Songs with Earlier Histories Than the Hit Version

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Tagged: Ella Fitzgerald

Broadway/Movies/Television, Jazz

Love for Sale

First recorded by Fred Waring’s Pennsylvanians (1930).
Other popular versions by Libby Holman (1931), Sidney Bechet (1947), Billie Holiday (1952, released 1956), Erroll Garner (1953), Charlie Parker (1954), Ella Fitzgerald (1956), Eartha Kitt (1965), Aretha Franklin (1965), Buddy Rich Big Band (1967), Elvis Costello (1980, released 1994), Fine Young Cannibals (1990).

From the wiki: “‘Love for Sale’ was written by Cole Porter from the musical The New Yorkers, satirizing various ‘New York’ types, from high society matrons to con men, bootleggers, thieves and prostitutes during Prohibition. The musical opened on Broadway on December 8, 1930 and closed in May 1931 after 168 performances.

“The pit orchestra featured a young group that had never before appeared on Broadway as the stage band, Fred Waring’s Pennsylvanians, and which also featured the band’s vocalists, the Three Warings, in supporting cast roles on stage as ‘The Three Girl Friends’. ‘Love for Sale’, the most well-known song from the show, was written from the viewpoint of a prostitute advertising ‘love for sale’. Porter’s biographer George Eells refers to it as ‘the minor-keyed song whose lyrics were judged too raw for radio audiences …’

“When the song was first published in 1930, a newspaper called it ‘in bad taste’. Radio stations avoided it. Despite this, popular Hit Parade recordings were released, first, in December 1930 by Waring’s Pennsylvanians & the Three Waring Girls (based on their stage performance) and, then, by vocalist Libby Holman in February 1931.

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1930s, Swing

Dipsy Doodle

First recorded by Tommy Dorsey feat. Edythe Wright (#1 1937).
Other hit versions by Russ Morgan and His Orchestra (US #2 1937), Johnny Maddox & the Rhythmasters (US #15 1953).
Also recorded by Larry Clinton & His Orchestra feat. Bea Wain (1937), Ella Fitzgerald & the Chick Webb Orchestra (1937), Bill Haley & His Comets (1957).

“Larry Clinton was an arranger for the Dorsey Brothers big band at the he came up with ‘Dipsy Doodle’, hanging out at the Onyx Club, a jazz club on 52nd Street in New York City, where the back of the menus were printed with blank music scores. One evening Clinton wrote the melody on a menu. It wasn’t until baseball season rolled around that he came up with the lyrics.

“He was a baseball fanatic and Clinton got the idea [for lyrics] from New York Giants left-handed pitcher Carl Hubbell. Hubbell had a screwball pitch that had been dubbed ‘dipsy doo’ for the crazy way it dipped over the plate and befuddled the batters.

“Clinton originally wrote ‘Dipsy Doodle’ for Tommy Dorsey [whose 1937 recording featuring vocalist Edythe Wright topped the Hit Parade ahead of the Russ Moran Orchestra cover version]. Dorsey then made Clinton so well known that Clinton was able to start a band of his own with the financial backing of Dorsey. Then Clinton’s own band further popularized ‘Dipsy Doodle’ by using it as its theme song.

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1950s, Pop

(I Love You) For Sentimental Reasons

First recorded (as “Sentimental Reasons”) by Deek Watson & His Brown Dots (1945).
Hit versions by The King Cole Trio (US #1 1946), Eddy Howard & His Orchestra (US #6 1947), Dinah Shore (US #6 1947), Ella Fitzgerald & Delta Rhythm Boys (US #8 1947), Sam Cooke (US #17/R&B #5 1957), James Brown (R&B #70 1976).
Also recorded by James Brown (1969), Linda Ronstadt (1986), Rod Stewart (2004).

From the wiki: “‘(I Love You) for Sentimental Reasons’ was written in 1945 by Ivory ‘Deek’ Watson, founding member of the Ink Spots, and William ‘Pat’ Best, founding member of the Four Tunes. The song was first recorded by The Brown Dots, a group Watson had first formed as the ‘New Ink Spots’ after he left the original group in a dispute. The original Ink Spots then filed a lawsuit to force Watson from using its name, resulting in Watson changing his ‘Ink Spots’ name, just barely, to ‘The Brown Dots’.

