Songbook site index




Billie Holiday, probably at Pep's Musical Bar, 25-30 April 1955 (2)About the site
1890-1969 selected standards and hits pages
Galleries: performing artist and songwriter
Galleries: film
Songwriters to 1954
Songwriters, 1955-1975
Complete page index
Film Musicals and Revues: selected films and songs, 1929-47
Performing Artist features
Jazz Age
Swing Eras 1 and 2




Lady Day: The Many Faces of Billie Holiday – 1990 documentary, directed by Matthew Seig; based on the book of the same name written by Robert O’Meally




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.



Autumn (Maltby and Shire) – 1964


Autumn (David Shire, Richard Maltby Jr.)

Barbra Streisand — from the album People, (US) Columbia CS 9015, released in September 1964; also issued in November 1964 on the promo only 45 rpm single Columbia JZSP 79183 / JZSP 79184, as the B-side of “I’m All Smiles”

lyric:, International Lyrics Playground


Andy Williams — recorded in 1965; unreleased until it was included on the 2003 compilation CD B Sides and Rarities, Collectables Records, COL-CD-7529


The song was included in the musical revue Starting Here, Starting Now, which, according to Wikipedia, was first produced at the Manhattan Theater Club in 1976 under the title Theater Songs by Maltby and Shire.


Margery Cohen — from Starting Here Starting Now (Original Cast Recording), RCA Red Seal ABL1-2360, released in 1977


Christina Matula — Little Theatre of Alexandria (Alexandria, VA); published to YouTube on 15 January 2010


Margery Cohen — 17 December 2013 performance, at 54 Below in NYC

  • Margery Cohen – vocal
  • Jeremy Robin Lyons – piano


Mary Kate Hughes — published to YouTube on 30 August 2015


Tidy Gill9 February 2018 performance at the First Christian Church in Selma, California

  • Tidy Gill – vocal, soprano
  • Jordan Williams – piano


Tania Grubbs Quintet — from the self-released 2020 CD album Live at Maureen’s Jazz Cellar, recorded 24 May 2019 at Maureen’s Jazz Cellar in Nyack, NY


  • Tania Grubbs – vocal
  • David Budway – piano
  • Ron Affif – guitar
  • Jeff Grubbs – bass
  • James Johnson III – drums


Dena Underwood — published to YouTube on 12 October 2019


Brandon Contreras and Brian Walters – from the ROAR series of Lion Party Films; video published to YouTube, and to Facebook, on 4 November 2019

ROAR series, Lion Party Films: YouTube, Facebook

  • Brandon Contreras – vocal
  • Brian Walters – piano


Charlotte Maltby — 9 March 2020, from the 35th Annual Bistro Awards at the Gotham Comedy Club in NYC — Charlotte is introduced by her father, Richard Maltby Jr. He and his songwriting collaborator David Shire received a Lifetime Achievement Award during the event.

  • Charlotte Maltby – vocal
  • Deniz Cordell – piano


Kelvyn Koning — published to YouTube on 18 September 2020

In the Quiet of an Autumn Night


In the Quiet of an Autumn Night (Pat Ballard, Charles Henderson) – recorded in September 1934 by Freddy Martin and his Orchestra, with vocal by Buddy Clark; also recorded by Henry King and his Orchestra (v. Joseph Sudy), Dick Jurgens and his Orchestra, New Mayfair Dance Orchestra (directed by Carroll Gibbons, v. Brian Lawrance), Geraldo and His Sweet Music (v. Cyril Grantham), and Nick Lucas

Freddy Martin & his Orchestra, vocal: Buddy Clark — recorded on 14 September 1934, in NYC; issued on the 78 rpm single Brunswick 6982 (link fixed, 9/15/2022), c/w “Isn’t It a Shame?”

audio file, Ogg Vorbis (1.5 MB), from the Freddy Martin Collection 1932-1935 (Standard Labels) (COMPLETE) page at


VBR MP3 (6.3 MB)


Henry King and his Orchestra (as Don Walker and his Orchestra), vocal: Joseph Sudy — recorded in New York on 17 September 1934; issued on the 78 rpm single Vocalion 2803, c/w “Isn’t It a Shame”

audio file, VBR MP3 (2.5 MB), from the Henry King And His Orchestra 78rpm Collection page at


