I’ve been for a walk on a winter’s day


So I published a page today on the song “California Dreamin’,” written by John Phillips and Michelle Phillips in 1963 and recorded by The Mamas and the Papas in November 1965. Here’s a link to the page:

California Dreamin’


Selected recordings included in the page:


  • The Mamas and the Papas – live at the Monterey Pop Festival, Sunday, 18 June 1967
  • The Brass Ring, featuring Phil Bodner — issued in September 1966 on the single Dunhill D-4047, b/w “Samba De Orfeo (Black Orpheus)” — This seems to have been the same track featured on the Brass Ring albums Lara’s Theme (1966) and The Dis-Advantages of You (1967), each released on Dunhill Records.
  • Bud Shank — first track on the 1966 album California Dreamin’, (US) World Pacific WPS-21845, WS-21845, and also issued in 1966 on the single World Pacific 77824 — 45cat.com suggests that the single World Pacific 77824 (also WP-77824) was issued in May 1966. However, this may be incorrect because according to JazzDisco.org, the session that produced World Pacific 77824 occurred in August 1966.
  • Hugh Masekela – initial track on the 1966 LP Hugh Masekela’s Next Album, MGM Records E-4415 (Mono), SE-4415 (Stereo)
  • Bobby Womack — from Womack’s debut studio album, Fly Me to the Moon, Minit LP-24014, released in 1968; also issued in November 1968 on the single Minit 32055, b/w “Baby, You Oughta Think It Over”
  • José Feliciano


  • Igginbottom — from their 1969 album ‘Igginbottom’s Wrench, (UK) Deram DML 1051 (Mono), SML 1051 (Stereo)
  • Winston Francis — originally released in 1970 on the album California Dreaming, (Jamaica, UK) Bamboo BDLPS 216; also issued on the 1970 single (Jamaica) Bamboo BAM 48, b/w “Soul Stew” (B-side by Jackie Mittoo & Sound Dimention)
  • Rosa Maria (Rosa Marya Colin) — originally released in 1988 on the single (Brazil) Estúdio Eldorado ‎ MIX 136.88.0542, b/w “Summertime II (B-side by Rosa Maria and Tony Osanah); also included on the 1989 album Rosa Maria, (Brazil) Philips 838 003-1
  • John Phillips — from the 2001 album Phillips 66, Eagle Records WK18854
  • Jim Young — instrumental, published 19 June 2013
  • Monophonics — from their 2018 album Mirrors, Transistor Sound TSR006 (CD), TSR-006 (12-inch disc)

Recently published pages


December 2018

29 Dec — Irving Berlin: selected “I’m” songs — I’ve made a companion for the page Bert Ambrose and his Orchestra: 19 “I’m” songs, recorded 1928-1940, published in 2011. However, none of the nineteen “I’m” songs in the Ambrose page were written by Berlin.

January 2019

2 Jan — I Want to Be In Dixie (1912): selected sheet music covers

2 Jan — When That Midnight Choo Choo Leaves for Alabam’ (1912): selected sheet music covers

3 Jan — I’m Getting Tired So I Can Sleep (Irving Berlin)

4 Jan — Irving Berlin: sheet music galleries — index for new and previously published Irving Berlin galleries

5 Jan — Porgy (McHugh, Fields) – © 1928

See also the 8 January post Porgy (Fields & McHugh), 1928 – lyric, which features a transcription of the 1930 Ethel Waters recording.

10 Jan — I’ve Got My Love to Keep Me Warm (Irving Berlin) — replaces a previously published post

10 Jan — Van Heusen, Jimmy: selected standards with music by — index to previously published pages

10 Jan — Fox Chase & Lost John – selected recordings, 1923-1972

11 Jan — Hit the Road Jack

14 Jan — Walt Disney: selected songs from animated Disney films, 1937-1942 — index to new and previously published pages

14 Jan — Bambi (1942): selected songs

Let’s Sing a Gay Little Spring Song

Little April Shower

19 Jan – Swanee – selected early recordings, 1919-1920


Recently repaired, expanded, or otherwise revised pages (last few weeks):

Songbook top ten lists, first ten years


The numbers at right represent collective page views.

