Sunday, January 26, 2020

Billie Eilish’s “Bad Guy” won Grammys for Record and Song of the Year

Bad Guy

Billie Eilish

Writer(s): Billie Eilish O’Connell/Finneas O’Connell (see lyrics here)

Released: March 29, 2019

First Charted: April 13, 2019

Peak: 11 US, 6 A40, 34 AA, 12 MR, 2 UK, 11 CN, 12 AU (Click for codes to singles charts.)

Sales (in millions): 1.0 US, 1.2 UK, 11.26 world (includes US + UK)

Airplay/Streaming (in millions): -- radio, 1346.42 video, 1914.67 streaming


Click on award for more details.

About the Song:

The song most likely to be identified with 2019 for years to come is Lil Nas X’s “Old Town Road.” The song logged a whopping 19 weeks at #1 on the Billboard Hot 100, making it the biggest song in that chart’s history. Of course, all songs must eventually fall and “Old Town Road” finally succumbed to Billie Eilish’s “Bad Guy.” While the song only spent a solitary week atop the chart, it set a record of its own – the longest run at #2 (nine weeks) before sliding into the pinnacle position. SF

At only 17 years old when the song hit its peak, Billie also secured another significant chart accomplishment. Born in 2001, she became the first artist to top the Billboard Hot 100 who was born in the 21st century. Just a few months earlier, in April 2019, she’d become the first artist born in the 21st century to top the Billboard album chart with When We All Fall Asleep, Where Do We Go?, from which “Bad Guy” was lifted CNN as the fifth single. By year’s end, her youth also secured her another major accomplishment when she became the youngest artist in history to land Grammy nominations in the Big Four categories (Best Album, Best Song, Best Record, and Best New Artist). HP Two of those nominations – Record and Song of the Year – came for “Bad Guy.”

The song – which has been called pop-trap and nu-goth pop – is a minimalist production built on a synth bass and kick drum. WK Billie didn’t have any expectations for it, considering the chorus has no hook. She told Billboard that she and her brother Finneas (who produced her album and co-wrote the song) tried “to write something else over that but we couldn’t do it because nothing else worked.” SF Vanity Fair said the song “treads the line between her slightly deranged aesthetic and a whiff of familiarity that keeps it squarely pop” VF

Lyrically, the song mocks how people – including herself – try to present themselves as rule breakers. SF She sarcastically taunts her lover for being a bad guy, boasting with tongue firmly in cheek that she’s tougher than he is. As she said, “You will never catch a bad bitch telling everyone she’s a bad bitch.” SF The song earned Billie comparisons to Fiona Apple, Lorde, and Amy Winehouse. WK Sam Prance of Pop Buzz called it “the perfect anthem for anyone…who likes to get in touch with their dark side.” PB


  • CNN (4/10/2019). “This 17-year-old is the first artist born in the 2000s to have a No. 1 album.” By Kendall Trammell.
  • HP (11/20/2019). “Billie Eilish Becomes Youngest Person Ever Nominated in All 4 Top Grammy Categories” by Kimberley Richards
  • PB (4/3/2019). “Billie Eilish sings about seducing your dad in NSFW ‘bad guy’ lyrics.” By Sam Prance.
  • SF Songfacts
  • VF Vanity Fair (7/2/2019). “9 Songs From 2019 That Might Predict the Future of Pop.” By DJ Louie XIV.
  • WK Wikipedia

Related Links:

First posted 12/11/2019; last updated 12/27/2021.

Grammys: Albums of the Year Revisited

First posted 12/4/2011; updated 3/14/2021.

Grammy Awards:

Albums of the Year Revisited

The Grammy for Album of the Year, given out annually since 1959, (see list here) is probably the most coveted award in the music industry. However, each year debate is sparked about whether the right album got the final nod. Here the DMDB compares the winner each year to its other nominees. Based on overall DMDB points, this list will show if the highest-ranked nominee each year won or not.

Check out other album of the year awards here.


WON: Taylor Swift Folklore
SHOULD’VE WON: Taylor Swift Folklore


WON: Bilie Eilish When We All Fall Asleep, Where Do We Go?
SHOULD’VE WON: Bilie Eilish When We All Fall Asleep, Where Do We Go?


