And buttercups come peeping through the snow


Howdy folks. Today I published a page on the song “When You’ve Got a Little Springtime in Your Heart,” which was written, words and music, by Harry Woods. The song was copyrighted on 28 December 1933 and introduced by Jessie Matthews in the musical film Evergreen, which was released in April 1934 in the UK, 31 December 1934 in the US, and in 1935 in other countries.

Seven of the following nine recordings are included in the page, which can be viewed here:

When You’ve Got a Little Springtime in Your Heart

early recordings:

  • 1934
    • Jessie Matthews with Orchestra conducted by Bretton Byrd
    • Bertini & The Tower Blackpool Dance Band, vocal: Maurice Elwin
    • Ray Noble and his Orchestra, vocal: Al Bowlly
    • Jack Payne and his Band, vocal: Jack Payne
    • Joe Loss and his Band, vocal: Harry Case
    • Roy Fox and his Band, vocal: Denny Dennis
  • 1934-1935
    • Geraldo and his Sweet Music, vocal: Cyril Grantham – (part of an “Evergreen” medley) issued c. 1934-1935
    • Billy Merrin and his Commanders, vocal: unidentified – issued in 1934 or 1935
    • Louis Levy and his Gaumont British Symphony, vocal: Janet Lind — part of a medley of movie music recorded on 10 September 1936

recent recording:

  • The Pasadena Roof Orchestra — 2013


The other two recordings will be added when they become available. Here’s a more detailed list of the nine recordings that I’ve indentified:

  • Jessie Matthews with orchestra conducted by Bretton Byrd — issued on the 78 rpm single (UK) Columbia DB 1404, b/w “(a) Tinkle, Tinkle, Tinkle ; (b) Over My Shoulder”
  • Bertini and The Tower Blackpool Dance Band, vocal: Maurice Elwin — recorded in London on 22 May 1934 (matrix JW 1891-2); issued on the single (UK) Eclipse 750, c/w “Hot Punch” — “Bertini” was the stage name of the violin-playing, British dance band leader Bertram Harry Gutsell.

audio file from the British Dance Band sound files at Mike Thomas’ website (


  • Ray Noble and his Orchestra, vocal: Al Bowlly — recorded on 2 July 1934; issued in the UK on the 78 rpm single HMV B.6504, and in the US on the single Victor 24720, c/w “Over My Shoulder” (Harry Woods) in each case
  • Jack Payne and his Band, vocal: Jack Payne — recorded in April 1934 or July 1934; issued on the 78 rpm single (UK) Rex 8227, b/w “Over My Shoulder”
  • Joe Loss and his Band, featuring Chick Henderson, vocal: Harry Case — recorded in London on 31 August 1934; issued on (UK) Regal Zonophone MR 1417, c/w “Over My Shoulder” — available on various compilations including the 1982 two-disc LP Hits Of The Thirties
  • Roy Fox and his Band, vocal: Denny Dennis — issued in 1934 in the US on the 78 rpm single Decca 275, as the B-side of “Over My Shoulder”
  • Geraldo and his Sweet Music, vocal: Cyril Grantham — part of an “Evergreen” medley issued c. 1934-1935 on the singles (UK) Columbia DB 1408, and (US) Columbia 3007-D

  • Billy Merrin and his Commanders, with unidentified vocalist — recording date unknown (British Homophone Company matrix S-3919); issued in 1934 or 1935 on the single (UK) Sterno 1474, c/w “Over My Shoulder” — also issued in 1934 or 1935 on the single (UK) Plaza P-305, under the pseudonym Al Gold and his Band — Credited to Billy Merrin & His Commanders, the recording is also available on the 2012 Amazon digital album Just a Crazy Song.


  • Louis Levy and his Gaumont British Symphony, vocal: Janet Lind (according to the video provider) — part of a medley of movie music recorded on 10 September 1936; issued on the single (UK) Columbia FB 1545 on side 1: “Music From The Movies–Medley, Part 1,”  b/w “Music From The Movies–Medley, Part 2”
  • The Pasadena Roof Orchestra — from the 2013 album Ladies And Gentleman, (Germany) Herzog Records 901038 HER




Aida Overton Walker theatrical photos by White Studio, NY, c. 1902-1912


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c. 1902-1904



Identifying and dating the White Studio, NY, images, including arguments for the most likely year of creation:

