The following pages are an outgrowth of my love of the acoustically-recorded music of the early 20th Century -- the Teens and Twenties in particular -- the songs, singers, ragtime, and early jazz -- as well as operetta.


Selected Audio Files, Biography, Vintage Performers and Sheet Music

Race Records

Race Records 2

Wild Women Don't Have The Blues

Charles Harrison - I'm Always Chasing Rainbows

Joe Frisco - Jazz Dancer


William Thomas "Billy" Murray (May 25,1877 - Aug.17,1954) was one of the most popular singers in the United States in the early decades of the 20th century.

While he received star billings on Vaudeville, he was best known for his prolific work in the recording studio, making records for almost every record label of the era. He was probably the best selling recording artist of the first quarter of the 20th century.

He was born in Philadelphia, Pennsylvania, the son of immigrants from Ireland. He became fascinated with the theater and joined a traveling vaudeville troupe in 1893. He also performed in minstrel shows early in his career. He made his first recordings for a local phonograph cylinder company in San Francisco, California in 1897. He started recording regularly in the New York City and New Jersey area in 1903, when the nation's major record companies as well as the Tin Pan Alley music industry were concentrated there.

In 1906 he waxed the first of his popular duets with Ada Jones. He also performed with Aileen Stanley, the Haydn Quartet, and the American Quartet (also known as the Premier Quartet), in addition to his solo work.

He had a strong tenor voice with excellent enunciation and a more conversational delivery than common with bel canto singers of the era. On comic songs he often deliberately sang slightly flat, which he felt helped the comic effect. While he often performed romantic numbers and ballads which sold well at the time, his comedy and novelty song recordings continue to be popular with later generations of record collectors.

Murray's popularity faded with changes in public taste and recording technology; the rise of the electric microphone in the mid 1920s coinsided with the era of the crooners. His "hammering" style, as he called it, essentially yelling the song into an acoustic recording horn, did not work in the electrical era, and he had to learn to soften his voice.

While his singing style was considered "dated" and was less in demand, he continued to find recording work. By the late 1920s and early 1930s, the music from his salad days was considered nostalgic (the modern term would be "oldies") and Murray was in demand again. He did voices for animated cartoons, especially the popular "follow the bouncing ball" sing-along cartoons. He also did radio work.

A subtlety in the evolution of American English pronunciation can be detected in Murray's career. The word "record" was once pronounced with the last syllable rhyming with "cord", as evidenced on the spoken introductions to some of his early work. Example: "Meet Me in St. Louis, Louis — sung by Billy Murray, Edison Records". Murray also signed his autographed photos with the play on words, "re-cordially yours". In modern times, the final syllable of "record" is typically pronounced to rhyme with "curd" rather than "cord".

Murray made his last recordings in 1943 and retired to Freeport, Long Island, New York in 1944. He died in nearby Jones Beach.

Billy Murray - Roll'em Girls Roll'em


Aileen Stanley (1897 - March 24,1982) was a United States popular singer. Stanley was born as Maude Elsie Aileen Muggeridge in Chicago, Illinois. In her childhood, with the urging of her widowed mother, she and her older brother Stanley sang and danced in vaudeville as Stanley and Aileen. After her brother left the act she started performing solo, forming her stage name by reversing the name of the old family billing. Stanley performed on vaudeville and in cabarets. In 1920 she made a hit in New York City in the review show "Silks And Satins". She made the first of her numerous recordings the same year. Throughout the 1920s she would record prolifically. The majority of her records were for the Victor Talking Machine Company, but she also recorded with other record labels with recording studios in the New York City area, including Edison, Pathe, Okeh, Brunswick, Vocalion, Gennett and others. Many of her records sold well at the time.

Stanley also recorded for Black Swan Records, a label purportedly devoted only to African-American artists, under the pseudonyms "Mamie Jones" and "Georgia Gorham".[6] Her handling of blues material was similar to that of some of the northern black vaudeville singers of the time. Her stage appearances billed her as "The Phonograph Girl" and "The Girl With The Personality." In later life she was overheard to say that the song "I'll Get By" was written for her.