“The Brown Dots’ original recording of ‘Sentimental Reasons’ was first recorded and released in 1945 as the B-side of their second single, ‘Let’s Give Love Another Chance’. In 1946, it was released again – as an A-side – but it did not chart nationally.

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1910s, Jazz

Darktown Strutters’ Ball

First recorded (as “At the Darktown Strutters’ Ball”) by Six Brown Brothers (US #10 1917).
Other hit versions by The Original Dixieland Jazz Band (US #2 1917), The Jaudas’ Society Orchestra (US #9 1918), Ted Lewis and His Band (US #12 1927), Joe Liggins & His Honeydrippers (R&B #7 1948), Lou Monte (US #7 1954), Joe Brown & the Bruvvers (UK #34 1959), Ted Mulry & His Gang (AUS 1976).
Also recorded by Coleman Hawkins (1933), Ella Fitzgerald (1936), Fats Waller (1939), Alberta Hunter (1978).

From the wiki: “‘Darktown Strutters’ Ball’ was written by Shelton Brooks. First published in 1917, the song has been recorded many times and is considered a Popular and Jazz standard. There are many variations of the title, including ‘At the Darktown Strutters’ Ball’, ‘The Darktown Strutters’ Ball’, and just ‘Strutters’ Ball’.

“The song was first performed in 1917 by Sophie Tucker in her Vaudeville routine. It was first recorded on May 9 that same year by the Six Brown Brothers, a comedic musical ensemble. The best-selling early recording by the Original Dixieland Jazz Band was recorded on May 30, 1917. It would be this version that was inducted into the Grammy Hall of Fame in 2006.

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1920s, Blues

Beale Street Blues

First recorded by Prince’s Band (1917).
Popular versions by W.C. Handy (1917), Marion Harris (1921), Jelly Roll Morton (1926), Fats Waller & Alberta Hunter (1927), “Big” Joe Turner (1940), Louis Armstrong (1954), Ella Fitzgerald (1958).

From the wiki: “‘Beale Street Blues’ was written in 1917 by American composer and lyricist W.C. Handy. The title refers to Beale Street in Memphis, Tennessee, the main entertainment district for the city’s African American population in the early part of the twentieth century, and a place closely associated with the development of the Blues.

“‘Beale Street Blues’ was popularized for an audience when sung on Broadway by Gilda Gray in the 1919 musical revue Schubert’s Gaieties but first gained mass circulation when Prince’s Band recorded the song for Columbia Records in 1917. One of the earliest vocal arrangements of ‘Beale Street Blues’ was recorded by Marion Harris in 1921.

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1920s, Blues

Sugar Blues

First recorded by Leona Williams & Her Dixie Band (1922).
Popular versions by Clyde McCoy (US #2 1931), Fats Waller (1935), Bob Wills & His Texas Playboys (1936), Ella Fitzgerald & the Chick Webb Orchestra (1940), Johnny Mercer (US #4 1947).

From the wiki: “‘Sugar Blues’ was written in 1920 by Clarence Williams and recorded for the first time by Leona Williams (no relation) and Her Dixie Band in 1922. The song was made popular by Clyde McCoy in 1931, featuring the sound of the growling wah-wah mute. McCoy recorded it no less than four times, and it became his trademark song.

“‘Sugar Blues’ would also be recorded by Fats Waller (1935), Bob Wills and his Texas Playboys (1936), and Ella Fitzgerald (1940), and chart again on the Hit Parade in 1947 with a vocal cover by noted songwriter-lyricist Johnny Mercer (‘Satin Doll’, ‘Fools Rush In‘, ‘Jeepers Creepers‘).”

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1950s, Latin

Desafinado

First recorded by João Gilberto (1958).
Hit versions by Ella Fitzgerald (US #102/UK #38 1962), Stan Getz & Charlie Byrd (US #15/MOR #4/UK #11 1962).
Also recorded by Lambert, Hendricks & Bavan (1963).

