(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 1910is now included in the Berlin drop down index.
The new page “Crawdad Song — selected recordings, 1933-1967,” which will likely be expanded by additional recordings, presently includes the following recordings, under various titles:
Lone Star Cowboys — “Crawdad Song” (arrangement by Lone Star Cowboys members Leon Chappelear, Bob Attlesey, and Joe Attlesey) — recorded on 5 August 1933; issued on Bluebird B-6052, b/w “Just Because”
Jim Lewis Lonestar Cowboys — probably from Vocalion 03754, c/w “Who Broke the Lock on the Henhouse Door,” both sides recorded on 24 September 1937
Leroy Martin and unidentified performers (vocals) — recorded, as “Crawdad,” at Cummins State Farm, Camp #1, near Varner, Arkansas, on 21 May 1939 — field recording collected by John A. Lomax and Ruby T. Lomax
Mrs. Vernon Allen — field recording; recorded at a Farm Security Administration camp for migratory workers in Shafter, California on 15 or 16 August 1940 (two videos: parts 1 and 2)
Woodie Guthrie — from Muleskinner Blues: The Asch Recordings Vol. 2 (1), (2), recorded in New York, NY, between 1944 and 1947
Al Clauser and his Oklahoma Outlaws — 1947(?) — I’ve been unable to verify the date, 1947, given by the video provider, but the recording was evidently included in a 2004 compilation of recordings by the band titled Hot Western Swing 1937-48 featuring Patti Page, Krazy Kat 32
Lulu Belle & Scotty — recorded as “The Crawdad Song,” c.1950
Evelyn Knightand Red Foley — recorded on 28 November 1950; issued in 1951 on the 78 rpm single Decca 27599, and on the 45 rpm single Decca 9-27599, c/w “Idle Rumors” in each case
Smokey Hogg — recorded, as “Crawdad,” on 9 January 1952 in Los Angeles, CA; issued on the 78 rpm single Fidelity F 3006**, and on the 45 rpm single Fidelity 3006, c/w “Born on the 13th” in each case / personnel, adapted from http://www.wirz.de/music/hoggfrm.htm: Smokey Hogg – vocal, guitar; Lou “Freddie” Simon – tenor saxophone; Willard McDaniel – piano; Bill Davis – bass; Al “Cake” Wichard – drums
Big Bill Broonzy — Despite the titles given by the video providers, each of the dated recordings below by Big Bill Broonzy was titled “Crawdad Hole” upon original release.
2. Recorded live at the Club Montmartre, Copenhagen, Denmark, 4-6 May 1956 — originally included on the LP An Evening With Big Bill Broonzy, (Denmark) Storyville SLP-114, released c.1962; released in the UK in 1965 on Storyville SLP 114
3. From the 5 LP box set The Bill Broonzy Story, Verve MGV 3000-5, originally released in 1959(?); all tracks recorded in Chicago, IL, 12 & 13 July 1957
Big Bill Broonzy (continued)
4. Undated recording
Sam Hinton — recorded as “The Crawdad Song” — originally issued on the 1957 album Whoever Shall Have Some Good Peanuts (And Other Folk Songs For Children), Scholastic Records SC 7530, Folkways Records SC 7530
Brownie McGhee and Sonny Terry — recorded, as “Crawdad Hole,” at Van Gelder Recording Studio, Englewood, N.J. in 1961; released on the 1978 album You Hear Me Talkin’, Muse Records MR 5131
Flatt & Scruggs with the Foggy Mountain Boys perform “The Crawdad Song” for a 1962 episode of the Grand Ole Opry TV series
Doc Watson, Clint Howard, and Fred Price — recorded in 1967 for the Seattle Folklore Society; released, as “Crawdad,” on the album Old Timey Concert, Vanguard VSD • 107/08
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Also published today:
The new index page traditional songs — This is not a list of all traditional songs included in Songbook (this site). Rather, it is a brief index of each feature page on the site devoted entirely to a single traditional song. Any such pages unintentionally omitted from the index will be added ASAP. The index page presently includes the following list:
Greetings to all my visitors, new and old. The purpose of this message is to announce that I have decided to take a break from creating and posting new work on the site until at least mid-September. Will post an update should my plans change in the interim. During the break, I might allow the maintenance to slip a bit more than usual, so that visitors may find a few more deleted videos than normal on the site. Will try to keep it looking presentable. Also, I will continue to respond promptly to comments.
