Songbook site index

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Billie Holiday_prob. Pep's Musical Bar_25-30 April 1955_21890-1969 selected standards and hits pages
Galleries: performing artist and songwriter
Galleries: film
Songwriters to 1954
Songwriters, 1955-1973
Complete page index
Film Musicals and Revues: selected films and songs, 1929-47
Performing Artist features
Jazz Age
Swing Eras 1 and 2
about the site + selected notes
Friends
Acknowledgments

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Billie Holiday, capebillie-holiday-pearls-1a

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

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

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You get a line and I’ll get pole, honey

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Today I published the following new page:

See also the two related Songbook pages (previously published):

Crawdad Song (traditional) aka “The Crawdad Song,” “Crawdad Hole,” “Crawdad,” “You Get a Line and I’ll Get a Pole,” etc.

The obvious, though frequently unacknowledged, connection of “Crawdad Song” and other related American folk songs to the much earlier British folk song “Frog Went a-Courtin’” is explored in the page “You’ve Been a Good Old Wagon But You’ve Done Broke Down.”

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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:

1933 Crawdad Song-Lone Star Cowboys-Bluebird B-6052

  • 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 Knight and 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.

  • 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
  • The Goldenaires Choir — from the 1959 album Songs of the Southern Mountains, VOX VX 26.120
  • Brownie McGhee and Sonny Terry — recorded at Van Gelder Recording Studio, Englewood, N.J. in 1961; originally released,  as “Crawdad Hole,” 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

1963-old-time-music-at-clarence-ashleys-part-2-folkways-fa-2359-d251961-old-time-music-at-clarence-ashleys-folkways-records-fa-2355

musicians:

  • Clint Howard – lead vocal, guitar
  • Doc Watson — tenor vocal, guitar
  • Fred Price — fiddle
  • 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:

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* Recording date, location, and musician information adapted from http://www.oocities.org/folkfred/ashley.html (cache)

** S. Hogg is incorrectly credited as the writer of “Crawdad” on the label of the A-side of Fidelity F 3006.

summer break

surfer_girl_sun_2

Hi,

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.

Hope you all enjoy the summer. Best wishes.

Regards, doc

It’s a restless hungry feeling

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Bob Dylan in studio, 1963 (1-75p)

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:

Recordings featured in the new page include:

Bob Dylan-1 June 1965, BBC-1

  • 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
  • Ralph McTell — from the EP Don’t Think Twice It’s Alright, released in May 2011 on the Leola Music label
  • Matt Hibbard — uploaded to YouTube on 19 November 2011
  • Sophie Hunger — from the 2012 album Danger of Light, released on the Two Gentlemen label in France in and Switzerland
  • Tom Cole — published on 12 December 2013
  • Robert Lighthouse — live performance at Ted’s Fun On The River in Wilmington, NC on 27 September 2013

When your rooster crows at the break of dawn

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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.

To visit the page, click on the link below.

Don’t Think Twice, It’s All Right — selected early recordings, 1962-1965

1963 Freewheelin' Bob Dylan (LP) Columbia CL 1986 (Mono), CS 8786 (Stereo)-1Excerpts from the Wikipedia page on the song:

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.”

From the Wikipedia page on Paul Clayton:

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)

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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”

1963 Don't Think Twice, It's All Right-Bob Dylan-Columbia 4-42856 (B-side)Bob Dylan and Suze Rotolo-2

  • The New World Singers featuring 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
  • The Johnny Mann Singers — from the 1964 LP Golden Folk Song Hits – Volume 3, Liberty ‎LRP-3355 (Mono), LST-7355 (Stereo)
  • Johnny Cash — live, 24 July 1964, at Newport Folk Festival, Freebody Park, Newport, RI
  • Bob Dylan
    • 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
  • Chad & Jeremy — from the 1965 album I Don’t Want to Lose You Baby, (US) Columbia CL 2398 (Mono), CS 9198 (Stereo)
  • Joan Baez — from a 5 June 1965 concert at the BBC Television Theatre in Shepherd’s Bush, London
  • Duane Eddy — from the 1965 album Duane Eddy Does Bob Dylan, (US) Colpix Records CPL-494 (Mono), Colpix Records SCP 494, PCX S-222 (Stereo)
  • Odetta — from the 1965 LP Odetta Sings Dylan, (US) RCA Victor LPM-3324, LSP-3324

When will they ever learn?

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Pete Seeger-Newport Folk Festival-1960s-1Pete Seeger-1a

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:

1960 Rainbow Quest, The (LP) Pete Seeger-(US) Folkways Records FA 2454-(1a)1967 Pete Seeger's Greatest Hits-Columbia ‎CS 9416

  • 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

1962 Peter, Paul and Mary-debut LP-Warner Bros. Records 1449-front cover

  • 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 George Mitchell Choir — originally issued in November 1962 on the single (UK) His Master’s Voice 45-POP 1095, as the B-side of “The Virgin Mary Had a Baby Boy”
  • 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”
  • Walter Jackson — issued 28 June 1965 on the single OKeh 4-7229, b/w “I’ll Keep on Trying” — also included on the 1965 album Welcome Home: The Many Moods of Walter Jackson, (US) OKeh 12108
  • 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 Montgomery Quartet 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.

Won’t Someone Please Belong to Me

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Bobby Troup and Julie London-4Bobby Troup and Julie London-5

(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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1965 Won't Someone Please Belong to Me (Troup)-Teri Thornton Columbia 4-43209 (B-side)

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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1965 Feeling Good-Julie London (LP) Liberty LST-7416

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.”

For other lyric transcriptions by yours truly see the page Unsung lyrics, transcribed by doc.

Pour toi / Feelings / Sentimientos / Dis-lui

1975 Feelings-Morris Albert (LP) RCA Victor APL1-1018 (back)-d30Selected links

Song:

Singles:

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 lengthy and eventually successful 1980s copyright infringement suit to legally name Gasté as co-songwriter. Albert also released an alternate version with a Spanish-language lyric, in 1974, which was evidently written by himself, as he’s the sole songwriter credited on the label (see below). In 1975, Israeli-born French pop star Mike Brant recorded a version of “Feelings” titled “Dis-lui” (“Tell him”), with the French lyric written by Michel Jourdan.

Line Renaud and Loulou Gasté (1)Line Renaud (1)

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 Morris Albert’s 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 it seems like a rather large leap to find that the melody of “Feelings” was copied or stolen from the French song.

The claim made by the plaintiff Gasté that Albert “gained access” to the virtually unknown song “Pour toi” through his publisher Fermata, which “had had some dealings with Gasté’s publishing company, Les Editions Louis Gasté, in the 1950s” was not accompanied by evidence that such access was ever obtained. The argument seems not unlike saying that Albert lived near a big city library which contained a copy of the sheet music of the forgotten song in its archives, and therefore he must have entered the library and “gained access” to the sheet music.

Line Renaud — title song from the 1956 EP Pathé ‎(France) 45 EG 232

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Dario Moreno — in the 1956 film Le Feu aux poudres; the performance begins at about :49

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1957 Imploration (EP) Dario Moreno- Philips 432.182 NE

Dario Moreno — from the 1957 EP Imploration, Philips 432.182 NE

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1975 Feelings-Morris Albert (LP) RCA Victor APL1-1018-d20

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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1974 Sentimientos-Morris Albert-(Brazil) Beverly 45-13.508

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.

More

Carolina in the Morning

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

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

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

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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

Video or audio file to be replaced

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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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