In the late 1920s Victor Records produced a popular series of records pairing Stanley with singer Billy Murray. Stanley was said to have invested heavily in the stock market, and was one of the many who lost most of their money in the Stock Market Crash of 1929. About 1931 she moved to London, where she made more records for HMV from 1934 through 1937. In her later years she worked as a singing teacher and vocal coach.

Billy Murray and Aileen Stanley - Down By The Winegar Works

Billy Murray and Aileen Stanley - It Had To Be You

Billy Murray and Aileen Stanley - 1921 - All Over Nothing At All


Ada Jones (June 1, 1873 – May 2, 1922) was a popular mezzo-soprano who recorded from 1905 to the early 1920s. She was born in Lancashire, England but moved with her family to Philadelphia, Pennsylvania at the age of six in 1879. She started performing on stage, including juvenile roles in the 1880s. In 1893 or 1894 she recorded some musical performances for the North American Phonograph Co., including "Sweet Marie" and "The Volunteer Organist". But the demise of this company interrupted her recording career and it was not until 1905 that she returned to recording, after a few years doing performances at such locations as Huber's 14th Street Museum in New York City.[2] She recorded several duets with Billy Murray and Len Spencer. She sang in a range of accents and dialects. Ada Jones recorded "The Yama Yama Man" in 1909 for Victor Light Opera Company.[3] The lyrics for verse two and three were changed from the original, verse two being more bawdy. It was the most popular song of her career, spending five weeks at number one. While on tour, Ada Jones died of kidney failure at the age of 48 in North Carolina on May 2, 1922.

Ada Jones - My Pony Boy

Ada Jones and Billy Murray - Shine On Harvest Moon 1909


Marion Harris (April 4, 1896 to April 23, 1944) was born Mary Ellen Harrison, probably in Indiana, she first played vaudeville and movie theaters in Chicago around 1914. Dancer Vernon Castle introduced her to the theater community in New York where she debuted in a 1915 Irving Berlin revue, Stop! Look! Listen!

In 1916, she began recording for Victor Records, singing a variety of songs, such as "Everybody's Crazy 'bout the Doggone Blues, But I'm Happy", "After You've Gone", "A Good Man Is Hard to Find" (later recorded by Bessie Smith), "When I Hear that Jazz Band Play" and her biggest success, "I Ain't Got Nobody".

In 1920, after the Victor label would not allow her to record W.C. Handy's "St. Louis Blues", she joined Columbia Records where she recorded the song successfully. Sometimes billed as "The Queen of the Blues," she tended to record blues- or jazz-flavored tunes throughout her career. Handy wrote of Harris that "she sang blues so well that people hearing her records sometimes thought that the singer was colored."[5] Harris commented, "You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs."

In 1922 she moved to the Brunswick label. She continued to appear in Broadway theatres throughout the 1920s. She regularly played the Palace Theatre, appeared in Florenz Ziegfeld's Midnight Frolic and toured the country with vaudeville shows. After a marriage which produced two children, and her subsequent divorce, she returned in 1927 to New York theater, made more recordings with Victor and appeared in an eight-minute promotional film, Marion Harris, Songbird of Jazz. After a Hollywood movie, the early musical Devil-May-Care (1929) with Ramón Novarro, she temporarily withdrew from performing because of an undisclosed illness.

Marion Harris - 1924 - It Had To Be You

Marion Harris - 1921 - I'm Nobody's Baby

Marion Harris - 1918 - After You've Gone

Marion Harris - 1924 - There'll Be Some Changes Made


Nora Bayes (born Rachel Goldberg, October 3, 1880 – March 19, 1928) was an American singer, comedian, actress and vaudeville star of the early 20th century.