Today I published a page on the Bob Dylan song “One Too Many Mornings.” Dylan originally recorded the song on 24 October 1963, at Columbia Recording Studios in New York City, during the fifth recording session for the album The Times They Are a-Changin’. The session took place only two days before Dylan’s 26 October 1963 Carnegie Hall concert. The sixth and final take of the song during the 24 October session was included on the album. I’ve been unable to find an audio file or video containing that recording, but will include it here soon as I do find it. To visit the page click on the following link:
Bob Dylan — from the 1 June 1965 (1, 2) concert at the BBC Television Theatre in Shepherd’s Bush, London
Joan Baez — previously unreleased recording from the sessions for the 1965 album Farewell, Angelina, Vanguard VSD-79200, released on the 2002 expanded and remastered CD reissue of the album, Vanguard 79701-2
Johnny Cash — 1965(?) — Although the YouTube video provider seems to have gotten this track from the 2011 compilation Bootleg Vol II – From Memphis To Hollywood, it’s probably the 29 October 1965 recording that was included on the 1978 compilation album Johnny & June, released on the Bear Family Records label.
Cliff Aungier — originally released on the 1969 album The Lady From Baltimore, (UK) Pye NSPL 18294
Lester Flatt & Earl Scruggs — from their 1970 album Final Fling, Columbia CS 9945
Bob Dylan — 23 May 1976 Rolling Thunder Revue concert at Hughes Stadium, Fort Collins, Colorado
Jerry Jeff Walker — track recorded live in concert in Houston, Texas — originally released on the 1977 LP A Man Must Carry On, (US) MCA Records MCA2-8013
Michel Griffin — live performance, March 2009, at Cahors Folk Club, Labastide-Marnhac, Midi-Pyrenees, France
I Am Autumn (YouTube channel) — uploaded on 9 September 2010
Pfunky2007 (YouTube channel) — published on 18 November 2010
Last night I published a page on the song “Don’t Think Twice, It’s All Right,” written by Bob Dylan. The melody of the song and a couple of lines were taken from the Paul Clayton song “Who’s Gonna Buy You Ribbons When I’m Gone?,” which Dylan had heard Clayton play. The Clayton song was based upon a public domain traditional titled “Who’s Gonna Buy Your Chickens When I’m Gone.” I’ve yet to find a single recording of the traditional.
The melody is based on the public domain traditional song “Who’s Gonna Buy Your Chickens When I’m Gone.”[1][2] The melody was [acquired by Dylan from] folksinger Paul Clayton, who had used the melody in his song “Who’s Gonna Buy You Ribbons When I’m Gone?”
As well as the melody, a couple of lines were taken from Clayton’s “Who’s Gonna Buy You Ribbons When I’m Gone?,” which was recorded in 1960, two years before Dylan wrote “Don’t Think Twice.” Lines taken word-for-word or slightly altered from the Clayton song are, “T’ain’t no use to sit and wonder why, darlin’,” and, “So I’m walkin’ down that long, lonesome road.”
Bob Dylan’s friendship with Clayton dated back to 1961, Dylan’s first year in New York City. Dylan traveled cross-country with Clayton and two other friends in 1963, during which they visited poet Carl Sandburg in North Carolina, attended Mardi Gras in New Orleans and rendezvoused with Joan Baez in California.[30]
In an interview published as part of a history of Greenwich Village folk club Gerde’s Folk City, folk singer Barry Kornfeld described how Clayton’s “Who’s Gonna Buy You Ribbons (When I’m Gone)” morphed into Dylan’s “Don’t Think Twice”:
“I was with Paul one day, and Dylan wanders by and says, ‘Hey, man, that’s a great song. I’m going to use that song.’ And he wrote a far better song, a much more interesting song – ‘Don’t Think Twice, It’s All Right’.”[31]