  • W1
  • W2a,b — Image 2b was added to my main Aida Overton Walker page in 2016. Image W2a is a new edit of that image created on 3 March 2019.
    • 1902 – The hairstyle or wig resembles that worn in image W1, which was used on the cover of the sheet music for “I’d like to be a Real Lady,” published in 1902.
    • 1904 — The image was used on the cover of the sheet music for “Why Adam Sinned,” published in 1904.
  • W3a, b — White Studio #84 — I recently found the image that I’ve labeled W3a at the Beinecke Digital Collections of Yale University’s Beinecke Rare Book & Manuscript Library.
  • Image W3b (source unknown) is a smaller copy of the same photograph, which I’ve had on my main Aida Overton Walker page since June 2012.
    • 1902 – The hairstyle or wig resembles that worn in image W1, which was created no later than 1902.
    • 1904 — The hairstyle or wig resembles that on the 1904 “Why Adam Sinned” sheet music cover.
  • W4
    • 1902 – The hairstyle or wig resembles that worn in image W1, which was created no later than 1902.
    • 1904 — The dress, pearl necklace, hairstyle/wig, and earrings worn by Aida each appear to be the same worn in image #3. The hairstyle seems to be the same as that in the photo used on the 1904 “Why Adam Sinned” sheet music cover. The hat/headdress appears to be the same as that worn in images W5 and W6.
  • W5 — White Studio #63 — source unknown; added to my main Aida Overton Walker page in March 2013
    • 1901 — The luxurious, ruffle adorned, white dress worn in images W5 and W6 resembles the dress worn in the illustration on the cover of the sheet music for “Miss Hannah from Savannah,” published in 1901.
    • 1902 – The hairstyle or wig resembles that worn in image W1, which was created no later than 1902.
    • 1904 — The hairstyle seems to be the same as that in the photo used on the 1904 “Why Adam Sinned” sheet music cover. Also, the elaborately decorated hat or headdress seems to be the same one worn in image 4, which is one of the three “pearl necklace” photos (images W3a, W3b, W4, and W7), all of which I’ve tentatively dated 1904 because the hairstyle in each seems to the same as that in the photo used on the 1904 “Why Adam Sinned” sheet music cover.
  • W6 — White Studio #64 — I recently found this image, which I’ve labeled W6, at the Beinecke Digital Collections of Yale University’s Beinecke Rare Book & Manuscript Library.
    • 1901-1904 — (See image W5)
  • W7 — This image is an edit by me of an image found in the Flickr photo stream of Bluesy Daye on about 1 March 2019.
    • 1902 — The hat looks like it might be the same one worn in image W1, which was created no later than 1902, and the hairstyle/wig also resembles that worn in image W1.
    • 1904 — The hairstyle or wig appears to be the same as that in images W2-W6, which may have been created in 1904.
  • W8a,b,c,d — Images W8a,b, and d are my own edits of images recently found in Yale University’s Beinecke Digital Collections.
    • 1907 – One of the two inscribed photos in the cardboard photo holders is dated 1907, the other 1908. I’m guessing that the photo was taken around 1907. It certainly was no later than that year.
      • W8a – inscribed “To Mr. & Mrs. [Nora] Holt with love, Aida Overton Walker 1907.”
      • W8b – inscribed “Yours from Bandana Land Aida Overton Walker 1908.”
      • W8c – uninscribed edit from unknown source, posted on my main AOW page years ago
      • W8d – evidently cropped from the image used for W8a
  • W9a,b — Image 9a was recently found in the NYPL Digital Collections, where it is dated 1911. Image 9b is an edit by me of that image, made by simply removing the brown tint.
    • 1908 — In the article “Black Salome: Exoticism, Dance and Racial Myths,” by David Krasner, which appears as chapter 10 (in part III) of the book African American Performance and Theater History: A Critical Reader, edited by Harry J. Elam, Jr., David Krasner (2001), pp. 192ff, on pp. 203-205, the author claims that what I’ve labeled image W9 shows Overton Walker in the costume that she wore in the Salome dance that she performed with Bert Williams in the 1908 musical revue Bandanna Land, and that for her more modern interpretation of the dance in 1912, she wore a loose-fitting gown, similar to those commonly worn by Isadora Duncan. If Krasner is correct in dating image W9 1908, then image W10 is also from 1908. If correct, the date of 1908 for images W9 and W10 might also help to explain why Overton Walker looks younger in these images than she does in some of the images of her found on the covers of sheet music published in 1910-1911, and in newspaper articles published in those years.
    • The biography of Ada [sic] Overton Walker in the online Performing Arts Encyclopedia of the Library of Congress says:
      • In 1908 Overton Walker was featured in Williams and Walker’s Bandanna Land, and her dancing continued to draw attention for its gracefulness. Soon after Bandanna Land opened, a new solo, “[T]he Dancing of Salome,” was added for her.
    • This explains why IBDb does not list that number among the opening night songs of Bandanna Land, which had a run of 89 performances on Broadway at the Majestic Theatre from 2/03/1908 to 4/18/1908.
    • The book Incidental and Dance Music in the American Theatre from 1786 to 1923 Volume 1 by John Franceschina (2017?), on p. 1907, says that the music for the Bandanna Land number “The Dancing of Salome” was composed and arranged by Joe Jordan.
    • 1911 — The date 1911 attached to image 9a at the New York Public Library Digital Collections may be incorrect.
    • 1912 — Overton Walker performed her latest interpretation of the dance of Salome at the Paradise Roof Garden of Hammerstein’s Victoria Theatre in a production that opened in August 1912.
  • W10a,b,c — I’ve had these images, source unknown, in my main AOW page since 2012, though a couple of them were updated in 2017.
    • 1908 — See the explanation regarding this date for image W9.
    • 1910 — The date 1910 attached to the image at NYPL Digital Collections may be incorrect.
    • 1912 — Overton Walker performed her latest interpretation of the dance of Salome at the Paradise Roof Garden of Hammerstein’s Victoria Theatre in a production that opened in August 1912.