Born to Elias David and Rachel (née Miller) Goldberg, ("Dora" being a pet or nickname) to an orthodox Jewish family in Chicago, Illinois; she had a brother, Hugo, and a sister, Lillie (Mrs. Cerf Meyer). Bayes was performing professionally in vaudeville in Chicago by age 18. She toured from San Francisco, California to New York City and became a star both on the vaudeville circuit and the Broadway stage.

In 1908, she married singer-songwriter Jack Norworth. The two toured together and were credited for collaborating on a number of compositions, including the immensely popular "Shine On, Harvest Moon", which the pair debuted in Florenz Ziegfeld's Follies of 1908. Bayes and Norworth divorced in 1913.

After America entered World War I, Bayes became involved with morale boosting activities. George M. Cohan asked that she be the first to record a performance of his patriotic song "Over There". Her recording was released in 1917 and became an international hit. She also performed shows for the soldiers. In 1919, she recorded "How Ya Gonna Keep 'em Down on the Farm (After They've Seen Paree)?" for Columbia which became a hit for that year.

Bayes made many phonograph records for the Victor and Columbia labels. From 1924 to 1928, her accompanist was pianist Louis Alter, who later composed the popular songs "Manhattan Serenade", "Nina Never Knew", and "Do You Know What It Means to Miss New Orleans?". Bayes established her own theater, The Nora Bayes Theater, on West 44th Street in New York.

On April 11, 2006, under the terms of the National Recording Preservation Act of 2000, Nora Bayes was added to the National Recording Registry. The citation stated that she was --

Inextricably associated in popular imagination with World War I... a former member of the Ziegfeld Follies, an extremely popular vaudevillian an a Broadway star, she recorded a number of other songs to boost morale during the war and performed extensively for the soldiers.

In early 1928, Nora Bayes was diagnosed with cancer, and she died on March 28, 1928 following surgery at Jewish Hospital, Brooklyn, New York.[9] She was buried 18 years later with her fifth husband Benjamin Lester Friedland in the Woodlawn Cemetery in the Bronx, New York.[10] The burial arrangements for Bayes and Friedland were arranged by Friedland's second wife, who left the graves unmarked. On April 21, 2018, Woodlawn Cemetery will place a grave marker on Nora Bayes's grave at a public event.

Nora Bayes - Singin' The Blues

Nora Bayes - Over There 1917


Ethel Waters (October 31, 1896 – September 1, 1977) was an African-American blues, jazz and gospel vocalist and actress. She frequently performed jazz, big band, and pop music, on the Broadway stage and in concerts, although she began her career in the 1920s singing blues. Her best-known recordings include "Dinah," "Stormy Weather," "Taking a Chance on Love," "Heat Wave," "Supper Time," "Am I Blue?" and "Cabin in the Sky," as well as her version of the spiritual "His Eye Is on the Sparrow." Waters was the second African American, after Hattie McDaniel, to be nominated for an Academy Award.

Am I Blue 1929

I've Found A New Baby 1925


Ruth Etting (November 23, 1897 – September 24, 1978) was an American singing star and actress of the 1920s and 1930s. She had over 60 hit recordings and worked in stage, radio, and film. Known as "America's sweetheart of song", her signature tunes were "Shine On, Harvest Moon", "Ten Cents a Dance" and "Love Me or Leave Me". Her other popular recordings included "Button Up Your Overcoat", "Mean to Me", "Exactly Like You" and "Shaking the Blues Away"

Etting made her Broadway debut in the Ziegfeld Follies of 1927. Irving Berlin had recommended her to showman Florenz Ziegfeld. Etting also appeared in Ziegfeld's last "Follies" in 1931.

After an unissued test made by Victor on April 4, 1924, Etting was signed to Columbia Records in February 1926.[5] She remained at Columbia through June 1931, when she split her recording between ARC (Banner, Perfect, Romeo, Oriole, etc.) and Columbia through March 1933.[26] She signed with Brunswick and remained there until May 1934, when she re-signed with Columbia through July 1935. After a solitary Brunswick session in March 1936, she signed with the British label Rex and recorded two sessions in August and September, 1936. Etting returned to the US and signed with Decca in December 1936 and recorded until April 1937, when she basically retired from recording.