From the wiki: “‘Desafinado’ (a Portuguese word usually rendered into English as ‘out of tune’ or ‘off-key’) is a bossa nova song composed by Antonio Carlos Jobim with lyrics (in Portuguese) by Newton Mendonça as a response to critics who claimed that bossa nova was a new genre for singers who can’t sing. First recorded in late 1958 by João Gilberto, it was released in Brazil in February 1959 as a double-sided shellac 78 rpm and soon after, in May 1959, as one of twelve songs on Gilberto’s debut long-play album, Chega de saudade, the first collection of bossa nova songs ever released.

“English-language lyrics were later written, in 1962, by Jon Hendricks and ‘Jessie Cavanaugh’ (a pseudonym used by Howie Richmond of the Richmond Organization [TRO] music publishing conglomerate), and were first recorded in 1962 by Ella Fitzgerald whose promotional single “bubbled under” the Hot 100 in the US but charted Top 40 on the UK Singles chart. Lambert, (Jon) Hendricks & Bavan would release their own English-language arrangement in 1963.

“The 1962 recording by Stan Getz and Charlie Byrd (from the album Jazz Samba) would become the definitive version of ‘Desafinado’, becoming a major Pop hit in 1962 in both the US and the UK. The song was voted by the Brazilian edition of Rolling Stone magazine as the 14th greatest Brazilian song. ‘Desafinado’ was also inducted into the Latin Grammy Hall of Fame in 2001.”

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1950s, Pop

Learnin’ the Blues

First recorded by Joe Valino (1955).
Hit version by Frank Sinatra (US #1/UK #2 1955).
Also recorded by Ella Fitzgerald & Louis Armstrong (1957).

From the wiki: “‘Learnin’ the Blues’ was written by Dolores Vicki Silvers, and first recorded in 1955 by Joe Valino. It’s not clear whether Silvers was the sole composer or possibly had help from Valino, a pop-jazz vocalist in the vein of Frank Sinatra and a breed of lounge singer singer who would be swept away in the late ’50s with the advent of rock ‘n’ roll.

“After a rep from Barton Music – Frank Sinatra’s publishing company – heard the song, they acquired its rights, effectively thwarting Valino from gaining his first hit. (Valino would, in 1956, find chart success with ‘Garden of Eden’.) Frank subsequently listened to Joe’s record and decided to cut it himself, giving Sinatra his best-charting single of the ’50s, peaking at #1.

“Ella Fitzgerald and Louis Armstrong covered the song on their 1957 collaboration Ella and Louis Again.”

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1910s, Pop

My Melancholy Baby

First recorded by Walter Scanlan (US #9 1915).
Other hit versions by Gene Austin (US #3 1928), Teddy Wilson & His Orchestra (US #6 1936), Bing Crosby (US #14 1939), Sam Donahue & His Orchestra (US #5 1945), Tommy Edwards (US #26/R&B #27/UK #29 1959).

From the wiki: “‘Melancholy Baby’ was written by Ernie Burnett with lyrics by George Norton. The song was first publicly performed (as ‘Melancholy’) in 1912 by William Frawley (‘Fred Mertz’ on I Love Lucy, and ‘Bub’ on My Three Sons). According to IMDb:

‘Frawley was appearing at the Mozart Cafe in Denver, Colorado. He happened to visit a pub on Curtis Street, where he knew the proprietor. Knowing Bill was looking for a new song for his act, the proprietor directed him to the pub’s back room, where Ernie Burnett and George Norton were in the process of composing ‘My Melancholy Baby’.

‘Frawley introduced the song that very night at the Mozart Cafe. In the audience was writer Damon Runyon, well known for his drinking. After Frawley introduced the song, Runyan, drunk and maudlin, repeatedly called out ‘Get Frawley to sing ‘Melancholy Baby’!’ throughout the rest of the evening. Bill sang many encores. The comedy staple of a drunk requesting ‘My Melancholy Baby’ actually has a basis in fact.’

“Forty-five years later, Frawley would record ‘My Melancholy Baby’ in 1957, for his album Bill Frawley Sings the Old Ones.