Top ten pages, 17 March 2009 to 16 January 2019 (11AM PST):

1940-1949: selected standards and hits More stats 41,910
Duke Ellington: selected songs, 1927-1953 More stats 37,161
1890-1899 selected hits and standards More stats 35,067
Route 66 More stats 25,023
1900-1909 selected standards and hits More stats 23,781
Autumn Leaves (Les feuilles mortes) More stats 16,836
Bei Mir Bistu Shein / Bei Mir Bist Du Schön (Schoen): selected early recordings, part 1 (1937) More stats 14,819
1910-1919 selected standards, hits and special features More stats 13,628
Bing Crosby: selected recordings, 1927-1934 More stats 13,191
Selected popular dances of the Jazz Age More stats 12,685


Top ten pages featuring a single song, March 2009-January 2019:

Route 66 More stats 25,023
Autumn Leaves (Les feuilles mortes) More stats 16,836
Bei Mir Bistu Shein / Bei Mir Bist Du Schön (Schoen): selected early recordings, part 1 (1937) More stats 14,819
Midnight, the Stars and You – 1934 More stats 10,012
Corcovado More stats 9,616
My One and Only Love More stats 9,568
Why Don’t You Do Right? More stats 9,344
Non Dimenticar (T´ho voluto bene) More stats 8,925
Hot Feet (Wendell Hall) – 1927, with lyric More stats 8,069
Tornerai / J’Attendrai / Komm zurück / Věřím vám / I’ll Be Yours
More stats

The biggest surprise in the second list would have to be the 1927 song “Hot Feet,” which until Disney resurrected it in an episode of Girl Meets World a few years ago had been lost in the mists of time. According to evidence that I present in the page, the song was recorded by its author, Wendell Hall, at least four times (1927-1928), though I’ve only heard one of the four, and this is the one featured in a video included in the page.* The only other recordings of “Hot Feet” that I’m aware of are a 1927 piano roll and a 1927 cover by Paul Specht and his Orchestra. I suspect that the Disney connection is a large factor in the sustained popularity of this page.

That “Midnight, the Stars and You” appears so high on the list is also rather odd. I’ve found no evidence that the 1934 Ray Noble-Al Bowlly recording was a hit, or that the song was ever popular in the 1930s or for decades after it was written and first recorded. There were two contemporaneous covers that I know of, and then there’s not a trace of interest in the song until its inclusion in the soundtrack of the 1980 horror film The Shining. I’d guess that many visits to my page on the song might have more to do with curiosity about the anachronistic use of the song in that film, or general curiosity regarding Kubrick and the film, than interest in the song itself.

While that soundtrack appearance has evidently resulted in few commercial studio recordings — SecondHandSongs, lists only four studio covers, none released before 2009 — the numerous recent live covers (found on YouTube, for example) by bands and solo artists suggest sustained and possibly growing interest in the song over the past several years.


The top ten pages on a Latin standard, March 2009-January 2019:

  1. Corcovado (Quiet Nights of Quiet Stars)
    More stats 9,616
  2. Perfidia
    More stats 7,130
  3. Manhã de Carnaval
  4. El Manisero (The Peanut Vendor)
  5. Chega de saudade
  6. Águas de março (Waters of March)
  7. Malagueña salerosa (La Malagueña)
  8. Bésame Mucho
  9. Te quiero dijiste / Magic is the Moonlight
  10. Para Vigo me voy (Say Si Si)
    More stats 3,035


Last 365 days

Top ten pages featuring a single song, last 365 days:

Crawdad Song — lyric (Woody Guthrie version) More stats 1,350
Midnight, the Stars and You – 1934 More stats 1,331
Hot Feet (Wendell Hall) – 1927, with lyric More stats 892
White Christmas More stats 862
Non Dimenticar (T´ho voluto bene) More stats 822
Águas de Março (Waters of March) More stats 775
How Deep is the Ocean? (How High is the Sky?) More stats 728
Te quiero dijiste / Magic is the Moonlight More stats 615
The Cat Came Back More stats 589
It’s Time to Say Goodnight — 1934 More stats 573
Sayonara More stats 564


* However, I’ve been unable to confidently identify which of the four recordings by Hall is represented in the video included in the page.