I'm Nobodies Baby 1927

After You've Gone 1927


Catherine Annette Hanshaw (October 18, 1901 – March 13, 1985) was an American Jazz Age singer.

Her singing style was relaxed and suited to the new jazz-influenced pop music of the late 1920s. Although she had a low opinion of her own singing, she continued to have fans because she combined the voice of an ingenue with the spirit of a flapper. Hanshaw was known as "The Personality Girl," and her trademark was saying "That's all" in a cheery voice at the end of many of her records.

Between September 1926 and February 1934, she recorded prolifically. From 1926 to 1928 she recorded for Pathe (her sides were released on both the Pathe and Perfect labels). Starting in June 1928, she recorded for Columbia; most of these were issued on their dime store labels Harmony, Diva, Clarion and Velvet Tone. A handful were also released on their regular price Columbia and OKeh. Although most were released under her own name, she was renamed Gay Ellis (for sentimental numbers) and Dot Dare or Patsy Young (for her Helen Kane impersonations). She recorded under a number of other pseudonyms, which included Ethel Bingham, Marion Lee, Janet Shaw, and Lelia Sandford. Starting in August 1932, she began recording for the ARC with her recordings issued on their Melotone, Perfect, Conqueror, Oriole and Romeo. Her final session, February 3, 1934, was placed on ARC's Vocalion label.

You're The Cream in My Coffee - 1928

Mean To Me - 1929

I Can't Give You Anything But Love Baby


George Hamilton Green, Jr. (May 23, 1893–1970) was a xylophonist, composer, and cartoonist born in Omaha, Nebraska. He was born into a musical family, both his grandfather and his father being composers, arrangers, and conductors for bands in Omaha. From age four G.H. Green showed a prodigious talent as a pianist; he then took up the xylophone and by the age of eleven was being promoted as the “world’s greatest xylophonist” and was playing for crowds of 7,000-10,000.[1] In 1915, when Green was 22 years old, a review in the United States Musician stated: "He has begun where every other xylophone player left off. His touch, his attack, his technique, and his powers of interpretation in the rendition of his solos being far different than other performers. To say his work is marvelous and wonderful would not fully express it." George Hamilton Green wrote several pieces for solo ragtime xylophone with accompaniment, as well as a xylophone method book which continues to be used by percussion pedagogues across the country. Some of his compositions for xylophone include: "Ragtime Robin", "Cross Corners", "Charleston Capers", "Rainbow Ripples", "Log Cabin Blues", "The Whistler", and "Jovial Jasper".

He was a popular recording artist starting in 1917 with the Edison Company and was employed, along with his two brothers, Joe and Lew Green, as the original sound music crew for Walt Disney’s first three cartoons. According to Nathaniel Shilkret, Green was not only a "wonderful xylophone artist," but an inventor. Shilkret said that Green designed the vibraphone at Shilkret's request. Green was an important ragtime composer and authored many pieces that remain standards for the instrument even today. He retired from performing in the late '40's to pursue a successful career in cartooning. Green would die in 1970, just a few years before a revival in the popularity of his ragtime xylophone music, and before his induction into the Percussive Arts Society Hall of Fame in 1983. The rebirth of his music was led by members of the NEXUS Percussion Ensemble in the late 1970s. Through their efforts, G.H. Green’s xylophone music has been preserved and remains a relevant part of contemporary percussion pedagogy and performance.

