 Mais Bossa Com Os Cariocas, Philips P 632.177 L1963 Mais Bossa Com Os Cariocas, Philips P 632.177 L (back)

Os Cariocas — from the 1963 LP Mais Bossa Com Os Cariocas, Philips P 632.177 L

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1963 Antonio Carlos Jobim-The Composer of Desafinado, Plays-Verve V6-85471963 Antonio Carlos Jobim-The Composer of Desafinado, Plays-Verve V6-8547, gatefold inside photo

Antonio Carlos Jobim — from 1963 album The Composer of Desafinado Plays, Verve V6 8547; album recorded in New York City on 9 and 10 May 1963, produced by Creed Taylor

Notes from the back cover (jacket):

This is the sound of Antonio Carlos Jobim. At 36 he is one of the leading figures in popular music in Brazil, and his initial work on “Bossa Nova” with Joao Gilberto and Luiz Bonfa has made this new music the world-wide favorite. He plays piano and guitar and composes such great melodies as Desafinado, One Note Samba, and Insensatez.

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1964 Getz-Gilberto, Verve V6-8545, inside gatefold cover (2)

Stan Getz and João Gilberto, featuring Antonio Carlos Jobim — from the 1964 LP Getz/Gilberto, Verve V6- 8545

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Sylvia Telles – from the 1964 LP Bossa Session, Elenco ME-13

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Astrud Gilberto – from the 1965 LP The Astrud Gilberto Album, Verve V-8608 (mono), V6-8608 (stereo); album recorded at RCA Studios, Hollywood, California, on 27 & 28 January 1965

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Rosa Passos — from the 1998 LP Rosa Passos Canta Antonio Carlos Jobim

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Morelenbaum 2 (Jaques and Paula Morelenbaum) / Ryuichi Sakamoto — from the 2002 US version of the LP Casa, Sony Classical SK 89982 — The track doesn’t appear on the 2001 versions released in Brazil and Japan.

Paula Morelenbaum – vocal
Jaques Morelenbaum – cello
Ryuichi Sakamoto – piano
Luiz Brasil – guitar (guest)
Zeca Assumpção – bass (guest)
Marcos Suzano – percussion (guest)

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Karrin Allyson — from Imagina: Songs of Brasil, released on 25 March 2008

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Tim Yehezkely, Postmarks (1)

The Postmarks — date unknown

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Ill Wind


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Harold Arlen sings1934 Ill Wind (Arlen-Koehler) 24th Cotton Club Parade-d50-s3-c1a

Ill Wind (m. Harold Arlen, w. Ted Koehler)

“Ill Wind (You’re Blowin’ Me No Good)” was written for the 24th Edition of the Cotton Club Parade, the last on which the songwriting team of Harold Arlen and Ted Koehler worked, where it was originally sung by Adelaide Hall. The show opened on 23 March 1934. Another Arlen-Koehler standard, “As Long As I Live,” was also introduced in the show.

Harold Arlen — solo, piano and vocal — recorded on 6 February 1934; issued as Victor 24569, c/w “As Long As I Live”

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Eddy Duchin and his Orchestra-1

Eddy Duchin and his Orchestra, vocal: Harold Arlen — recorded on 28 February 1934; issued as Victor 24579-A, b/w “As Long As I Live”

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Will Osborne 1Will Osborne 3

Will Osborne and his Orchestra, vocal: Will Osborne — recorded on 3 March 1934; issued on Perfect 15902, c/w “As Long As I Live”

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Leo Reisman and his Orchestra, vocal: Phil Neely — recorded on 5 April 1934; issued on Brunswick 6789, c/w “As Long As I Live,” vocal by “SS” (probably Sally Singer)

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Singer Maxine Sullivan of HOmestead at age 26 in 1938

Maxine Sullivan — recorded in NYC on 22 August 1939; issued on Victor 26344, c/w “Turtle Dove”

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Lena Horne 2 (sm)Lena-Horne-dm-01

Lena Horne with Orchestra conducted by Lou Bring — recorded on 15 December 1941; originally issued on the 1942 album Moanin’ Low, Victor P 118 (set of four shellac 10″ 78 rpm discs)

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Charlie Barnet--Capitol Big Band Sessions, 1998Trudy Richards 1

Charlie Barnet and his Orchestra : vocal: Trudy Richards – recorded on 16 August 1949; issued on Capitol 843, c/w “All the Things You Are”

audio file (Mp3) from trudyrichards.blogspot.com:

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I’ll Never Be the Same


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I’ll Never Be the Same (m. Frank Signorelli, Matty Malneck, w. Gus Kahn)

Eddie Lang performs with Gibson guitar, c.1928 in Chicago, Illinois“I’ll Never Be the Same” was adapted from an instrumental written by Frank Signorelli titled “Little Buttercup.” According to the Eddie Lang 1927-1932 issue of The Chronological Classics series, Lang recorded the number, accompanied by Signorelli on piano, at Okeh studios in New York on 27 September 1928. The next recording of “Little Buttercup” I’m aware of is that by Joe Venuti’s Blue Four, during a 10 June 1931 Okeh session. In 1932, Gus Kahn wrote a lyric for the tune and the resultant song was titled “I’ll Never Be the Same.” 1932 recordings of “I’ll Never Be the Same” include those made by Ruth Etting, Guy Lombardo and his Royal Canadians (vocal: Carmen Lombardo), and Paul Whiteman and his Orchestra (vocal: Mildred Bailey).

Accounts disagree as to what part Matty Malneck played in the writing of the song. The Red Hot Jazz Archive and Second Hand Songs indicate that Signorelli alone wrote the original instrumental, “Little Buttercup,” while the latter site credits Matty Malneck and Gus Kahn together for the 1932 adaptation “I’ll Never Be the Same.” However, JazzStandards.com, Arthur Jackson, in a Malneck biography published at the Robert Farnon Society website, and others claim that Malneck co-wrote “Little Buttercup” with Signorelli.

Eddie Lang — guitar solo, accompanied by Frank Signorelli, piano — recorded, presumably as “Little Buttercup,” for Okeh Records on 27 September 1928, but apparently unreleased by Okeh. According to the Eddie Lang page at the Red Hot Jazz Archive, it was released on Parlophone R-1778. The Global Dog Productions 78 discography for the Parlophone Records (UK) 1000 series confirms that it was issued, under the title “I’ll Never Be the Same” and coupled with “Add a Little Wiggle,” on catalog number R-1778, but provides no clue as to the release date. Second Hand Songs says it was released c. 1934, which would explain the title change.

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Tommy Rockwell (OKeh head of ops.), Eddie Lang, Frank Trumbauer, and Joe Venuti, 1929-d10-c1

(above, l. to r.) Tommy Rockwell (head of operations at Okeh Records), Eddie Lang, Frank Trumbauer, and Joe Venuti, 1929

Joe Venuti’s Blue Four — recorded as “Little Buttercup” on 10 June 1931, New York; issued on Okeh 41506 as the B-side of “Pardon Me Pretty Baby”

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Recordings under the new title, I’ll Never Be the Same, following the 1932 adoption of a lyric written by Gus Kahn:

Ruth Etting — recorded on 26 July 1932; issued as Conqueror 7997-B, the flip side of “It Was So Beautiful”

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Guy Lombardo and his Royal Canadians, vocal: Carmen Lombardo — recorded on 27 July 1932; issued as the A-side of Brunswick 6350, b/w “We Just Couldn’t Say Good-bye” (Harry Woods)

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Paul Whiteman and his Orchestra, vocal: Mildred Bailey — recorded on 11 August 1932; issued as Victor 24088-A, b/w “We Just Couldn’t Say Goodbye” (Harry Woods)

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Baltimore Oriole


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Baltimore Oriole (m. Hoagy Carmichael, w. Paul Francis Webster) — copyright date: 13 March 1942

lyric: Lyric Wiki, International Lyrics Playground

Hoagy Carmichael — Carmichael recorded the song for the soundtrack of the 1944 film To Have and Have Not. Around, the short-lived record label American Recording Artists, later ARA, issued a recording of “Baltimore Oriole” by Hoagy Carmichael and his Orchestra (ARA 142A), b/w “Sweet Lorraine.” Carmichael also made a special 1944 recording for the V-disc project, which was issued as the B-side of V-Disc 383.

Hoagy Carmichael and his Orchestra(?) — probably ARA 142A, b/w “Sweet Lorraine,” issued c. 1945

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In 1956, and Carmichael recorded the song again, with a group of jazz musicians arranged and conducted by Johnny Mandel. Eleven recordings from the sessions at the Forum Theatre on 10, 11, and 13 September 1956 were released on the 1957 Pacific Jazz Records LP “Hoagy Sings Carmichael with the Pacific Jazzmen,” PJ 1223. AllMusic’s review of the album indicates the support of an “11-piece all-star jazz group,” though discogs.com lists only six musicians for the album. I haven’t found an audio file of this recording yet.