A summer night’s magic, enthralling me so


Howdy. This post serves is to announce the expansion of the previously published feature Under a Blanket of Blue. I’ve added a dozen recordings over the past couple of days, plus a list of of the 32 recordings included in the page, and made it into a three part feature. Here are links to the three parts (or pages) of the feature:

Each page of the feature has links to all three pages. Recordings included in the feature still cover the time span 1933-1963, as they did before these additions. I may eventually add some more recent recordings.


Under a Blanket of Blue (m. Jerry Livingston*, w. Al J. Neiburg and Marty Symes) — 1933 standard

Recordings added to the page yesterday and today:

  • The Southern Sisters — recorded in London on 10 October 1933; issued on the single (UK) Decca F.3690, c/w “Sentimental Gentleman from Georgia”
  • Paramount 6247 piano roll, played by Larry Arden — 1933
  • Maxine Gray with orchestra directed by David Rose — radio transcription; from the 27 June 1940 episode of the California Melodies program (see Old Time Radio Downloads, Old Time Radio Catalog OTRCAT.com)
  • Glenn Miller and his Orchestra — from the 19 December 1940 episode of the Chesterfield Cigarettes “Moonlight Serenade” radio series
  • Barry Wood and The Melody Maids, with orchestra directed by Henry Sylvern — radio transcription; from, according to the video provider, a 1946 episode of The Barry Wood Show
  • Benny Goodman Sextet – recorded in New York on 30 July 1952; released on the 1954 album The New Benny Goodman Sextet, Columbia CL 552 — session personnel: Benny Goodman (cl), Terry Gibbs (vib), Teddy Wilson (p), Mundell Lowe (g), Sid Weiss (b), Don Lamond (d)
  • Art Tatum – Benny Carter – Louis Bellson — recorded on 25 June 1954 in Los Angeles, CA; originally released on the 1958 album Makin’ Whoopee, Verve Records MG V-8227
  • Billy Tipton Trio — from the 1955 album Sweet Georgia Brown, Tops L1522
  • Jane Froman — from the 1957 album Songs At Sunset, Capitol Records T889/T-889; also included on the 1957 EP Songs At Sunset, Part 2, Capitol EAP 2-889
  • Doris Day — from her 1957 LP Day By Night, Columbia CL 1053



* credited under his birth name, Jerry Levinson

About sixteen bloodhounds took in after him


New page published late tonight (Thursday, 10 January):

(Hint: Click on the link directly above to visit the page.)

Porgy (Fields & McHugh), 1928 – lyric


Porgy (m. Jimmy McHugh, w. Dorothy Fields) – lyric transcribed by doc from a 1930 Ethel Waters recording*

Following a 16 bar verse, the chorus is 72 bars long, with nine sections, eight bars each. In the 32-bar or AABA song form most common during the classic American songbook era, a song with 64 or more bars of chorus typically has a second part of the chorus with the same structure as the first: (1) AABA, (2) AABA. The words will be different in the second part, but the music will be essentially a repetition of the first part. That’s certainly not the case here. Instead the structure of the chorus seems to be AABA CDEF A, where the “A” bar is the only one repeated and each bar in the second section is unique.

Selected recordings of the song, from 1930 to 1974, are available on my recently published page, Porgy (McHugh, Fields) – © 1928. Of the later recordings of “Porgy” that I’ve heard, none of them include the entire chorus of the Waters version, and the only other that includes the verse is that by Adelaide Hall.

There ain’t no man in Charleston
A stranger to big Crown’s Bess
Catfish Row is closed now
To the sight of this old red dress
But there is one they call Porgy
Seems like that man understood
Got his trust in me, Lord
And I’s gonna stick for good

I’s got a man now
I’s got Porgy
I understand now
‘Cause I’s got Porgy
I’m through with byways
And his ways is my ways

Lord, just to feel
His arms about me
Knowing he can’t
Get on without me
I wants to beg for
A chance just to camp by his door

‘Course he ain’t much for
To look and see
Lazy and no ‘count
As he can be
But he’s got that good
Kind of love for me

I’s changin’ my style
And that old way of livin’
Glad I’ve stopped takin’
And started givin’
Yes, I’ve got a man
I’ve got Porgy now

For him to hold me
In his arms and whisper
“I love you”
To have him near me
Just to cheer me
How could I get blue?