George Hamilton Green on Xylophone - Triplets

Teddy Brown on Xylophone 1931


Blossom Seeley (July 16, 1891 - April 17, 1974) was a singer and entertainer who was born Minnie Guyer, in San Francisco, USA. A top vaudeville

headliner, she was known as the "Queen of Syncopation" and helped bring jazz and ragtime into the mainstream of American music. She introduced the Shelton Brooks classic "Some of These Days" in vaudeville in 1910, one year before Sophie Tucker recorded it in 1911. Seeley herself was a major recording star with a series of solo records in the 1920s, and her biggest hits included "Way Down Yonder in New Orleans," "Rose Room," Irving Berlin's "Lazy", "Yes Sir, That's My Baby" and her signature song, "Toddling the Todalo". She was also featured in two 1933 films, Blood Money with Judith Anderson, and Broadway Through a Keyhole with Russ Columbo and Texas Guinan.

Seeley was one half of the vaudeville team of Blossom Seeley and Benny Fields. When they played the Palace Theatre in its Golden Era, they always had the No. 1 spot, even when sharing the bill with such stars as Jack Benny, George Burns and Gracie Allen, and George Jessel. Burns and Allen would remain their closest lifelong friends. In 1928, they filmed one of the very first Vitaphone sound shorts, Blossom Seeley and Benny Fields, in which Blossom introduced the song "Hello, Bluebird", later re-popularized by Judy Garland in the movie I Could Go On Singing. The story of their marriage and career was made into the movie Somebody Loves Me (1952) with Betty Hutton and Ralph Meeker, which revived their careers and led to a string of TV appearances on The Ed Sullivan Show. Seeley and Fields also recorded three LP albums in the 1950s for the Decca, MGM and Mercury labels. Seeley continued to perform as a solo after Fields' death in 1959 and was one of the legends who starred on the 1961 CBS special Chicago and All That Jazz. She also sang on the accompanying Verve album, which was her first in stereo. She made two appearances on The Garry Moore Show and sang her version of the Frank Sinatra hit "My Kind of Town" on a 1966 Ed Sullivan Show. Her last TV appearance was with Mike Douglas, which he taped at the nursing home where she was living.

Blossom Seeley and Benny Fields 1927 - Hello Blue Bird

The curtain opens; behind it are two pianos where Charles Bourne and Phil Ellis, billed as the Music Boxes, are seated playing. After a few bars, Blossom Seeley and Bennie Fields enter - she's in tulle, he's in sport coat, worsted trousers, vest, and tie carrying a cane and straw hat. They do three numbers, "Hello Mr. Bluebird," Irving Berlin's "The Call of the South," and "(A Pretty Spanish Town) On a Night Like This." Between the first two numbers, they kibbutz about southern music, and for the third song, she dons a sombrero and a serape and he sports a guitar and a gaucho hat. There's also a bit of dancing during the third number.

Vintage Performers - Gone but not Forgotten

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Aint Missbehaven - Teddy Brown - 1900 to 1946

Teddy Brown 1930

Teddy Brown and His Orch 1929

The Story of the Nicolas Brothers

Fayard 1914 to 2006 and Harold 1921 to 2000

Garden in the Rain

'Twas just a garden in the rain, close to a little leafy lane a touch of colour 'neath skies of gray! The raindrops kissed the flower beds the blossoms raised their thirsty heads a perfumed thank you they seem to say! Surely here was charm beyond compare to view maybe it was just that I was there with you! Chorus:Twas just a garden in the rain, but then the sun came out again and sent us happily on our way! Surely here was charm beyond compare to view but, maybe it was just that you were there dear, you were so lovely!

From Jackie Gleason's Lover's Portfolio -- at 7min.28sec.

Garden in the Rain sung by Gene Auston 1929

I'm Just a Vagabond Lover

While some girls are quickly forgotten -- and gone with the dawn of the day; mem But some you'll remember like lost glowing embers - Haunting your memory and dreams; For, I'm just a Vagabond lover, In search of a Sweetheart it seems, -- And I know that someday I'll discover her -- The girl of my Vagabond dreams

I'm Just A Vagabond Lover - 1927 - Rudy Vallee

I Get the Blues When it Rains

I get the blues when it rains, mem Blues I can't lose when it rains.... Each little drop that falls on my window pane.... Always reminds me of tears I've shed in vain..... I sit and wait for the sun to shine down on me once again.... It rained when I found you.... It rained when I lost you.... That's why I'm so blue when it rains.