New Mayfair Dance Orchestra, directed by Carroll Gibbons, vocal: Brian Lawrance — recorded c. 10-15 January 1935; issued on the 78 rpm single (UK) His Master’s Voice B.D. 111, as the B-side of “The Object of My Affection”


Geraldo and His Sweet Music,  vocal: Cyril Grantham – recorded on 25 January 1935; issued in 1935 on the 78 rpm single (UK) Columbia FB 1016 as the B-side of “Here is My Heart” (m. Ralph Rainger, w. Leo Robin)

Diamond in the back, sunroof top


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Be Thankful for What You Got (William DeVaughn) William DeVaughn, 1974

Just be thankful for what you’ve got
Though you may not drive a great big Cadillac
Diamond in the back, sunroof top
Diggin’ the scene
With a gangsta lean
Gangsta whitewalls
TV antennas in the back



It’s a Musical World


YouTube provider VideotapeFTW says:

Originally from the musical The Good Old Bad Old Days, “It’s a Musical World” featured in Emu’s World’s third series – this episode first broadcast on 16th March 1983.

It Seems to be Spring


Howdy folks,

I’d intended to build and publish this feature in January…of 2020, that is. Better late than never. Hope you enjoy it! Like “June in January,” this song is about a love interest that seems to turn January into a warmer month. The introductory verse, included in some versions, goes like this:

It’s a January morning
We two meet without a warning
And I hope my eyes will say for me
That you’ve made the day like May for me

From now on ’twill be my failing
Not to know when it is hailing
Ev’ry storm is unavailing
Now you’re a part, of my heart

It Seems to be Spring (m. Richard A. Whiting, w. George Marion, Jr.) — The song was evidently written for the 1930 musical comedy film Let’s Go Native, which was released on 16 August 1930. It is performed as a rehearsal of a theatrical production within the film by Jeanette MacDonald and James Hall.

Oddly, the first recording that I’m aware of, that by Waring’s Pennsylvanian’s on 27 January 1930, precedes the song’s copyright date, 17 February 1930, by a few weeks. There may be an earlier copyright date that I haven’t discovered yet.

Waring’s Pennsylvanians, vocal: The Three Girl Friends — (Fred Waring, bandleader) — recorded 27 January 1930 in New York, NY; issued 8 August 1930 on the 78 rpm single Victor 22470 as the B-side of “I’ve Got a Yen for You” (A-side recorded by Gus Arnheim and his Orchestra)

audio file (VBR MP3, 2.4 MB) from the page Waring’s Pennsylvanians 1925-1934 (COMPLETE) at


Fred Rich Orchestra, vocal: Harold “Scrappy” Lambert — one of multiple recordings* by Fred Rich Orchestra for OKeh Records, made on 7 June 1930 in New York, NY

audio file (VBR MP3, 2.4 MB) from a Fred Rich 1925-1935 collection at


Meyer Davis’ Hotel Astor Orchestra — recorded in August 1930**, and issued on the 78 rpm single Brunswick 4882, b/w “Why Have You Forgotten Waikiki?” — I haven’t conclusively identified the vocalist yet, but it sounds an awful lot like Scrappy Lambert.

audio file (VBR MP3, 7.3 MB) from the page Meyer Davis Collection 1925-1934 (COMPLETE) at


Sam Lanin’s Troubadours, vocal: Helen Rowland — recorded on 2 September 1930; issued on the following 78 rpm singles

  • Banner 802, c/w “The Recipe Song”
  • Romeo 1418, c/w “The Recipe Song”
  • Domino 4625, c/w “I Got a Yen for You” — under the pseudonym Broadway Broadcasters
  • Perfect 15347, c/w “I Got a Yen for You” — under the pseudonym Broadway Broadcasters

audio file (VBR MP3, 2.3 MB) from the page Sam Lanin Orchestra 78rpm Collection at


The Sunshine Boys (Joe and Dan Mooney) — recorded on 12 September 1930 (Columbia matrix W150731), according to the DAHR; issued on the 78 rpm single (US) Columbia 2303-D, and on (UK) Columbia DB 345, c/w “I Like a Little Girl Like That” in each case — The DAHR also indicates that two different takes were mastered under the same matrix number, W150731, and that each of these takes was issued on records with the same catalog number, 2303-D.