Deep in my heart
Oh, I get such a thrill
Why we’ll never part
And I’m sure we never will

‘Cause love, true love, will find a way
Never fear
There’ll come a day
Maybe, my dear

I’ll wait
Trust fate
That we’ll be happy some day
On just a precious little thing called love

That’s why I’m changin’ my style
And that old way of livin’
Glad I’ve stopped takin’
And I’ve started givin’
Oh, I’s got a man
I got Porgy now

~ lyric written by Dorothy Fields, ©1928; transcribed by doc (Jim Radcliff), on 8 January 2019, from a 1930 Ethel Waters recording* (latest edit: 21 January 2019)


* The  Discography of American Historical Recordings indicates that two masters of Columbia matrix W150159 were made, drawn from the first and second of three takes on 1 April 1930 in NYC. On the Columbia 2184-D page, DAHR suggests that each of the masters were issued on separate pressings of the single with that catalog number. I don’t know which of the masters is represented in the recording by Waters included in our feature page, Porgy (McHugh, Fields) – © 1928.

I wants to beg for chance just to camp by his door


The song “Porgy” was written by Jimmy McHugh (music) and Dorothy Fields (words) for the hit Broadway musical revue Lew Leslie’s Blackbirds of 1928. I published a page today on the song, in response to a request from a visitor. Here’s a link to the new page:

Porgy (McHugh. Fields) – © 1928

From Pick Yourself Up: Dorothy Fields and the American Musical, Charlotte Greenspan (2010), Chapter 4 “Give My Refrains to Broadway,” p. 48:

A different slice of southern black life is offered in the song “Porgy.” Dorothy Heyward and DuBose Heyward based their play Porgy on DuBose’s eponymous novel of 1925. The Theatre Guild produced the play, which opened on Broadway in October 1927, just a few months before Dorothy Fields’s first songs were heard in the Cotton Club. She may well have seen Porgy as part of her research into black turns of speech. Jerome Kern and Oscar Hammerstein II, following their success with Show Boat, had considered writing a musical version of Porgy, which would have had Al Jolson as its star, but they did not follow through with this plan. George Gershwin’s Porgy and Bess opened in 1935, seven years after McHugh and Fields wrote the song “Porgy.” A second engagement of the play Porgy opened at the Republic Theater on May 28, 1928 less than two weeks after Blackbirds of 1928 had opened.


Recordings included in the page:

  • Ethel Waters — recorded on 1 April 1930; originally issued on Columbia 2184D, c/w “(What did I do to be so) Black and Blue”
  • Auld-Hawkins-Webster Saxtet — recorded in NYC on 17 May 1944; issued on Apollo Records 754, as the B-side of “Pick-Up Boys” (Leonard Feather)
  • Adelaide Hall — radio transcription, 1945(?)
  • Louis Prima and his Orchestra, vocal: Lilyann Carol  —  issued in June 1946 on the 78 rpm single Majestic 1051, as the B-side of “Boogie in Chicago” (Louis Prima); recording date disagreement: March 1946 (Discogs.com), April 1946 (78discography.com, 45Worlds.com); VBR MP3 files, archive.org
  • Chris Barber’s Jazz Band with Ottilie Patterson ‎– originally issued on the 1955 album Echoes Of Harlem, (UK) Pye Nixa NJL 1, Pye Nixa NJL.1
  • Anita Ellis — originally released on her 1957 album Hims, Epic LN 3914
  • Teddi King — from her 1957 album A Girl and Her Songs, RCA Victor LPM-1454
  • Abbey Lincoln — from the 1957 album That’s Him!, Riverside RLP 12-251, recorded in NYC on 28 October 1957 — An alternate take (take 1) was released on the 1988 CD reissue of the album, and also included on the compilation album La chanteuse de jazz idéale, released in 1996 in France on the Wea Music label.
    • take 1
  • Nina Simone — recorded at the Newport Jazz Festival, 30 June 1960; released on the 1960 album Nina At Newport, Colpix Records CP 412 (Mono) SCP 412 (Stereo) — For unknown reasons, some pressings of the album give the title of the song as “Blues For Porgy” on both the back of the album cover and the label.
  • Dakota Staton — originally issued on her 1974 album Ms. Soul, Groove Merchant GM 532