WON: Kacey Musgraves Golden Hour
SHOULD’VE WON: Kacey Musgraves Golden Hour


WON: Bruno Mars 24K Magic
SHOULD’VE WON: Kendrick Lamar Damn.


WON: Adele 25


WON: Taylor Swift 1989
SHOULD’VE WON: Taylor Swift 1989


WON: Beck Morning Phase
SHOULD’VE WON: BeyoncĂ© BeyoncĂ©


WON: Daft Punk Random Access Memories
SHOULD’VE WON: Kendrick Lamar Good Kid m.A.A.d. City


WON: Mumford & Sons Babel
SHOULD’VE WON: Frank Ocean Channel Orange


WON: Adele 21


WON: Arcade Fire The Suburbs
SHOULD’VE WON: Eminem Recovery


WON: Taylor Swift Fearless
SHOULD’VE WON: Taylor Swift Fearless


WON: Robert Plant & Alison Krauss Raising Sand
SHOULD’VE WON: Radiohead In Rainbows


WON: Herbie Hancock River: The Joni Letters
SHOULD’VE WON: Amy Winehouse Back to Black


WON: Dixie Chicks Taking the Long Way
SHOULD’VE WON: Justin Timberlake FutureSex/LoveSounds


WON: U2 How to Dismantle an Atomic Bomb
SHOULD’VE WON: U2 How to Dismantle an Atomic Bomb


WON: Ray Charles Genius Loves Company
SHOULD’VE WON: Green Day American Idiot


WON: OutKast Speakerboxxx/The Love Below
SHOULD’VE WON: The White Stripes Elephant


WON: Norah Jones Come Away with Me
SHOULD’VE WON: Norah Jones Come Away with Me


WON: O Brother Where Art Thou soundtrack
SHOULD’VE WON: O Brother Where Art Thou soundtrack


WON: Steely Dan Two Against Nature
SHOULD’VE WON: Eminem The Marshall Mathers LP


WON: Santana Supernatural
SHOULD’VE WON: Supernatural


WON: Lauryn Hill The Miseducation of Lauryn Hill
SHOULD’VE WON: Shania Twain Come on Over


WON: Bob Dylan Time Out of Mind
SHOULD’VE WON: Radiohead OK Computer


WON: Celine Dion Falling into You
SHOULD’VE WON: Beck Odelay


WON: Alanis Morissette Jagged Little Pill
SHOULD’VE WON: Alanis Morissette Jagged Little Pill


WON: Tony Bennett MTV Unplugged
SHOULD’VE WON: Eric Clapton From the Cradle


WON: Various artists (Whitney Houston et al) The Bodyguard (soundtrack)
SHOULD’VE WON: R.E.M. Automatic for the People


WON: Eric Clapton Unplugged
SHOULD’VE WON: U2 Achtung Baby


WON: Natalie Cole Unforgettable…With Love
SHOULD’VE WON: R.E.M. Out of Time


WON: Quincy Jones Back on the Block
SHOULD’VE WON: M.C. Hammer Please Hammer Don’t Hurt ‘Em


WON: Bonnie Raitt Nick of Time
SHOULD’VE WON: Nick of Time


WON: George Michael Faith
SHOULD’VE WON: George Michael Faith


WON: U2 The Joshua Tree
SHOULD’VE WON: U2 The Joshua Tree


WON: Paul Simon Graceland
SHOULD’VE WON: Graceland


WON: Phil Collins Phil Collins No Jacket Required SHOULD’VE WON: Dire Straits Brothers in Arms


WON: Lionel Richie Can’t Slow Down
SHOULD’VE WON: Prince & the Revolution Purple Rain (soundtrack)


WON: Michael Jackson Thriller
SHOULD’VE WON: Michael Jackson Thriller


WON: Toto Toto IV
SHOULD’VE WON: Donald Fagen The Nightfly


WON: John Lennon & Yoko Ono Double Fantasy
SHOULD’VE WON: John Lennon & Yoko Ono Double Fantasy


WON: Christopher Cross Christopher Cross
SHOULD’VE WON: Pink Floyd The Wall


WON: Billy Joel 52nd Street
SHOULD’VE WON: Supertramp Breakfast in America


WON: Various Artists (Bee Gees et al) Saturday Night Fever soundtrack
SHOULD’VE WON: Various Artists (Bee Gees et al) Saturday Night Fever soundtrack