Meet Me in St. Louis

Meet me in St. Louis, Louis meet me at the fair.... Don't tell me the lights are shining anyplace but there.... We will dance the hootchie-kootchie I will be your tootsie-wootsie.... If you will meet me in St. Louis, Louis Meet me at the fair!

Peg o' My Heart

Peg o' my heart I love you don't let us part I love you... I always knew it would be you.... Since I heard your lilting laughter It's your Irish heart I'm after.... Peg o' my heart Your glances make my heart say How's chances.. Come be my own, Come make your home in my heart

The Sweetheart of Sigma Chi

The girl of my dreams is the sweetest girl Of all the girls I know..... Each sweet co-ed like a rainbow trail.... Fades in the afterglow..... The blue of her eye and the gold of her hair vintage Are a blend of the western sky.... And the moonlight beams on the girl of my dreams She's the sweetheart of Sigma Chi.... Oh, the blue of her eye and the gold of her hair Are a blend of the western sky.... And the moonlight beams on the girl of my dreams She's the sweetheart of Sigma Chi

Sweet Adeline

In the evening when I sit alone a-dreaming Of days gone by, love, to me so dear, There's a picture that in fancy oft' appearing, Brings back the time, love, when you were near. It is then I wonder where you are, my darling, And if your heart to me is still the same. For the sighing wind and nightingale a-singing Are breathing only your own sweet name.

chorus: Sweet Adeline, (Sweet Adeline,) My Adeline, (My Adeline,) At night, dear heart, (At night, dear heart,) For you I pine. (For you I pine.) In all my dreams, (In all my dreams,) Your fair face beams. (Your fair face beams.) You're the flower of my heart, Sweet Adeline.

I can see your smiling face as when we wandered Down by the brook-side, just you and I, And it seems so real at times 'til I awaken, To find all vanished, a dream gone by. If we must meet sometime in after years, my darling, I trust that I will find your love still mine, Though my heart is sad and clouds above are hov'ring The sun again, love, for me would shine. [Chorus]

Pretty Baby

Everybody loves a baby That's why I'm in love with you.... Pretty baby, pretty baby And I'd like to be your sister Brother, Dad and Mother too.... Pretty baby, pretty baby Won't you come and let me Rock you in my cradle of love? And we'll cuddle all the time.... Oh, I want a lovin', baby And it might as well be you Pretty baby of mine

April Showers

Oh April showers may come your way, They bring the flowers that bloom in May, So when it's raining have no regrets Because it isn't raining rain you know It's raining violets, So when you see clouds up on a hill You'll soon be seeing hills of daffodils So keep on looking for a bluebird And listening for his song Whenever April showers come along

I'm Looking Over A Four-Leaf Clover

I'm looking over a four leaf clover That I overlooked before, First is the sunshine, the second is rain Third is the roses that bloom in the lane, Oh baby, no need explaining The one remaining it's somebody I adore, I'm looking over a four leaf clover That I overlooked before

Carolina In The Morning

Wishing is good time wasted,Still it's a habit they say;Wishing for sweets I've tasted,That's all I do all day. Maybe there's nothing in wishing, But speaking of wishing I'll say --- Chorus: vintage Nothing could be finer than to be in Carolina in the morning, No one could be sweeter than my sweetie when I meet her in the morning. Where the morning glories Twine around the door,Whispering pretty storiesI long to hear once more.Strolling with my girlie where the dew is pearly early in the morning, Butterflies all flutter up and kiss each little buttercup at dawning, If I had Aladdin's lamp for only a day,I'd make a wish and here's what I'd say: Nothing could be finer than to be in Carolina in the morning --- Second verse: Dreaming was meant for nighttime,I live in dreams all the day;I know it's not the right time,But still I dream away.What could be sweeter than dreaming,Just dreaming and drifting away --- Repeat chorus.