(US) Columbia 2303-D — audio file (VBR MP3, 5.7 MB) from the page IT SEEMS TO BE SPRING (Parece Primavera) at


(UK) Columbia DB 345


Jack Coakley’s Orchestra, vocal: Paul Slobody — recorded in San Francisco, 1931; issued on the Flexo label, matrix 428 (no catalogue number), as the B-side of “Golden Sands

other info from the YouTube provider:

Jack Coakley (piano) directing Harry Fish – Bill Starkey (saxophones), Bob Logan (guitar), Fred Gaffney (brass bass, string bass), Bill Snow (mellophone), Paul Slobody (drums, vocal) – other personnel unknown

10″ inside-start flexible plastic 78rpm disc recorded at the Pacific Coast Record Corporation Ltd. studios, 1040 Geary Street, San Francisco. Coakley’s orchestra played at Tait’s at the Beach from c. 1930 until 1933.


Jack Harris and his Orchestra (At Grosvenor House) — Decca F.1932; matrix GB.1872 — recording date not identified


Barbara Lea with Wes McAfee — recorded 21 October 1997; released on the album The Melody Lingers On, BL CD 6613, in 2002

Barbara Lea – leader, vocal
Wes McAfee – piano
Boots Maleson – bass
Dave Ratajczak – drums


* It’s not clear which of the following three recordings of “It Seems to be Spring” by Fred Rich Orchestra (v. Harold “Scrappy” Lambert) is found in the audio file provided above:

  • OKeh matrix 404212, take B — recorded on 7 June 1930, New York, NY
    • issued on OKeh 41434, b/w “Beware of Love,” credited to Fred Rich Orchestra (FRO)
    • issued on Odeon ONY 36110, b/w “Beware of Love,” FRO under the pseudonym The New York Syncopators
    • issued on Publix 2025-P, as the B-side of “I Remember You from Somewhere,” FRO under the pseudonym The Paramounteers; master renumbered as Col W100408 (A-side by Sam Lanin Orchestra)
    • issued on (UK) Parlophone R 757, FRO under the pseudonym Roof Garden Orchestra — c/w either “Beware of Love” by FRO as Roof Garden Orchestra, “My Mad Moment” by Paul Specht Orchestra, the latter also credited under the pseudonym Roof Garden Orchestra*, or both — It’s not clear whether there are three recordings on the record, or two, with one of the three listed by the Discography of American Historical Recordings (DAHR) being omitted on any of multiple versions of Parlophone R 757.
      • On the other hand, here’s a page in a huge discography by Brian Rust that documents a recording of “It Seems to Be Spring” issued on (UK) Parlophone R 757 that was recorded by Paul Albin’s Hotel Pennsylvania Music. Perhaps this is simply evidence of yet another version of R 757.
  • OKeh matrix 404212, take C — recorded on 7 June 1930, New York, NY
    • issued on different versions of each of the records listed for Okeh matrix 404212, take B, above
  • OKeh matrix 490083 (take unknown) — recorded on 7 June 1930, New York, NY
    • issued on Odeon ONY 36111, b/w “Beware of Love,” FRO under the pseudonym The New York Syncopators
    • issued on Parlophone PNY 34101, as the B-side of “Old New England Moon,” FRO under the pseudonym The Deauville Syncopators (A-side by Ray Seeley Orchestra)

On (UK) Parlophone R 757 — It’s quite confusing, but the notes provided by the DAHR at its Okeh matrix 404212 page and its R 757 page collectively seem to suggest that each of the recordings included on the two sides of various versions of (UK) Parlophone R 757 are credited to Roof Garden Orchestra, although on those versions of the record that have “My Mad Moment” on the A-side, this “Roof Garden Orchestra” is actually Paul Specht Orchestra, while the “Roof Garden Orchestra” credited on the B-side is Fred Rich Orchestra.

OKeh matrix 404212, takes B and C, were also each released on various other Parlophone and/or Odeon catalog numbers in Japan and Australia.

If you’re not overwhelmed by the above, then you might be amused by the list of 90-odd pseudonyms used by Fred Rich and his Orchestra provided by The list of aliases for Sam Lanin and his Orchestra is even longer.