WON: Fleetwood Mac Rumours
SHOULD’VE WON: Fleetwood Mac Rumours


WON: Stevie Wonder Songs in the Key of Life
SHOULD’VE WON: Stevie Wonder Songs in the Key of Life


WON: Paul Simon Still Crazy After All These Years
SHOULD’VE WON: Elton John Captain Fantastic and the Brown Dirt Cowboy


WON: Stevie Wonder Fulfillingness’ First Finale
SHOULD’VE WON: Paul McCartney & Wings Band on the Run


WON: Stevie Wonder Innervisions
SHOULD’VE WON: Stevie Wonder Innervisions


WON: George Harrison et al The Concert for Bangladesh
SHOULD’VE WON: Don McLean American Pie


WON: Carole King Tapestry
SHOULD’VE WON: Carole King Tapestry


WON: Simon & Garfunkel Bridge Over Troubled Water
SHOULD’VE WON: Simon & Garfunkel Bridge Over Troubled Water


WON: Blood, Sweat & Tears Blood, Sweat & Tears
SHOULD’VE WON: The Beatles Abbey Road


WON: Glen Campbell By the Time I Get to Phoenix
SHOULD’VE WON: The Beatles Magical Mystery Tour


WON: The Beatles Sgt. Pepper’s Lonely Hearts Club Band
SHOULD’VE WON: The Beatles Sgt. Pepper’s Lonely Hearts Club Band


WON: Frank Sinatra A Man and His Music
SHOULD’VE WON: The Beatles Revolver


WON: Frank Sinatra September of My Years
SHOULD’VE WON: Richard Rodgers/Oscar Hammerstein II (composers) The Sound of Music soundtrack


WON: Stan Getz/Joao Gilberto Getz/Gilberto
SHOULD’VE WON: Stan Getz/Joao Gilberto Getz/Gilberto


WON: Barbra Streisand The Barbra Streisand Album
SHOULD’VE WON: Andy Williams Days of Wine and Roses


WON: Vaughn Meader The First Family
SHOULD’VE WON: Ray Charles Modern Sounds in Country and Western Music


WON: Judy Garland Judy at Carnegie Hall (live)
SHOULD’VE WON: Leonard Bernstein/Stephen Sondheim (composers) West Side Story soundtrack


WON: Bob Newhart The Button-Down Mind of Bob Newhart
SHOULD’VE WON: Bob Newhart The Button-Down Mind of Bob Newhart


WON: Frank Sinatra Come Dance with Me
SHOULD’VE WON: Sergei Rachmaninov’s Piano Concerto No. 3 (performed by Van Cliburn)


WON: Henry Mancini Henry Mancini The Music from Peter Gunn (soundtrack)
SHOULD’VE WON: Pyotor Il’yich Tchaikovsky’s Piano Concerto No. 1 (performed by Van Cliburn)

So there you have it. Out of 62 years, the Grammys only got it “right” 25 times – a 40% success rate. This doesn’t even take into consideration albums which didn’t get nominated and should have. Some contests admittedly had very worthy candidates pitted against each other, such as OutKast’s Speakerboxxx/The Love Below vs. the White Stripes Elephant or Eric Clapton’s Unplugged vs. U2’s Achtung Baby. In other cases, such as The Bodyguard soundtrack vs. R.E.M.’s Automatic for the People or Celine Dion’s Falling into You vs. Beck’s Odelay the higher-ranked album would have been a more creative pick, but it is no surprise that the Grammys went with the more middle-of-the-road option.

Still other times it is hard to fathom how a classic such as Pink Floyd’s The Wall can’t boast Grammy-winning status while Christopher Cross can. Vaughn Meader’s comedy album The First Family over Ray Charles’ Modern Sounds in Country and Western Music? Herbie Hancock’s River: The Joni Letters instead of Amy Winehouse Back to Black? It’s also hard to not refer to the awards as the “Grannies” when they opt to honor Steely Dan for Two Against Nature TWO DECADES past their prime compared to Eminem at the height of his powers with The Marshall Mathers LP. Alas. It is what it is.

