Lover

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Lover (m. Richard Rodgers, w. Lorenz Hart)

Lover was written for Love Me Tonight, a 1932 musical comedy film produced and directed by Rouben Mamoulian, with music by Rodgers and Hart. It stars Maurice Chevalier as a tailor who poses as a nobleman and Jeanette MacDonald as a princess with whom he falls in love. It also stars Charlie Ruggles as a penniless nobleman, along with Charles Butterworth and Myrna Loy as members of his family. – Wikipedia, adapted

Maurice Chevalier takes a pre-code measurement of Jeannette MacDonald in the film Love Me Tonight, 1932

Recordings:

Greta Keller – 1933

Deanna Durbin – date unknown; I’ve been unable so far to identify the film in which this recording was used.

Gene Krupa and his Orchestra

1945

Clip from the film Drummer Man (1947)

Les Paul — The first recorded multi-track experiment by Les Paul was made In Hollywood, California on 22 March, 1948. It was issued as Capitol 15037, b/w Brazil. In the UK, Capitol released the recording as the B-side of The Man On the Flying Trapeze (CL 13102).

From a November 2009 Mojo Magazine interview of Les Paul, as quoted at Songfacts:

I built my first studio in the garage in my backyard and put the word out that I would record anybody – for free (laughs) I wanted to learn all the tricks of recording. So I locked myself out there in that garage and said, ‘I’m going to make a sound where people will be able to tell me from everybody else. Something new, something fresh.’ I used slap-back echo and reverb, I sped up tracks – all the things I had at my command. I went in with that idea, and lo and behold, when I found it, I was very excited. The first record I did with the multi-tracking was ‘Lover.’ We were at a garage party near Sunset and Fairfax. I was there with Artie Shaw and the actor Laurence Tierney. They were smoking pot, and they had a record changer there, and I slipped my record in amongst theirs. When mine came up, Artie said, ‘What in the world is that?!’ The others flipped out, and Mary said, ‘That’s Les!’ But oddly enough, the very first person to hear it was W.C. Fields. He came to my garage to make a comedy record. When I played it for him, he said ‘My boy, you sound like an octopus.’ [laughs]