Dylan’s and Clayton’s publishing companies sued each other over the alleged plagiarism. As it turned out, Clayton’s song was derived from an earlier folk song entitled “Who’s Gonna Buy You Chickens When I’m Gone?”,[32][33] which was in the public domain. The lawsuits, which were settled out of court, had no effect on the friendship between the two songwriters.[5]
Recordings featured in the new page include the following:
Who’s Gonna Buy You Ribbons (When I’m Gone) (Paul Clayton)
Don’t Think Twice, It’s All Right — selected recordings
Bob Dylan
recorded live 15 October 1962 at the Gaslight Cafe, New York City, New York; released in 2005 on the album Live at the Gaslight 1962, Columbia A 96016, Legacy A 96016; previously unofficially released on various bootlegs in 1973, 2001, and 2002
recorded on 14 November 1962 at Studio A, Columbia Recording Studios, NYC, NY; released on the album The Freewheelin’ Bob Dylan, 27 May 1963; also issued on 13 August 1963 on the single Columbia 4-42856, as the B-side of “Blowin’ in the Wind”
from the 12 April 1963 concert at Town Hall New York City, New York; unofficially released in 2008 on the bootleg New York Town Hall 1963 (AllDylan.com, BobsBoots.com, Discogs)
The New World Singersfeaturing Gil Turner — recorded on 22 March 1963 in NYC; issued (as “Don’t Think Twice, It’s Alright”) in June 1963 on the single Atlantic 45-2190, b/w “Stew Ball”
Joan Baez — from the album Joan Baez in Concert, Part 2, (US) Vanguard VSD 2123, released in November 1963; album recorded April-May 1963 during US concert tour
Jackie DeShannon — from her 1963 album Jackie DeShannon, (US) Liberty LRP-3320 (Mono), LST-7320 (Stereo)
Peter, Paul and Mary — issued on 28 August 1963 on the single Warner Bros. Records 5385, b/w “Autumn to May” — later included on the album In the Wind, (US) Warner Bros. Records W 1507 (Mono), WS 1507 (Stereo), released in October 1963
The Brothers Four — from their 1964 album More Big Folk Hits, (US) Columbia CL 2213 (Mono), CS 9013 (Stereo)
Waylon Jennings — recorded at Arizona Recorders in Phoenix on 4 December 1964; originally released in December 1964 on the LP Waylon at JD’s
from the 5 May 1965 concert at Town Hall, Birmingham, England
Johnny Cash — from the 1965 album Orange Blossom Special, Columbia CL 2309 (Mono), CS 9109 (Stereo)
Davy Graham — from the album Folk, Blues and Beyond, (UK) Decca LK 4649 (also LK.4649), released in January 1965
Bobby Bare — from his 1965 album Constant Sorrow, RCA Victor LPM-3395 (Mono), LSP-3395 (Stereo)
The Gene Norman Group — (as “Don’t Think Twice”) from the 1965 LP Dylan Jazz; album produced by Leon Russell and Snuff Garrett, and featuring Glen Campbell on guitar
Yesterday I published a page on the song “Where Have All the Flowers Gone” (m. Pete Seeger, w. Pete Seeger, Joe Hickerson). In writing the original three verse version of the song in 1955, Seeger had unknowingly borrowed and adapted the melody from an old song with which he was familiar, a lumberjack version of “Drill Ye Tarriers Drill,” a fact which a friend later pointed out. Joe Hickerson’s expanded version, with two additional verses and a recapitulation of the first at the end, came in May 1960. Click on the title link below to visit the new page:
Recordings featured in the page include the following:
Pete Seeger — originally issued on the 1960 album The Rainbow Quest, (US) Folkways Records FA 2454
The Kingston Trio — issued in December 1961 on the single Capitol 4671, b/w “O Ken Karanga” — I think the recording was also included on the 1962 compilation The Best of the Kingston Trio, (US) Capitol Records T-1705.