Resources and Related Links:

Billie Eilish wins Grammy for Album of the Year

When We All Fall Asleep, Where Do We Go?

Billie Eilish

Released: March 29, 2019

Peak: 13 US, 5 UK, 11 CN, 11 AU

Sales (in millions): 3.0 US, 0.3 UK, 4.51 world (includes US and UK)

Genre: pop/alternative


Song Title (date of single release, chart peaks) Click for codes to singles charts.

  1. !!!!!!! (79 CN)
  2. Bad Guy (3/29/19, 11 US, 6 A40, 34 AA, 12 MR, 2 UK, 11 CN, 12 AU, worldwide sales: 19.5 million)
  3. Xanny (4/13/19, 35 US, 26 CN, 10 AU, worldwide sales: 1.2 million)
  4. You Should See Me in a Crown (7/18/18, 41 US, 7 MR, 60 UK, 27 CN, 16 AU, worldwide sales: 2.43 million)
  5. All the Good Girls Go to Hell (4/13/19, 46 US, 5 MR, 77 UK, 19 CN, 8 AU, worldwide sales: 1.2 million)
  6. Wish You Were Gay (1/30/19, 31 US, 13 UK, 12 CN, 5 AU, worldwide sales: 1.31 million)
  7. When the Party’s Over (10/17/18, 29 US, worldwide sales: 5.06 million)
  8. 8 (4/13/19, 79 US, 52 CN, 35 AU, sales: ½ million)
  9. My Strange Addiction (4/13/19, 43 US, 21 CN, 12 AU, worldwide sales: 1.2 million)
  10. Bury a Friend (1/9/19, 14 US, 12 MR, 6 UK, 10 CN, 3 AU, worldwide sales: 3.98 million)
  11. Ilomilo (4/13/19, 62 US, 25 MR, 38 CN, 23 AU, worldwide sales: ½ million)
  12. Listen Before I Go (4/13/19, 63 US, worldwide sales: 0.7 million)
  13. I Love You (4/13/19, 53 US, 35 CN, 20 AU, worldwide sales: 1.2 million)
  14. Goodbye (69 CN, 54 AU)

Total Running Time: 42:56


3.910 out of 5.00 (average of 28 ratings)

Quotable: “No teenager I can recall has ever made such an impressive album.” – music critic Robert Christgau

Awards: (Click on award to learn more).

About the Album:

“Billie Eilish became a teen folk hero with her blockbuster debut — just your average 17-year-old songwriting prodigy with a head full of nightmares.” RS’20 She became the youngest artist in history to receive nominations for the Big Four Grammys. At the 2020 ceremony, she became only the second artist (after Christopher Cross) to win them all – Best New Artist, Record of the Year, Song of the Year (both for “Bad Guy”), and Album of the Year. She also won Best Pop Vocal Album and Best Engineered Album. By this time, she was eighteen, but still the youngest to ever take home the prizes for Record of the Year and Album of the Year. LeAnn Rimes was 14 when she won Best New Artist and Lorde was 17 when she landed Song of the Year for “Royals.”

Eilish had already released an EP, but When We All Fall Asleep was her official debut album. It debuted at #1 in the U.S. and UK. She became the youngest solo female act ever to top the charts in the United Kingdom. WK Critic Robert Christgau said, “No teenager I can recall has ever made such an impressive album.” WK

She “makes a bold entrance into the mainstream, leaving the fringes behind to embrace her role as an anti-pop star for the disaffected Gen Z masses.” AMG She has said the record, which explores climate change, drug addiction, heartbreak, mental health, and suicide, was inspired by lucid dreams and night terrors. WK

Eilish largely co-wrote the album with her brother Finneas O’Connell, who produced it from his bedroom studio in the house where they grew up. His production focused on amplified bass, minimalist percussion, and acoustic sounds. Musically, it has been described as “a youthful, hybrid blend that incorporates elements of indie electronic, pop, and hip-hop.” AMG Exclaim!’s Matt Bobkin said the album displayed “a bold artistic vision and a willingness to move beyond the boundaries of pop conventions.” WK