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1940s, Christmas

What Are You Doing New Year’s Eve?

First recorded by Margaret Whiting (1947).
Other popular versions by The Les Paul Trio (1947), The Orioles (R&B #9 1949), Ella Fitzgerald (1960), Danté & the Evergreens (US #106 1960), Billy Ward & His Dominoes (1965), Nancy Wilson (XMAS #17 1965 |XMAS #24 1967), The Carpenters (1985), Rufus Wainwright (2005), Zooey Dechanel & Joseph Gordon-Levitt (2011).

From the wiki: “‘What Are You Doing New Year’s Eve?’ was written in 1947 by Frank Loesser as an ‘independent song’ — not written for any particular movie or musical. Loesser was an American songwriter who had written lyrics and music for the Broadway hits Guys and Dolls and How To Succeed In Business Without Really Trying, among others. He won separate Tony Awards for both shows, as well as sharing the Pulitzer Prize for Drama for the latter, and was also nominated for five Academy Awards for best song, winning once, for ‘Baby, It’s Cold Outside‘. Among Loesser’s other notable songs: ‘Praise the Lord and Pass the Ammunition’, ‘Heart and Soul‘, ‘On a Slow Boat to China’, and ‘Luck Be a Lady Tonight’ (from Guys and Dolls).

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1940s, Christmas, Jazz

Baby It’s Cold Outside

First performed by Esther Williams & Ricardo Montalban and Red Skelton & Betty Garrett (Neptune’s Daughter, 1949).
Hit versions by Dinah Shore & Buddy Clark (US #4 1949), Margaret Whiting & Johnny Mercer (US #4 1949), Ella Fitzgerald & Louis Jordan (US #9 1949), Dean Martin (1959) and Blossom Dearie & Bob Dorough (1979), Dean Martin & Martina McBride (MOR #7/C&W 36 2006).

From the wiki: “Frank Loesser wrote the duet in 1944 and premiered the song with his wife, Lynn Garland, at their Navarro Hotel housewarming party, and performed it toward the end of the evening, signifying to guests that it was nearly time to end the party. Lynn considered it ‘their song’ and was furious when Loesser sold the song to MGM. The movie it appeared in, Neptune’s Daughter, featured two performances of the song: one by Ricardo Montalbán and Esther Williams, and the other by Red Skelton and Betty Garrett, the second of which has the roles of ‘wolf and mouse’ reversed. These performances earned Loesser an Academy Award for Best Original Song.”

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1930s, Swing

The Lady is a Tramp

First popular recording by Tommy Dorsey & His Clambake 7 with Edythe Wright (1937).
Hit/popular versions by Sophie Tucker (US #19 1937), Frank Sinatra (1957), Ella Fitzgerald (1957), Tony Bennett & Lady Gaga (US #121/UK #188/BEL #21/JPN #33 2011).
Also recorded by Midge Williams & Her Jazz Jesters (1937), Carl Perkins (1960), Alice Cooper (1974).
Also recorded (as “Maureen is a Champ”) by Frank Sinatra (1968).

From the wiki: “‘The Lady is a Tramp’ was a show tune from the 1937 Richard Rodgers and Lorenzo Hart musical Babes in Arms in which it was introduced by former child star Mitzi Green. The song is a spoof of New York high society and its strict etiquette (the first line of the verse is ‘I get too hungry for dinner at eight…’). Early recordings from 1937 include one by Tommy Dorsey and His Orchestra (featuring Edythe Wright on vocals), Midge Williams and Her Jazz Jesters, and Sophie Tucker.

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1940s, Broadway/Movies/Television

Taking a Chance on Love

First performed by Ethel Waters (1940).
First commercial recording by Ella Fitzgerald (1940).
Popular versions by Helen Forrest (US #1 1943), Ethel Waters (1946), Frank Sinatra (1954), Anita O’Day (1957).
Also recorded by Dinah Shore (1958), Liza Minnelli (1977).