** On the Meyer Davis’ Hotel Astor Orchestra recording date for Brunswick 4882: The DAHR dates it August 1930, without a specific day or date range specified. Others date the recording 8 August 1930, including the following:

ZOOM’s 50th Anniversary

ZOOM was an educational TV series produced by WGBH-TV in Boston and aired on PBS. I’ve published several pages and posts on the series, which you can find links to in this index page. ZOOM premiered on January 9, 1972, which means that today marks 50 years since the initial broadcast. In celebration of ZOOM’s 50th anniversary, there will be a special broadcast of the very first episode today (Sunday), January 9, at 7pm EST on GBH 2. The episode may also be watched at that time at the ZOOM 50th Anniversary page, where additional information may be found, or at YouTube, here. [Update: On January 10th, several hours after the special broadcast, I embedded the video into this post, directly below.]


Another special event to celebrate ZOOM’s 50th anniversary will take place on January 26. This virtual event is described as follows in the page cited above:

Celebrate ZOOM’s 50th anniversary and a nostalgic look back at the iconic 1970s GBH kids show. Join us as David Kamp, journalist, and author of Sunny Days: The Children’s Television Revolution That Changed America and ZOOM creator and producer Christopher Sarson discuss the groundbreaking series. Then hear from original cast members as they share their favorite memories and relive some of your own favorite moments as we feature short clips from the original season.

Additional information on the January 26th event is provided in the page Come on and ZOOM (Virtual), which also includes a link to this page where you can obtain tickets with free registration.

See also:

‘Tis Autumn…again


Here are some additional recordings of the 1941 standard “Tis Autumn,” including a few early ones. I plan to incorporate these recordings into my page on the song, which was published in October 2011.


‘Tis Autumn (words and music: Henry Nemo)

Jan Savitt and his Top Hatters, vocal: Allan DeWitt — recorded in New York, New York on 25 September 1941; issued 24 October 1941 on the 78 rpm single Victor 27643, as the B-side of “Who Calls?”

audio file, VBR MP3 (5.9 MB), from the page TIS AUTUMN (El Otoño), at (especially poor sound quality on this one):


Tony Martin — recorded, with Orchestra under the direction of Harry Sosnik, on 18 November 1941; issued in 1941 on the 78 rpm single Decca 4101, b/w “Cancel the Flowers”

audio file, VBR MP3 (4.5 MB), from the page Tony Martin By a Wishing Well, at


Dick Todd — recorded on 26 November 1941; issued on the 78 rpm single Bluebird B-11387, b/w “Tropical Magic” (m. Harry Warren, w. Mack Gordon)


Freddy Martin and his Orchestra, vocal: Clyde Rogers – recorded on 3 December 1941; issued on the 78 rpm single Bluebird B-11393, as the B-side of “Until the Stars Fall Down” (Walter Donaldson)

audio file, VBR MP3 (5.6 MB), from a page titled ‘Tis Autumn, at


Geraldo and his Orchestra, vocal: George Evans — issued in April 1942 on the 78 rpm single (UK) Parlophone F 1901, c/w “Soft Shoe Shuffle” (m. Maurice Burman, w. Spencer Williams)


Red Garland Trio – from the 1958 Red Garland album All Kinds of Weather, Prestige 7148 (aka PRLP 7148); all tracks recorded on 27 November 1958 at Van Gelder Studio, Hackensack, NJ

personnel, from

  • Red Garland – piano
  • Paul Chambers – bass
  • Arthur Taylor – drums


Eydie Gormé – from her 1959 album Love is a Season, ABC-Paramount ABC-273 (Mono), ABCS-273 (Stereo)


Patti Page – from her 1959 LP Indiscretion, Mercury Records MG 20405 (Mono), SR 60059 (Stereo)



What is a “Songbook standard”?


Songbook champagne header 1a

Sometime this year I evidently accidentally deleted the page “What do you mean by “Songbook standard”?, originally published in March 2017. However, I hadn’t noticed that it was missing until yesterday. I was able to recover most of the content of the page from Wayback Machine, but some repair was necessary. The images needed to be replaced, and all of the many links in the content, and in the comments on the old page, were broken and needed to be restored. I’ve included the comments within the new version of the page that I created today, below the main content. Here’s a link to the page:

What do you mean by “Songbook standard”?

The 50 best songs about…anything


Other than in this post, the phrases “best song,” “greatest song,” and their plural forms (“best songs,” “greatest songs”) do not appear in the pages and posts of this site. I don’t believe in lists of the “best” or “greatest” anything. I’ve done my best to keep such expressions out, but I noticed recently that a few had crept in by way of copied quotes that reference Academy Awards nominations or wins for Best Song. These have been hastily expunged, and I think it might be the greatest thing I’ve ever done, or at least among the top 50 all-time best things.

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