Critics described her vocal style “as soft and whispered;” WK The Daily Telegraph’s Neil McCormick said she could “shift from coquettish to threatening, playfully ironic to emotionally sincere in a breath.” WK He said she “sounds modern and old fashioned at the same time.” WK “Like Lorde’s devilish little sister, Eilish delivers her confessional lyrics in hushed bursts of breath, at times dirge-like in their sedateness and otherwise intensely threatening in their creepiness.” AMG

Intro/“Bad Guy”

The album kicks off with !!!!!!!, a thirty-second “intro in which Eilish slurps saliva from her Invisalign aligners and announces that ‘this is the album,’ before she and her brother descend into laughter.” WK She follows that with “the whispery trap-pop strut of Bad Guy,” RS’20 using “a bass, a kick-drum and amplified finger snaps.” WK Lyrically, she taunts her partner and suggests she is the “bad guy” and not him. The worldwide #1 hit – the fifth single from the album – was released simultaneously with When We All Fall Asleep.


Xanny was inspired by a party where Eilish’s friends were drinking and throwing up and becoming “completely not who they were.” WK It was built around “a jazz-inspired loop in order to replicate the feeling of being ‘in secondhand smoke.’” WK

“You Should See Me in a Crown”

The “trap-influenced electropop song” WK was inspired by an episode of the BBC TV series Sherlock. Eilish sings over “blaring synths and rapid-fire hi-hats.” WK It was the first single, preceding the release of the album by six months.

“All the Good Girls Go to Hell”

Stereogum described this as a “punchy piano number” and one of the album’s “poppiest tracks.” WK It explores the notion that God and the Devil are observing humans as a meek group of people and pondering, “What are they trying to do here?” WK

“Wish You Were Gay”/“When the Party’s Over”

On this “jazzy classic pop song” WK Eilish sings about a man she likes who doesn’t show romantic interest in her. She wishes that he was gay so that it would explain his lack of interest in her. WK In a different vein, the “piano ballad” When the Party’s Over was written when her brother left his date’s house “kind of for no reason.” WK Both songs were top-40 hits on the Billboard Hot 100.

“8”/“My Strange Addiction”

The album’s eighth song, appropriately titled 8, “is a ukulele-based lullaby which manipulates Eilish's vocals to make her sound like a small child.” WK the bass-heavy My Strange Addiction follows. She got approval from Steve Carrell, B.J. Novak, John Krasinski, and Mindy Kaling to use samples of their voices as featured in the “Threat Level Midnight” episode of the TV sitcom The Office.

“Bury a Friend”/“Ilomilo”

This was the second-highest charting song from the album, reaching #14. Eilish wrote this tale of “gothic angst” RS’20 from the perspective of what a monster under a bed feels. Musically, the “minimalist electronica and industrial song” WK contains a vocal line resembling the Doors’ “People Are Strange” and a beat similar to Kanye West’s “Black Skinhead.” WK The beat from the song “leads seamlessly into…Ilomilo, an electropop cut named after the 2010 video game.” WK

“Listen Before I Go”/“I Love You”/“Goodbye”

Finneas explained that the songs are related because they express “different sentiments about a farwell.” WK Eilish sings Listen Before I Go from the perspective of someone about to commit suicide. Eilish said I Love You, whose chorus has drawn comparisons to “Hallelujah” by Leonard Cohen, was about how “it sucks to be in love sometimes.” WK Goodbye features lines from each of the other songs on the album, except for the intro.


In the end, this is a remarkable beginning for such a young artist. “She’s a highly relatable kid – not yet of legal voting age at the time of the album’s release – and an avatar for an audience that deals with similar mental health struggles and growing pains.” AMG

Notes: The Japanese edition added the tracks “Come Out and Play” and “When I Was Older.” A Japanese limited deluxe edition also added a remix of “Bad Guy” with Justin Bieber and a Japanese complete edition included “Everything I Wanted” as well. A reissue from Target added “When I Was Older,” Bitches Broken Hearts,” and “Everything I Wanted.”

Resources and Related Links:

First posted 12/12/2020; last updated 4/25/2022.

Friday, January 24, 2020

Marion Harris charted with “Tea for Two” 95 years ago (1/24/1925)

Updated 4/12/2020.

Tea for Two

Marion Harris

Writer(s):Vincent Youmans, Irving Caesar (see lyrics here)

First Charted: January 24, 1925

Peak: 13 US, 3 GA (Click for codes to singles charts.)