And please sleep long enough to dream


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New page published today, on the 1942 Irving Berlin song “I’m Getting Tired So I Can Sleep,” from This Is The Army. The song was included on the second page of my Irving Berlin: selected “I’m” songs feature published a few days ago, but after adding several more recordings of “Getting Tired” the feature had grown very long, with over 45 videos and audio players included. Although I could have expanded the feature to three pages, I decided instead to create a separate page for that one song. Here’s a link to the new page:

I’m Getting Tired So I Can Sleep

From The Complete Lyrics of Irving Berlin, edited by Robert Kimball and Linda Emmet (2001), p. 358:

Published. Copyrighted June 18, 1942. Introduced by Private William Horne and an “Octette” consisting of Sergeant Zinn Arthur, Corporal James Burrell, and Privates Orville Race, James Farrell, Thomas Chetlin, William Collier, Earl Lipp, and Donald McCray. The idea for the song came from the Yip, Yip, Yaphank song “Dream On, Little Soldier Boy.”* Leading recording by Jimmy Dorsey and His Orchestra (Decca).

Recordings included are as follows:

  • Claude Thornhill and his Orchestra, vocal: Terry Allen — recorded on 19 June 1942 and issued in 1942 on the 78 rpm single (US) Columbia 36658, b/w “Rock-A-Bye Bay”; issued in Canada on Columbia C687 with the same B-side
  • Kenny Baker with Harry Sosnick and his Orchestra — recorded on 26 June 1942; issued on Decca 18442, c/w “I Left My Heart at the Stage Door Canteen”
  • Jimmy Dorsey and his Orchestra, vocal: Bob Eberly — recorded on 14 July 1942; issued in August 1942 on the 78 rpm single Decca 18462, b/w “Ev’ry Night About This Time”
  • Hal McIntyre and his Orchestra, vocal: Jerry Stuart — recorded on 22 July 1942; issued on Victor 27951, b/w “This Is the Army, Mr. Jones”
  • Pvt. Stuart Churchill and Soldier Octet with Orchestra and Octet Under Direction of Cpl. Milton Rosenstock — recorded on 28 July 1942; released on the 78 rpm single Decca 18475, as the B-side of “The Army’s Made a Man of Me”; also released in 1942 on the 4 disk original all-soldier Broadway cast album This Is the Army, Decca A-340, and the LP single disk version of the album, Decca DL 5108


  • Victor “First Nighter” Orchestra, with vocals by Brad Reynolds (lead) and Men’s Chorus — recorded on 30 July 1942 and issued 21 August 1942 on the 78 rpm single Victor 27956, b/w “That’s What the Well Dressed Man in Harlem Will Wear” (B-side vocal by Fats Waller and Men’s Chorus)
  • Barry Wood – issued c. mid-August 1942 on the 78 rpm single Bluebird B-11572, b/w “Why Don’t You Fall in Love with Me (As Long As You’re Not in Love With Anyone Else)”
  • Harry James and his Music Makers, vocal: Johnny McAfee — from the album Live broadcast from the Astor Roof on August 28, 1942, released (according to Discogs.com) in 1979
  • Dennis Day — medley: “I’m Getting Tired So I Can Sleep” / “I’ll See You In My Dreams”; in a transcription of the “Liberty Ship” episode of the Jack Benny Show (radio), broadcast on 6 December 1942
  • Stuart Foster — from, according to the video provider, “January 19, 1943 Victory Parade Of Spotlight Bands orchestra directed by Ina Ray Hutton”
  • Dinah Shore — from, according to the video provider, “February 3, 1943 Eddie Cantor It’s Time To Smile radio program

Where my honey lamb am


Hey! Well, it may not be what you expected, but it’s here. Today I published two pages featuring nothing but selected sheet music covers of 1912 Irving Berlin songs. Here they go:

The copyright title of the second song is “When the Midnight Choo-Choo Leaves for Alabam’.” From the chorus:

That’s where you stop your train
That brings me back again
Down home where I’ll remain
Where my honey lamb


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