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This was her signature song. Here, she had been performing it for 10 years and had polished it to perfection.

I'd like to know something about this singer

Классика 🇰🇬

I'm afraid Cab and his orch sound just too hip to suggest an old serenade and this bucolic setting ... and yet somehow the side works on its own terms, owing to Chu Berry's tenor solo, Cozy Cole's drumming and the leader's impassioned vocal.

❤

My dog passed away while had this song on. RIP Carlos 2007-2024

summer is my birthday ^_^

It's always good to hear one of Helen's uptempo numbers with the BG band. Exceptional on ballads, Ms Forrest could swing, too! This carefree ditty has an interesting authorship -- on paper: _Metronome_ co-editor; pianist and sometime songwriter, Leonard Feather and Fletcher Henderson's wife, Leora. Well, arranger Fletcher happened to be playing piano with the Goodman orch at this time, and, though Mrs Henderson had considerable say-so in the running of her hubby's own band, I suspect that Fletcher was actually the co-author and there was simply a financial angle to giving Leora the credit. In any case, I've always enjoyed this bit of fluff and the manner in which the leader, his band and vocalist swing it.

I can't offhand recall another treatment that includes the intro. Generally speaking, finding one song citing another/others -- in this instance, "April in Paris" and "Love in Bloom" -- feels kind of surreal to me, in the same way that film dialogue mentioning another film does. Here, however, the device works nicely, I think -- the Carmichael-Lawrence partnership adroitly manages it and, entrusted to Buddy, the lyric and melodic allusion come off in stylish fashion. This tasteful arrangement pairs well with Mr Clark's fine vocal.

love it,thanks

An unknown side to me. Sweet! Thanks for this post,Croonr1. 😊

This is a beautiful classic that deserves to be heard more. ❤️❤️

Greatly hampered by all the silly instrumental devices of the typical Heidt band arrangement, Larry does what he can to evoke the peaceful mood of this pretty tune from _Girl of the Golden West_ , the recent MGM Jeanette MacDonald-Nelson Eddy offering.

Very nice tune 🎵

With the Swing Era just underway, violinist bandleader Al Donahue was hedging his bets with this rather staid, string-laden arrangement. After all, who knew how long this jivin', drivin' new music would last? One thing I'll say for ol' Mr Robertson, seemingly omnipresent on the pop recording scene of the early '30s, he seems to have tailored not only his interpretation but his vocal tone, to the extent that he could, to the material at hand. From the WB musical of the same title, this ditty is not among the finest from composer Allie Wrubel, perhaps best known for the stellar jazz standard "Gone With The Wind," beloved by jazz artists to this day, and (for stylistic contrast) the exuberant Disney tune, "Zip-a-Dee-Doo-Dah."

Epic

🥰🥰🥰 that voice

This sentimental standard, dating to 1927, had at the time of the McIntyre band's fine recording been recently featured in the highly lauded post WWII-themed _The Best Years of Our Lives_ . For my money, Frankie's sensitive reading of the lyric strikes exactly the right reflective tone, never becoming maudlin.

This is the kind of music they used to listen to in the old days.

The Allan Roberts-Doris Fisher team was riding high at this time, with their numbers for Columbia's Rita Hayworth starrer, _Gilda_ , having made quite a splash. This stark affair, for the same studio's noir _Dead Reckoning_ , really lays it on the line -- it's a treat to hear our fearless leader, as both vocalist and tenor sax soloist, telling it like it is. The Pastor band was wonderful!

In '39, the great Casa Loma orch recorded a tribute to one of our most important American artists, Mr Hoagy Carmichael, comprising eight of the composer's gems. This one, published in '34, was written in collaboration with another master of the bucolic, Johnny Mercer, and displays the team at its folksy, nostalgic best. "When my cousin Cindy Lou plays a twilight hymn to you/She makes that old piano sound exactly like brand new" succinctly captures the mood. Jack Kapp at Decca loved to pair the acts at his label, so it's no surprise that for variety in the set, The Merry Macs were brought in. Their flawless harmony suggests friends and/or relatives gathered around the piano in the family parlour in the heart of Moon Country. Not often among the first mentioned in discussions of ace sliphorn operators of the Swing Era, Canadian-born Murray McEachern was actually among the finest trombonists of the Swing Era. Though his career spanned decades, the multi-instrumentalist is probably best known for his fairly brief stint with the Goodman orch, which took place at a critical time for the band, '36-'37, with the bespectacled clarinetist being crowned "King of Swing." Moving on to the Casa Loma crew, where he replaced Fritz Hummel and joined stalwarts Billy Rausch and Pee Wee Hunt, McEachern was featured on both trombone and alto sax, excelling on both instruments. As we find, the trombonist's pure, soaring tone conveys the longing in Mercer's lyric!