Sales (in millions): 1.0 US (sheet music sales)

Airplay/Streaming (in millions): -- radio, 0.05 video, -- streaming

Awards (Marion Harris’ version)

Awards (Art Tatum’s version):

About the Song:

This “charming boy/girl duet” LW was introduced by Louise Groody and John Barker in the Broadway musical comedy No, No, Nanette. JA The score was generally regarded as the best of composer Vincent Youman’s short career. He died from tuberculosis at 48. LW Meanwhile, lyricist Irving Caesar “demonstrates all the hallmarks of Tin Pan Alley craftsmanship, artfully simple and pleasingly full of rhymes and alliterations.” LW He was “the archetypical Tin Pan Alley cigar chomping, wisecracking showman” LW with more than a 1000 songs to his name upon his death at age 101 in 1996.

The lyrics, which were dashed off in 5 minutes, were intended to be temporary, but were never changed. TY Marion Harris had the first charted version, taking it to #1 in 1925. That same year, the Benson Orchestra of Chicago landed at #5 with their instrumental version while Ben Bernie also had a top ten hit with the song. PM Other charted versions came from the Ipana Troubadours (#15, 1930) and Teddy Wilson (#18, 1937). PM Warren Covington had a million-selling cha-cha version with the Tommy Dorsey Orchestra (“Tea for Two Cha Cha,” #7, 1958). TY

The song “is one of the most recorded standards of Tin Pan Alley,” JA having been covered by musicians as diverse as Russian classical composer Dmitri Shostakovich, who adapted the tune as “Tahiti Trot” in 1928, LW and jazz pianist Art Tatum (#18, 1939) whose instrumental version is “a masterclass in piano virtuosity.” LW Jazz musicians have particularly responded to the song because “the complex harmonic construction of the melody gives great scope for improvisation.” LW

Tatum had played the song for years, even predating his initial 1933 recording of it at his debut solo recording session. Fellow musician Fats Waller once stopped in the middle of playing at New York Club when Art Tatum entered and announced, “I play piano, but God is in the house tonight!” SS

Resources and Related Links:

  • Marion Harris’ DMDB Encyclopedia entry
  • Fats Waller’s DMDB Encyclopedia entry
  • Irving Caesar’s DMDB Encyclopedia entry
  • JA David A. Jasen (2002). A Century of American Popular Music: 2000 Best-Loved and Remembered Songs (1899-1999). Routledge: Taylor & Francis, Inc. Page 189.
  • LW Alan Lewens (2001). Popular Song – Soundtrack of the Century. Billboard Books: New York, NY. Page 50.
  • PM Record Research’s Pop Memories 1890-1954 (1986). By Joel Whitburn. Menomonee Falls, WI; Record Research, Inc. Page 590.
  • SS Steve Sullivan (2013). Encyclopedia of Great Popular Song Recordings (Volume I). Scarecrow Press: Lanham, Maryland. Page 598.
  • TY Don Tyler (1985). Hit Parade 1920-1955. New York, NY: Quill. Page 132.

Wednesday, January 22, 2020

Dave's Music Database: Song Inductees (January 2020)

Originally posted 1/22/2020.

In honor of the 10th anniversary of the DMDB blog on January 22, 2019, Dave’s Music Database launched its own Hall of Fame. This is the fifth set of song inductees. These are the ten most-recorded songs from 1890-1954, according to Pop Memories. See full list here. While the list is not focused on a specific act for each song, the inductees are the highest-rated versions of the song in Dave’s Music Database. Not listed here is previous inductee “White Christmas” by Bing Crosby.

Fred Astaire “Night and Day” (1932)

Inducted January 2020 as “Top 10 Most-Recorded Songs from 1890-1954.”

When it comes to standards, this song, which has been called “one of the greatest love ballads ever written,” NPR stands second only to “Star Dust.” MM Cole Porter, whose name is “almost a generic term for witty show songs,” LW wrote it for the Broadway musical Gay Divorce. After Fred Astaire performed it for the show and film, his recording became the first and most successful of seven charting versions between 1932 and 1946. PM Read more.

Bing Crosby “Silent Night” (1935)

Inducted January 2020 as “Top 10 Most-Recorded Songs from 1890-1954.”