Selected reference

book and article

photograph and image sources

Aida Overton Walker portrait art, 2016-19


For reference, see also my page Aida Overton Walker slide show, gallery, and links.

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  by Energetic Principles, 22 January 2018 (

gracemakesart media 1 by Grace Freeman @gracemakesart, 2018 (

emily.buchler media 1   by Emily @emily.buchler, c. December 2018 (

sierralowe_art post   by Sierra Lowe Art @sierralowe_art, c. December 2018 (

theswisscricket post   by @theswisscricket, 2018 (

  by Claire: Illustrator @tunabake, 20 September 2016 (

Aida Overton Walker-Painting ©2018 by FM Looby-Portraiture, Paper, Women, Aida Overton Walker, American Singer, Vaudeville, 1890's by FM Looby, 2018 (

#aidaovertonwalker #thequeenofthecakewalk #19thcentury #portrait #africanamerican #performer #collage #collageart #illustration #vector #digitalart #digitalcollage #colortherapy #kollaasi #mixmedia   by LN @collageshy, 4 June 2016 (

  by Josée Duranleau, 2017 (

New illustration. This is my take if an art nouveau poster was done for Aida Overton Walker (1880- 1914). Here is Aida black nouveau style. She said " Unless we learn the lesson of self-appreceation and practice it, we shall spend our lives imitating other people and deprecating ourselves." Aida ain't ever lied :) #aidaovertonwalker #artnouveau #blacknouveau #mucha #blackgirlmagic #blackgirljoy   by Asha Jamila @astridbluebelle, 10 April 2018 (

I find painting so relaxing it is an amazing stress reliever :) another Aida Overton Walker. #sketchbook #watercolor #aidaovertonwalker   by Asha Jamila @astridbluebelle, 22 Decenber 2018 (

  by karuski, 14 April 2016 (

Today is Aida Overton Walker’s Birthday. #hope_hummingbird #tmoms #aidaovertonwalker #philadelphia #streetart   by Hope Hummingbird @hope_hummingbird, 14 February 2018 (

change up in recess again: Aida Overton Walker was a vaudeville performer in the early 1900's from NYC. She was known as "the queen of the cakewalk" #photoshop #brushes #watercolor #starburst #typography #vintage #portrait #vaudeville #aidaovertonwalker #nycpubliclibrary #graphicdesign #helloneato   by Sister Valentine, 15 April 2016 (

#ad Did you know that Black people sometimes also performed in #minstrelshows (ie: blackface)? . Meet Aida Overton Walker, one of the few black actresses to perform during minstrel shows. In a time of racial discrimination and limited work in theater for people of color, Aida Overton Walker refused to be typecasted as ‘Mammy’ or be seen as promiscuous and paved the way for actresses song as #josephinebaker and #ethelwaters 👸🏾👸🏾👸🏾 . Raise your hand if you already knew about this amazing woman (and if not, learn more in our IG Stories! #aidaovertonwalker #att28days @att   by Quirktastic @quirktastic_co, 2 March 2018 (

lauraxdoodles post   by laurax marie olsen @lauraxdoodles, February 2019 (

  artist unknown; found at

Hey, whatever happened to…?