Marlene Dietrich — live at the Olympia, in Paris, c. late April 1962
Peter, Paul and Mary — from the group’s debut album Peter, Paul and Mary, (US) Warner Bros. Records W 1449 (also 1449), released in May 1962
Howard Morrison Quartet — from the 1962 single (NZ) La Gloria GSP-051, b/w “I Love Paris” (Cole Porter)
Marlene Dietrich — French and German lyric versions:
“Où vont les fleurs” — French lyric by Francis Lemarque and René Rouzaud — from the 1962 EP Marlène, (France) La Voix De Son Maître 7 EGF
“Sag mir wo die Blumen sind” — German lyric by Max Colpet — originally issued on the single (Germany) Electrola E 22 180, b/w “Die Welt war jung (Le Chevalier de Paris)”
“Sag mir wo die Blumen sind” — Live performance at a UNICEF Gala in Düsseldorf, Germany, on 6 October 1962 — includes a longish introduction to the song in German, English, and French, by Dietrich
“Sag mir wo die Blumen sind” — live performance, undated
Dalida – “Que sont devenues les fleurs” — French lyric version, with words by Guy Béart — issued in November 1962 on the EP (France) Barclay 70 471, featuring “Je l’attends” — also released on the 1962 album Dalida, (France) Barclay 80 183
The Searchers — from the 1963 album Meet the Searchers, (UK) Pye Records NPL 18086 (and NPL.18086)
Freddie Scott — issued in February 1964 on the single Colpix CP-724 / CP 724, as the B-side of “Where Does Love Go” (Carole King, Gerry Goffin); also included on the 1964 album Freddie Scott Sings and Sings and Sings, Colpix CP 461
Eddy Arnold and The Needmore Creek Singers — recorded on 9 October 1963, according to SecondHandSongs, and released in January 1964 on the album Folk Song Book, (US, Canada) RCA Victor LSP 2811 (Stereo), LPM (Mono)
The Brothers Four — from their 1964 album More Big Folk Hits, (US, Canada) Columbia CS 9013 (Stereo), Columbia CL 9013 (Mono)
Judita Čeřovská – “Řekni, kde ty kytky jsou” (Czech lyric by Jiřina Fikejzová) — from the 1964* single (Czechoslovakia) Supraphon 03176, b/w “Co Dál… (Et Maintenant)“
Spirituál kvintet – “Kdepak všechny květy jsou” (Czech lyric: Ivo Mach, Jiří Tichota) — The recording, presumably issued on the Supraphon label, is dated 1964 by the video provider. I’ve yet to verify the date.
Vera Lynn with Tony Osborne and his Orchestra — from the 1964 LP Among My Souvenirs, (UK) His Master’s Voice CSD 1563 (also released on various labels in Canada, Australia, New Zealand, and the Netherlands)
Kukonpojat -“Minne kukat kadonneet?” (Finnish lyric by Sauvo Puhtila) — issued 1 April 1965 on the single (Finland) Scandia KS 588, b/w “Siitä On Jo Aikaa”
Åse Kleveland — issued in 1966 on the single (Norway) Polydor NH 66775, as the B-side of “The House of the Rising Sun”
Åse Kleveland — live TV studio performance, dated 1965 by the provider
Joan Baez — live, 29 May 1967, in Milan, Italy — transferred, according to the provider, from a 1970 version of the 1969 album Joan Baez in Italy
Lester Flatt & Early Scruggs — from the 1968 album Changin’ Times, Columbia CS 9596
Wes MontgomeryQuartet with Don Sebesky Orchestra — recorded on 8 May 1968 at Rudy Van Gelder Studio, Englewood Cliffs, NJ; released on the 1968 album Road Song, (US) A&M Records SP 3012, SP-3012 — The December 1968 single A&M 1008, b/w “Fly Me to the Moon,” may be a different edit of the recording, as the time given on the label, 2:30, is half a minute shorter than the album version.
Pete Seeger — live in Sweden, 1968, where he performs the original three-verse lyric version
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* The release date of Supraphon 03176 is given as 1964 by Discogs.com, but as 1962 by 45cat.com. Recordings under the title “Řekni, kde ty kytky jsou” were later released by Marie Rottrová (1975), and Marta Kubišová (2004?), among others.
(above) Bobby Troup and Julie London — source: JulieLondon.org
Won’t Someone Please Belong to Me (Bobby Troup)
Date published unknown. I’m aware of only four recordings, and have heard only three, 1965 recordings by Teri Thornton, Julie London, and Bobby Troup, the last being a taped performance for a TV special. Cabaret singer Marilyn Maye evidently also released a recording of the song on her 1966 album The Second of Maye [Thanks to visitor Helen, for the helpful tip, in a comment.]
Each time I hear Thornton’s or Troup’s versions I wonder why the song is not well known and often covered. Perhaps the triple rhymes and off-rhymes — “Yesterday” / “here’s today,” “cold again” / “fold again,” “be content” / “be so bent,” “serener place” / “greener place,” etc. — were thought to be outdated or artificial. Such constructions may have been considered passé long before Troup published this song. Among American popular song lyricists of the 20th century, triple rhymes are most closely associated with Lorenz Hart.
I noticed yesterday that someone had entered the site via a keyword search for the the lyric to “Won’t Someone Please Belong to Me.” I didn’t have it. In fact, I’ve been periodically looking for the lyric for the past four or five years. So, after another round of searches came up empty I decided to transcribe it. The following transcription is drawn from the taped live performance by Bobby Troup and (presumably) his band for the 1965 Julie London TV variety special, Julie: Something Special.
