Fools Rush In (Where Angels Fear to Tread)

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Fools Rush In (Where Angels Fear to Tread) (m. Rube Bloom, w. Johnny Mercer) – published in 1940

Glenn Miller and his Orchestra — 1940

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Anne Shelton with Bert Ambrose and his Mayfair Hotel Orchestra – the recording is found on a compilation of early recordings from the period 1940-41

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Jo Stafford with Paul Weston and his Orchestra —  recorded 28 February 1947

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Billy Eckstine — 1948

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Stan Getz Quintet — recorded on 12 December 1952 in NYC — Stan Getz (ts) Duke Jordan (p) Jimmy Raney (g) Bill Crow (b) Frank Isola (d) – released on Split Kick (Roost RLP 423)

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Teresa Brewer — 1959

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Julie London recorded a very slow, tedious version for her 1956 album Lonely Girl. This is a different version, date unknown.

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Vera Lynn and The Williams Singers — The provider appears to suggest that the recording is from the album Yours, 1960. I haven’t found a track list for the album.

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Brook Benton – 1960 — released as the single Mercury 71722, b/w Someday You’ll Want Me to Want You,  music arranged and conducted by Belford Hendricks

(rather poor audio quality)

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Frank Sinatra — recorded on 1 March 1960, arrangement: Nelson Riddle, released on the album Nice ‘N’ Easy — Sinatra had previously recorded the song in 1940, and 1947.

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The Four Freshmen — 1961

Citing page 18 of the book The Lost Beach Boy, published 2007, by Jon Stebbins, Wikipedia says of Brian Wilson that he “played piano obsessively after school, deconstructing the harmonies of The Four Freshmen by listening to short segments of their songs on a phonograph, then working to recreate the blended sounds note by note on the keyboard.”

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Brenda Lee – from her 1962 album Sincerely, Brenda Lee

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Lesley Gore — recorded on 21 September 1963; issued on the album Lesley Gore Sings Of Mixed-Up Hearts

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Johnny Hartman – from the 1966 album Unforgettable Songs by Johnny Hartman

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Elvis Presley — recorded on 18 May 1971 at RCA Studio B in Nashville, Tennessee. According to Keith Flynn’s Elvis Presley Pages, there were 24 takes, though only five were complete. The master comes from the 24th take, left undubbed and edited only with a fade, reducing the length by 14 seconds.

I don’t know which take is used in the video below, but it’s a few seconds too long to be a copy of the final master. It’s unclear which version was released on Elvis Now in 1972, but this version seems to be a couple of seconds longer than that one as well.

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