Pages recently withdrawn from circulation on Songbook, either deleted or changed to draft status:

  • Embraceable You
  • Goodbye (Gordon Jenkins)
  • I Got It Bad (And That Ain’t Good)
  • Just You, Just Me
  • The Night Has a Thousand Eyes
  • On Green Dolphin Street
  • Solitude

Other pages removed or deleted in the past few years:

*Top ten Oasis songs (official) – joke
*Cherokee (Indian Love Song)
*Les Paul
*Jayne Mansfield galleries
*The Cat Came Back, Hit the Road Jack, and Stray Cat Strut
*Some additional standards and hits, 1920-1929
*1940s — some additional hits and standards
*Burt Bacharach: selected early songs, 1955-1960, excluding hits
*Burt Bacharach: selected 1961 songs, excluding hits
*Please Stay (Bacharach, Hilliard)

It’s possible that some of the pages that have been moved to draft status rather than deleted may one day be repaired, revised, or otherwise modified sufficiently so that I’d consider publishing them again, but it’s not likely. For a page or post on this site to be sent back to draft status after having been published is usually a death sentence.


Q: Why are pages deleted or removed from published status?

A: Various reasons. See “too little time” below. I expect to continue to delete as many old pages as I create new pages in the future, although this may change if I upgrade my system.

Q: I noticed that last year you published not one but two pages on “Blackberry Winter” (1),(2), and just this month you published a multiple-page feature on the song “Come Saturday Morning.” Not only that, but you’ve got pages published on pap like the maudlin and melodramatic “Another Tear Falls,” and the utterly inane bubblegum pop song “Which Way You Goin’ Billy?” Since Christmas you’ve also done large features on the relatively unknown “I Never Has Seen Snow” and the obscure “I’m Getting Tired So I Can Sleep,” and two pages on the wrong “Porgy” (1),(2). Do you mean to say that you actually prefer these songs to magnificent classics such as George and Ira Gershwin’s “Embraceable You” and Duke Ellington’s “Solitude” and “I Got It Bad (And That Ain’t Good)”?

A. Yes. and it’s not even close. But aside from my eccentric tastes there are other factors that have led me to favoring pages on less well-known songs in recent years. Among these are the following:

  • too many covers to choose from on major standards (e.g. reportedly more than 25,000 covers of “Summertime.”) — My drop-in-the-bucket pick of 15-20 covers of “Summertime” would have no hope of representing the whole, and my take on the song would have little chance of saying anything that hasn’t been said before. In some cases, after days of hunting, I’m able to tally twice as many versions of a lesser-known or forgotten song as is presently listed at, with its potentially endless group of actively posting members. This is more fun for me, and may contribute (to researchers and the merely curious) something more valuable than my two bits on “Summertime,” possibly even something unique, if only for a short time.
  • too little time — If I want to continue to create new pages, I’m going to have to forfeit some old pages in order to keep the site viable. This is because the time spent maintaining the site, already excessive, would otherwise reach unsustainable levels. Unlike a typical text-focused site, most of my pages are full of videos. A typical page has 15-20 video players, and some have over 30. The site may have over 10,000 embedded videos. I’ve never counted them, but estimates can be made based upon the number of pages containing multiple videos and the average number of videos per page. YouTube videos, which comprise probably 95% of the videos on this site, tend to have a short shelf-life. They are often disabled without notice for a variety of reasons. The biggest issue with regard to embedding videos straight from YouTube without downloading them first is that they can be, and often are, removed from YouTube by either YouTube itself or the member posting the video there, and without any notice of the action provided until you visit the page or post that the video is on. This happens all the time on YouTube, and less frequently on other video libraries such as Dailymotion, Vimeo, etc.
    • Reasons for the removal of a video from YouTube are many, include the following:
      • removal by YouTube due to copyright claim by the owner of the music and/or film footage used in a video
      • removal by YouTube due to violation of Terms of Service agreement
      • account deletion by YouTube for violation of TOS
      • removal by YouTube member, without deletion of account
      • account deletion by member
    • If I take the figure of 10,000 as a reasonable estimate of the number of videos presently embedded on the site, and estimate that I can check the status of 500 videos per hour (probably a high estimate due to the slow loading speed on my present setup), while making notes on those missing, then it will take roughly 20 hours to complete the checking and note taking process.
    • I’ve further estimated that on average 5% of those 10,000 will be found, upon inspection, to be disabled. So that’s an average of 500 videos that will be found in need of replacement during a random check of the whole site. That number would be lower if I had a regular schedule of checking and replacing videos, but I don’t. I check them fairly randomly, periodically.
    • Replacing videos is the most time-consuming step in the process because it involves in each case searching in online video libraries for a video that corresponds to the exact recording to be replaced, listening to a group of prospective replacement videos (or at least a portion of each of them), and selecting from those found the one of the best quality.
    • Next, I’ve estimated that at a pace of 4-5 videos replaced per hour it will take 100-125 hours to replace the 500 videos missing at the start of the process.
    • So the total time to complete the process of checking and replacing videos across the entire site is roughly 20 + 100-125 hours, or 120-145 hours.
    • How long will that take? At 4 hours per day, 5 days a week, it will take 6-7 weeks. That’s such a length of time that by the time I’m finished with the job of replacement, it’s certain that other videos that were working at the start of the process will have been disabled in the interim. Probably not another 500 that quickly, but the number will be increasing every week. Before long the whole process of checking and replacement must begin all over again.
    • To me these calculations, while far from precise, serve to illustrate that maintenance of thousands of “borrowed” embedded videos on a site such as this is an endless, very time-consuming process. Do I have any volunteers that want to spend 10 hours a week replacing dead videos?
  • not a top ten site or a collection of standards only — I began work on this site in early 2009, so it’s been ten years. Although I never considered Songbook a ranking site, during the early years of the site I often did consult other sites which ranked songs by popularity, longevity, etc. before making my selections with the aid of such lists. These crutches helped me to construct the skeleton of the site very quickly. So during those early years I often tended to favor the more lastingly popular songs for each year, and for each songwriter, generally choosing standards. After a few years of building the site in this manner I was thoroughly fed up with creating pages on songs that I dislike, just because they happen to be high on this or that list. I’ve been happily moving away from the tendency to depend on ranked lists in recent years, so much so that the idea of sticking to standards now seems repulsive to me. The mere thought of doing that gives me hives. I’m not saying that I’ll never do a page on a standard again, because I will. But in choosing a song to create a feature page on, knowing whether it has been deemed a standard by those who deem, or rests especially high on somebody’s list of standards, are not the most important factors that I’ll consider.

Other reasons for deleting pages:

  • irrelevance — The Jayne Mansfield galleries page had become the most popular on the site. It had nothing to do with the rest of the site, nothing to do with music. Basically just T&A. So after a not unpleasant two year ride I bid farewell to Jayne.
  • jazz standards that are much less well-known outside of the field of jazz — examples: Cherokee, The Night Has a Thousand Eyes (1948), On Green Dolphin Street — I still have others that fall in this category. The axe hovers…

In conclusion allow me a moment to give a warm embrace of thanks to all of my visitors, both those who have been returning like the morning sun for years and the sparkling new ones. Without you, this site would not exist. I could not do it without your interest and support. Best to all of you.


And then we’ll move on, but we will remember long after Saturday’s gone


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Hi. Today I published a page on the song “Come Saturday Morning,” with music by Fred Karlin and words by Dory Previn. The song was first recorded by Liza Minnelli in 1968, and a recording by The Sandpipers was the theme song of the 1969 film The Sterile Cuckoo, released as Pookie in the UK and much of Western Europe, starring Ms. Minnelli. A separate recording by The Sandpipers became a top twenty hit in 1970.

Here’s are links to my latest page, which includes the complete film and 30+ selected recordings of “Come Saturday Morning”:

Recordings included in the page:

page 1 of 3 — recordings, 1969-1970 + the film

  • Liza Minnelli – from her album Come Saturday Morning, A&M Records SP 4164 (and SP4164), released on 26 January 1969; album recorded in August and November 1968


  • The Sandpipers — Liza Minnelli’s recording was not used in the The Sterile Cuckoo. Instead, multiple different recordings of the song by The Sandpipers are featured in the soundtrack, one or the other being played during the title sequence and periodically throughout the film, usually following a dramatic peak. Monush, p. 347, indicates that the opening sequence was shot in Ontario, California.