1958 Ole Buttermilk Sky, Hoagy Carmichael, LP Kapp KL 1086 (1)

Hoagy Carmichael — from the 1958 LP Ole Buttermilk Sky, Kapp KL 1086

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Barbara Lea 1956, by Bob ParentBarbara Lea with the Johnny Windhurst Quartet — recorded on 18 October 1956 at Van Gelder Studio, Hackensack — Barbara Lea (ldr), Dick Cary (ah), Johnny Windhurst (t), Al Hall (b), Dick Hyman* (p), Osie Johnson (d), Barbara Lea (v)

Barbara Lea biography:

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Bob Dorough — from his debut album Devil May Care, Bethlehem Records BCP-11, released in October 1956

Dorough had evidently been misinformed about the location of the Tangipahoa River, which he places “near Baltimore.” According to Wikipedia, the Tangipahoa originates in southwest Mississippi, and runs for 122 miles, extending into southeast Louisiana.

Bob Dorough biography:

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Carmen McRae — recorded on 8 August 1958 and released on the 1958 LP Birds of a Feather, Decca DL 8815

Carmen McRae inscribed_1personnel:
Carmen McRae (vocal), Irving ‘Marky’ Markowitz (trumpet), Al Cohn (tenor sax), Ben Webster (tenor sax), Don Abney (piano), Barry Galbraith (guitar), Aaron Bell (bass), Don Lamond (drums); arranged by Ralph Burns

See the review of the recording at Jazz.com, by Thomas Cunniffe.

The duration of the audio file in the first video below agrees with the track length given by CarmenMcRae.com and Amazon, while that in the second video is about 19 seconds shorter. However, the second doesn’t appear to be cut. Instead, comparison of the two indicates that the speed has been increased in the audio file used in the second video by about 8.3%, roughly 1/12th.

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(below) with speed evidently increased, reducing the length by about 19 seconds

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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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Dancing In the Dark


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Dancing In the Dark (m. Arthur Schwartz, w. Howard Dietz)

Wikipedia:

1931 I Love Louisa, Band WagonDancing In the Dark…was first introduced by John Barker in the 1931 revue The Band Wagon. The 1941 recording by Artie Shaw and His Orchestra earned Shaw one of his eight gold records at the height of the Big Band era of the 1930s and 1940s.

It was subsequently featured in the classic 1953 MGM musical The Band Wagon and has since come to be considered part of the Great American Songbook. In the film it is given a ‘sensual and dramatic’[1] orchestration by Conrad Salinger for a ballet performance by Fred Astaire and Cyd Charisse.

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Waring's-Pennsylvanians-in Paris-Ambassadeurs-1928

(above) Waring’s Pennsylvanians photographed in front of Les Ambassadeurs in Paris, 1928

Fred Waring’s Pennsylvanians — recorded on 18 May 1931; issued as the B-side of the Victor single 22708, “High and Low (I’ve Been Looking For You)” (Schwartz, Dietz). The chorus is initially sung by a male vocal group, and then the B-section or bridge is sung by a female group, the “Three Waring Girls,” followed by an instrumental break (the third A section). The two groups share the vocals in an abbreviated final section.

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Jacques Renard and his Orchestra, vocal: Frank Munn – Brunswick label 78 rpm single 6136, b/w “High and Low (I’ve Been Looking For You)”, both sides recorded on 3 June 1931

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Bing Crosby — recorded on 19 August 1931 and issued in 1931 as the Brunswick label 78 rpm single 6169, c/w “Stardust” (recorded on the same day) — Bing Crosby (voc), Victor Young (dir), Joe Venuti (vln)

Audio file, from the Internet Archive (archive.org)

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Victor Salon Orchestra, conducted by Nathaniel Shilkret — recorded on 15 October 1931; issued as the B-side of the Victor 78 rpm single “Stardust”, 22848.

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Ben Selvin and his Orchestra — 1931

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ambrose-orch-feb-1933-e1-d20sh5

Ambrose and his Orchestra at the May Fair Hotel, London, vocal: Sam Browne — recorded on 11 January 1932

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Nelson Eddy — date unknown

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