Father Joseph Mohr wrote a poem called “Stille Nacht, Heilige Nacht” and his friend Franz Gruber worked it up for guitar SF for performance at the 1818 Christmas Eve service. Since then, it has been translated into more than 44 languages, WK and became the most recorded song of the first half of the 20th century. PM The best known version is the 1935 recording by Bing Crosby with sales estimated as high as 30 million. PM Read more.

Tommy Dorsey “All the Things You Are” (1939)

Inducted January 2020 as “Top 10 Most-Recorded Songs from 1890-1954.”

The Broadway musical comedy Very Warm for May was the last hurrah for famed composer Jerome Kern. Sadly, it was a commercial failure, closing after only 59 performances. SB However, “All the Things You Are” from the show became a #1 hit for Tommy Dorsey and was followed by two more charted version in 1940. In a 1964 Saturday Review poll, more composers named the song as their favorite than any other. TY Read more.

Marion Harris “Tea for Two” (1925)

Inducted January 2020 as “Top 10 Most-Recorded Songs from 1890-1954.”

This was introduced by Louise Groody and John Barker in the Broadway musical comedy No, No, Nanette. JA Marion Harris had the first charted version, taking it to #1 in 1925. It “is one of the most recorded standards of Tin Pan Alley,” JA having been covered by musicians as diverse as Russian classical composer Dmitri Shostakovich and jazz pianist Art Tatum (#18, 1939). Read more.

Coleman Hawkins “Body and Soul” (1940)

Inducted January 2020 as “Top 10 Most-Recorded Songs from 1890-1954.”

“Body and Soul” is “an all-time classic torch song” SF and “the most recorded jazz standard.” WK Multiple versions were recorded, but it was an instrumental version by Coleman Hawkins, who has been called “the father of the tenor saxophone,” NPR’09 which ranks highest. He showed “it was possible to modernize well-worn Tin Pan Alley standards” NPR and it “became one of the most important jazz recordings of all time.” JA Read more.

Billie Holiday “Summertime” (1936)

Inducted January 2020 as “Top 10 Most-Recorded Songs from 1890-1954.”

It has been widely reported and accepted for years that the Beatles’ “Yesterday” is the most recorded song of all time, but its four thousand or so recordings pale compared to the 67,000 of “Summertime,” GW written originally for folk opera Porgy and Bess. The only version to chart in the pre-rock era was Billie Holiday’s 1936 recording (#12). Broadway composer Stephen Sondheim called the lyrics for this and “My Man’s Gone Now” “the best lyrics in the musical theater.” WM Read more.

Vess Ossman “The Old Folks at Home (Swanee River)” (1900)

Inducted January 2020 as “Top 10 Most-Recorded Songs from 1890-1954.”

Stephen Foster wrote and published this minstrel song (also known as “Swanee River”) in 1851. It was the most popular song ever published at that time WM with sheet music sales estimated as high as 20 million. PM Nine versions charted between 1892 and 1937, with Len Spencer being first (#1, 1892). Vess Ossman, however, had the highest-ranked version with his #2 banjo instrumental take on the song. It became Florida’s state song in 1935. Read more.

Artie Shaw “Stardust” (1941)

Inducted January 2020 as “Top 10 Most-Recorded Songs from 1890-1954.”

Hoagy Carmichael’s first major songwriting success NRR was first written as “an up-tempo dance instrumental” NPR but Mitchell Parish added lyrics in 1929. Isham Jones took it to #1 in 1931, but Artie Shaw’s version was rated the favorite record of all time in a 1956 Billboad poll of disc jockeys. PM It has been recorded more than 2000 times LW in more than forty languages. RCG Read more.

Bessie Smith & Louis Armstrong “St. Louis Blues” (1925)

Inducted January 2020 as “Top 10 Most-Recorded Songs from 1890-1954.”

This has been called “the most important blues song ever written.” LW William Christopher Handy, who became known as “The Father of the Blues,” wrote it in 1914 after hearing a St. Louis woman complaining about her cheating husband. LW 15 versions charted over the next forty years. PM Marion Harris had the greatest success with it in 1920 (#1), PM but Bessie Smith’s version with Louis Armstrong is the highest ranked version. Read more.