  • The Sandpipers — A different recording of the song, for A&M Records, became a hit single. The single was issued in October 1969 on A&M 1134, b/w “Pretty Flamingo,” and the recording also became the title song of the Sandpipers album A&M SP4262, SP-4262, released in August 1970.
  • Peter Nero — issued on 13 January 1970 on the single Columbia 4-45077, c/w “Maybe Tomorrow”; also included in the 1970 album I’ll Never Fall in Love Again — Peter Nero Plays the Great Love Songs of Today, Columbia CS 1009
  • Mark Lindsay — from his 1970 LP Silverbird, Columbia CA 30111
  • Tony Bennett — from his 1970 album Tony Bennett’s Something, (US) Columbia C 30280, (UK) CBS S 64217
  • Wayne Newton — from the 1970 LP The Long and Winding Road, Capitol Records ST-474
  • Bobbi Martin — from her 1970 album With Love, United Artists Records UAS 6755; featuring an arrangement by Lee Holdridge
  • Chet Baker — recorded, with orchestra arranged and conducted by Jerry Styner, at Sunwest Recording Studios, Hollywood, CA, on 6 July 1970; released on the 1970 album Blood, Chet and Tears, Verve Records V6-8798
  • Roger Williams — from the 1970 LP Themes From Great Movies, Kapp Records ‎KS-3629
  • Ray Conniff and The Singers — from their 1970 album Love Story, Columbia C 30498
  • Mystic Moods Orchestra — from the 1970 LP Stormy Weekend Philips,  PHS 600-342
  • Les Troubadours — (French-lyric version “N’attends pas l’automne,” words by Boris Bergman) released in 1970 on the single (France) RCA Victor 49.077, b/w “Ceux qui n’ont pas encore 20 ans”

page 2 of 3 — recordings, 1971-2014

  • Percy Faith — from the 1971 album A Summer Place, (US) Harmony KH 30607
  • The Impossibles (Thai band) — from a 1971 rehearsal
  • Silver Creek Junior Chorus — from the 1971 LP Silver Creek Sings 1971
  • Scott Walker — from his 1972 album The Moviegoer, (UK) Philips 6308 127 (vinyl), 7108 076 (cassette)
  • Mary Ann Santi — from her 1973 LP A Time to Keep, Presque Isle Records HRS-42473


  • Woody Herman — from the 1974 LP Thundering Herd, (US) Fantasy F-9452; album recorded 2-4 January 1974 Fantasy Studios, Berkeley, CA; track arranged by Alan Broadbent
  • Apolinario Hiking Society — Come Saturday Morning/Without Her (Nilsson) medley, from the 1974 LP In Concert #$%*!?, (Philippines) Sunshine TSP-5194
  • Kalesa — recorded in 1978; members of the group were George Washington University students
  • Kimbo Children’s Music — piano solo; from the 2004 album Yoga For Kids, on the Kimbo Educational label
  • Rumer — from her 2010 CD single Aretha, (UK) Atlantic ATUK096CD, Warner Music UK Ltd. 5052498330928; also included on the 2015 CD compilation album B Sides & Rarities, Atlantic 825646139750
  • calikokat100 — published on YouTube, 3 September 2010
  • Paul Sonnenberg — solo, guitar and voice; recorded c. October 2011
  • mumd2003 — solo, guitar and voice; published on YouTube, 29 September 2012
  • edex7 — Come Saturday Morning/Without Her (Nilsson) medley; published on YouTube, 5 April 2013 — Sounds like it’s based on the Apo Hiking Society arrangement.
  • Puii (vocal) with music by Percy Faith (1971) — published on YouTube, 9 August 2013; slide show of photographs of Waujeongsa Temple, Yongin, South Korea
  • Phillip Sear — piano solo arrangement published in 1970; video published on YouTube, 27 October 2014

page 3 of 3 — recordings, 2015-2018 + selected links

  • Laura Garinger — ukulele and voice; published on YouTube, 3 July 2015
  • โชควสุพล คล้ายขำ (Google translation: Chok Vasupon Khokkum) — piano solo; published on YouTube, 7 November 2015
  • Agis Shaw — vocal, guitar, and recorder; published on YouTube, 3 November 2018


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