Five Foot Two

Five foot two, eyes of blue vintage But oh, what those five foot could do, has anyone seen my gal Turned up nose and turned down hose Flapper, yes sir one of those, has anyone seen my gal --- Now if you run into a five foot two all covered with fur Diamond ring and all those things, bet your life it isn't hers Could she love could she woo, could she could she could she coo Has anyone seen my gal.

Old King Tut

Three thousand years ago, In history we know, King Tutenkhamen ruled a mighty land-- He ruled for many years, 'Mid laughter, song and tears, He made a record that will always stand-- They opened up his tomb the other day and jumped with glee, They learned a lot of ancient history-- vintage CHORUS: In old King Tut-Tut-Tut-enkhamen's day, Beneath the tropic skies King Tut-Tut-Tut was very wise, Now old King Tut-Tut-Tut was always gay, Cleopatra she sat upon his knee, Pat! that's where she sat. Now old King Tut was just a nut as you can see, Still proud was Tut about his Beechnut ancestry. A thousand girls would dance each day, With lots of hip-hip-hip-hooray, In old King Tut-Tut-TutTut-Tut-Tut-Tut, King Tutty's Day. Second Verse: His tomb instead of tears, Was full of Souveniers, He must have travelled greatly in his time-- The gold and silver ware, That they found hidden there, Was from hotels of ev'ry land and clime. While going thru' his royal robes they found up in his sleeve, The first love letter Adam wrote to Eve -- (or He got into his royal bed, three thousand years B.C. And left a call for twelve o'clock in nineteen twenty-three)---- vintage CHORUS: In old King Tut-Tut-Tut-enkhamen's day, The dancers then in style Would even make the old Sphinx smile, In old King Tut-Tut-Tutenkhamen's day, On the desert sand old King Tutty's band Played while maiden's swayed. They'd dance for old King Tut 'neath moonlit skies so warm, They wore such happy smiles and were in perfect form -- or (They'd move and move and move and never move their feet) They'd dance for him both fat and thin, He didn't care what shape they're in, In old King Tut-Tut-TutTut-Tut-Tut-Tut, King Tutty's Day.

You Made Me Love You

You made me love you I didn't want to do it, I didn't want to do it You made me love you And all the time you knew it I guess you always knew it. You made me happy sometimes, you made me glad But there were times, Dear, you made me feel so bad You made me sigh for, I didn't want to tell you I didn't want to tell you I want some love that's true, yes I do, deed I do, you know I do Give me, give me, give me what I cry for You know you got the brand of kisses that I'd die for You know you made me love you

It Had To Be You

Why do I do just as you say Why must I just give you your way Why do I sigh Why don't I try to forget It must have been that something lovers call fate Kept me saying "I had to wait" I saw them all Just couldn't fall 'til we met --- vintage Chorus: It had to be you, it had to be you I've wandered around, finally found somebody who Could make me be true Could make me be blue And, even be glad just to be sad thinkin' of you Some others I've seen Might never be mean Might never be cross Or, try to be boss But, they wouldn't do For nobody else gave me a thrill With all your faults, I love you still It had to be you, wonderful you It had to be you

Lucky Lindy

From coast to coast, we all can boast and sing a toast to one Who's made a name By being game. He was born with wings as great as any bird that flies A lucky star Led him afar! vintage Chorus: Lucky Lindy! Way Up in the sky Fair or windy, he's flying high. Peerless, fearless --- knows every cloud The kind of a son makes a mother feel proud! Lucky Lindy! Flies all alone In a little plane all his own, Lucky Lindy shows them the way And he's the hero of the day. Second Verse: Just like a child, he simply smiled while we went wild with fear That Yankee lad! The world went mad! Everywhere we prayed for him to safely cross the sea And he arrived In gay Par-ee!