Won’t Someone Please Belong to Me — words and music by Bobby Troup
Yesterday, things looked bright I never knew a kiss so right But here’s today — I’m out in the cold again Just like a sheep that’s lost from his fold again Won’t someone please belong to me
Find my love, mind my love Try not to be unkind, my love Just be content — there is no serener place Don’t be so bent in finding a greener place Won’t someone please belong to me
A fool am I You’d think someday I’d learn For fools like I The tables never turn But I’m not wise I’m always taken by surprise, surprise
Days are long Nights are long Time seems so slow when things go wrong Won’t someone new come here and be mad to be Near someone who is true and so glad to be Won’t someone please, please, please belong to me Please belong to me Please belong to me
transcribed by Jim “doc” Radcliff on 10 March 2015 *
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Teri Thornton — B-side of the 45 rpm single “To Remember You By,” Columbia 4-43209, issued on 25 January 1965
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Bobby Troup with unidentified small combo — live, from the Julie London TV variety special Julie: Something Special, air date: 17 November 1965
JulieLondon.org says,
On November 17th, 1965 WGN-TV in Chicago aired an hour-long special titled Julie: Something Special. Julie sings many of her popular numbers and is joined by, now husband, Bobby Troup and the quartet, The Hi-Lo’s. All of their performances are included. This show was re-aired on NBC-TV on February 13th, 1967.
It must have been the rebroadcast on NBC which I saw as a child of nine, for I recalled this performance decades later when I came across the video several years ago.
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Julie London — from the 1965 LP Feeling Good: with the Gerald Wilson Big Band, LRP-3416 (Mono), LST-7416 Stereo
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* “Days” and “Nights” are reversed in the first two lines of the final section in the versions by Teri Thornton and Julie London. The line “Won’t someone new come here and be mad to be” is slightly different in the Thornton and London versions, the first word being “Please” instead of “Won’t,” and “glad” replacing “mad.” However, the second line of the section is identical to the Troup version in the London recording (she sings “glad” in both lines, twice), yet very different in the Thornton recording, which goes “Near someone true, as true as you’ll ever be.”
Morris Albert’s 1973 recording of “Feelings” was a big hit in 1974. The song was adapted, according to a 1987 jury verdict in Federal District Court in Manhattan, by Albert from the song “Pour toi,” composed in 1956 by Louis Gasté, with lyrics by Albert Simonin and his wife Marie-Hélène Bourquin, though it took a successful 1980s copyright infringement suit to legally establish the source of the adaptation and to name Gasté as co-songwriter. Albert also released an alternate version with a Spanish-language lyric, evidently written by himself as he’s the sole songwriter credited on the label (see below), in 1974. In 1975, Israeli-born French pop star Mike Brant recorded a version of “Feelings” titled “Dis-lui” (“Tell him”), with the French lyric by Michel Jourdan.
Pour toi(m. Louis Gasté, w. Albert Simonin, Marie-Hélène Bourquin)
“Pour toi” was recorded by the singer and actress Line Renaud, wife of Gasté, in 1956, and performed by Dario Moreno in the 1957 film Le Feu aux poudres. The arrangements of the song used by Moreno in the film and in a separate studio recording with an orchestra sound very little like the arrangement used by Albert in his 1973 recording of “Feelings,” though portions of the melody are similar. The 1956 recording by Line Renaud, in part, exhibits slightly greater resemblance to Albert’s “Feelings,” melodically and in tone, but the connection is still a stretch.
Feelings (m. Louis Gasté, Morris Albert, w. Morris Albert)
Morris Albert
Feelings— issued in 1974 on the single RCA Victor PB-10279, b/w “This World Today is a Mess” — US chart success: #6, Hot 100; #2, Adult Contemporary; also later released on the 1975 LP Feelings, RCA Victor APL1-1018
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Sentimientos (aka “Dime”) — issued in 1974 on Beverly (Brazil) 45-13.508; songwriting credited solely to Morris Albert on the label — A recording under the same title released by Mexican singer José José in 1974 has a different lyric.
Carolina in the Morning(m.Walter Donaldson, w. Gus Kahn)
The 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
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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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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
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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
1890-1969 selected standards and hits pages
1890-1899 selected hits and standards