Beautiful! This is on par with The Ink Spots rendition.

😊first time hearing him and it is marvellious. Have to research more of his music.

I’ve been looking for this song for over 14 years. I dance to this version of this song with the love of my life a very long time ago! Brings back good memories but also makes me cry because she is no longer here with me!

Who’s listening to this in 2024? 💕

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I love songs from ASCAP publisher members, such as the Laurel Music Corporation.

From Paramount's Dorothy Lamour starrer of the same title (which, as was typical, found Dottie far from home), this number gave American audiences that taste of the romantic and exotic they seemed to crave -- or at least were believed to have craved. The Krupa band of these early years appears always to have put some effort into the ballads with inter-continental appeal. Irene, not a favourite of mine, actually sounds better here than usual. Little could she -- or our song's protagonist -- have guessed that in a couple of years she wouldn't have wanted to be anywhere near Burma!

Well, of course I have to give top honors to the Goodman version, with Mildred Bailey's exquisite vocal, but, too, I've always appreciated Carlotta's reading here, in which she seems to focus her efforts on the mood created by "... then I really felt blue." The use of a bass clarinet in the reeds in the opening chorus earns points, too!

So many girls born in my generation were named Linda. Great song.

It's a brilliant version of this great number. Thank you for sharing.

Sarah 💪🏽

Thank you for posting one of my favorite songs that Eileen Barton sang! Such an uplifting song!

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I love songs from ASCAP publisher members, such as the Famous Music Corporation and the Paramount Music Corporation.

I love songs from ASCAP publisher members.

This sweet lunar affair is typical of the Tin Pan Alley material that Fats recorded throughout his career -- that is, apart from his own superb compositions. As was so often the case, this little ditty is pleasant, though rather lightweight, and is enhanced significantly by Fats' vocal delivery and immaculate piano work. What a charmer that guy was!

Whose dream are you?

The song was sung by Constance Moore in the film "Hawaiian Nights" [1939], although she is not shown to be the singer during that wonderful dance routine - the music soundtrack having apparently entirely been dubbed. It is a great pity that a commercial 78rpm record was not made, featuring Sol Hoopii and his Hawaiian group, with vocal by Constance Moore included! Nevertheless, I think that this Johnny Messner recording is a very nice dance band version of what is a lovely song.

Pianist-songwriter Terry had a very cute voice, ideal for this type of folksy material, and a good band, too. He and, say, Tony Pastor and Ray McKinley proved that you don't have to have a romantic voice to be a good singer.

Let me help You out... Goodbye... Now, you're set... You have 1 !!!

This cute one, from WB's _The Time, the Place and the Girl_ , includes one of Leo Robin's most amusing lyrics! It's difficult to imagine that handsome Sam -- tenor sax master, sometime trumpeter and pretty good vocalist -- would be at a loss for ideas about how to be entertained in Rio ... or elsewhere.

This is another instance in which Herbie's tone reminds me of Bobby Sherwood's. It seems that the lure of the microphone was too much to resist ... or maybe it made more financial sense just to handle the vocals oneself and not hire a proper crooner. This lyric could be said to have a strong thematic similarity to "Love is Here to Stay," in which wordsmith Ira Gershwin provided the lyric for the last completed song by brother George: Great change goes on in the world but our love is a constant.

who's from 2024?

How true is this

ღ

Like another Victor Young-Ned Washington collaboration, "A Hundred Years From Today," this gem is one that I associate so strongly with the Great Depression era in which it first appeared. In the mid-'40s, Billy's band recorded a number of tunes from the earlier part of the previous decade -- I must imagine that those songs resonated with the leader and it was his choice to record them, as it seems that the labels tended to want current material. In any case, I think we may conclude that Billy had marvelous musical taste, judging by the songs and his interpretations.