From the wiki: “‘Taking a Chance on Love’ was written by Vernon Duke with lyrics by John La Touche and Ted Fetter, and has gone on to become a standard recorded by many artists. It was first performed in the Broadway musical Cabin in the Sky which opened at the Martin Beck Theater on October 25, 1940. (‘Taking a Chance on Love’ was added only three days before the New York opening, but it turned into the hit of the show.)

“The show was choreographed by George Balanchine and was a ground-breaking musical with an all-black cast. The leads were played by Ethel Waters as Petunia, Dooley Wilson (‘As Time Goes By‘) as her husband Little Joe, and Katherine Dunham as the temptress Georgia Brown.

“Waters introduced ‘Taking a Chance of Love’ as a show-stopping solo, reprising it at the end of Act I with Little Joe, and would reprise her performance in the 1943 motion picture release of Cabin in the Sky.

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1930s, Swing

Puttin’ on the Ritz

First performed (on Broadway) and recorded by Harry Richman (US #1 1930).
Other hit versions by Leo Reisman & His Orchestra (US #20 1930), Clark Gable (1939), Fred Astaire (1946), Ella Fitzgerald (1958), Taco (US #4/CAN #5/SWE #1/NZ #1 1983).

From the wiki: “‘Puttin’ On the Ritz’ is a popular song written and published in 1929 by Irving Berlin and first introduced by Harry Richman in the musical Puttin’ On the Ritz (1930). The expression was inspired by the opulent Ritz Hotel. Another hit version was recorded in 1930 by Leo Reisman & His Orchestra.

“Clark Gable performed the song on film (Idiot’s Delight) in 1939, but the song was most-famously performed (with new lyrics) by Fred Astaire, with whom the song is particularly associated, in the 1946 film Blue Skies. Gene Wilder and Peter Boyle teamed up in Mel Brooks’ Young Frankenstein (1974) to give the song a comedic spike.

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1950s, Country

Crying in the Chapel

First recorded by Darrell Glenn & The Rhythm Riders (US #6/C&W #4 1953).
Other hit versions by The Orioles (US #11/R&B #1 1953), Rex Allen (US #8/C&W #4 1953), Ella Fitzgerald (US #15 1953), Art Lund (US #23 1953), June Valli (US #4 1953), Elvis Presley (recorded 1960 |US #3/MOR #1/UK #1 1965).
Also recorded (as “Selassie Is the Chapel”) by Bob Marley & The Wailers (1968).

From the wiki: “‘Crying in the Chapel’ was written by Artie Glenn for his son, Darrell, to sing. Darrell recorded it while still in high school in 1953, along with Artie’s band the Rhythm Riders, and the record went Top 10 on the Billboard Hot 100. The song went on to become one of the most-covered songs of 1953, with additional charted versions recorded by The Orioles (‘C.C. Rider‘), Rex Allen, Ella Fitzgerald, Art Lund, and June Valli. (The Orioles’ recording would be used two decades later in the soundtrack of American Graffiti.)

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1950s, Jazz

Lullaby of Birdland

Co-written and first recorded by George Shearing (1952).
Hit versions by Ella Fitzgerald (US #31 1954), Blossom Dearie & Blue Stars (US #16 1956).
Also recorded by Sarah Vaughn (1954), Mel Tormé (1956), Amy Winehouse (2004).

From the wiki: “‘Lullaby of Birdland’ is a 1952 popular song with music by George Shearing and, later, lyrics by George David Weiss (under the pseudonym ‘B. Y. Forster’ in order to circumvent the rule that ASCAP and BMI composers could not collaborate).

“The song title refers to Charlie ‘Bird’ Parker and the Birdland jazz club named after him on Broadway near 52nd Street in New York City. Shearing recalls that he wrote ‘Lullaby of Birdland’ for Morris Levy, the owner of the Birdland club. Levy had gotten in touch with Shearing and explained that he’d started a regular Birdland-sponsored disk jockey show, and he wanted Shearing to record a theme which was ‘to be played every hour on the hour.’ Shearing says he wrote ‘the whole thing […] within ten minutes.’

“First released by Shearing as an instrumental in 1952, vocal arrangements of ‘Lullaby of Birdland’ soon followed, with Ella Fitzgerald’s 1954 recording peaking at #31 on the Hit Parade.

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