Nat Shilkret and the Victor Orchestra - Lucky Lindy

No No Nora

Chorus:No, no, Nora, Nobody but you, dear! You know, Nora, Yours truly is true dear! When you accuse me of flirting, I wouldn't, I couldn't, I love you so! vintage I've had chances, too many to mention, Never give 'em a bit of attention! And would I trade you for Venus? No, no, Nora, no no! V.1 -- She has a lot of detectives Who check 'im up every day! She's read about those men who lead double lives, She's making sure she won't be one of those wives! She thinks he looks like Douglas Fairbanks, Although he has Ben Turpin's eyes! A hundred times a day she calls on the phone, And every time she does he sighs; Chorus: No, no, Nora, Nobody but you, dear! You know, Nora, That I stick like glue, dear! And when you're speaking of sheiking, I wouldn't, I couldn't, I love you so! I see eyes that are full of perfection, But I look in another direction! And do I care for The Follies? No, no, Nora, no no!

The Yankee Doodle Blues

Say, here’s a word I want to say! Say, have you ever been away? Have you ever missed the good old U. S. A.? When you get that itching in your shoes, Go to any other land you choose, See how quick you get those “Yankee Doodle Blues!” You’re singing --- vintage Chorus: There’s no land so grand as my land, From California to Manhattan isle; North and South my sunny sky land, I love ev’ry mile! When I hear “Yankee Doodle,” That melody keeps on ringing in my ear; “Yankee Doodle—" That melody makes me stand right up and cheer, “I’m coming!” U. S. A., I’ll say I love you, Make me lose those “Yankee Doodle Blues!”

JazzBo's Carolina Serenaders

More Recordings of JazzBo (a pseudonym for "The Original Memphis 5" -- You will need RealPlayer to play these)

Georgia Rose

Georgia rose, Georgia rose You're the most precious rose Dixie grows Though it don't seem quite right 'Cause your skin's dark as night I know you've a heart that's lilly white -- To the good Lord above We all look just the same So, don't hang your head in shame --- Georgia rose, Georgia rose Don't be blue 'cause you're black Georgia rose

Last Night on the Back Porch

I love her in the Springtime And I love her in the Fall, But last night, on the back porch, I love her best of all! I love her in the morning And I love her at night. I love her, yes I love her When the stars are shining bright. I love her in the Springtime And I love her in the Fall, But last night, on the back porch, I love loved her best of all!

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Louise Brooks Documentary

The National Jukebox

Operetta Favorites by Otto Hauerbach and Rudolf Friml -- My collection of records includes "Selections from 'High Jinks','Katinka','You're in Love', and 'Rose-Marie' played by the Victor Salon Group.

friml friml friml friml friml

History of Boogie Woogie Part 1

History of Boogie Woogie Part 3

History of Boogie Woogie Part 4


"You'll Do It Someday",(song title) so why not now. So won't you let me try to show you how. Think what you're missing Oh its a shame, You'll miss the kissing and the rest of the game. In open spaces where men are men, a chicken never waits, Till she's a hen. Don't keep me waiting, for I do vow, You'll do it someday, So why not now." -- by Al Wrubel -- 1929 -- Rudy Vallee and His Yale Collegians -- Note: This song must be near the top of the naughtiest songs of the 1920's. There is no denying the blatent innuendo - "You'll do it someday, so why don't you just let me ____ you now.

This song can be heard in the Ken Burns Documentary "Prohibition" Chap.3 - A Nation of Hypocrites - minute 35 to 45 - dealing with the loosening of moral scruples in the 1920's with young people in particular.

Shanghai's Dancing World

When It's Nightime in Dear Old Shanghai

"When it's nightime in dear old Shanghai, When I'm dancing Sweetheart with you, Then it's brightime in dear old Shanghai, with our lips all held so true, In my arms dear, away from harm dear, we'll let the rest of the world go by, While the moon shines so brightly sweet - make love - When it's nightime in old Shanghai."


The History of Jazz Before 1930

The Jazz Archive

The Origins of Jazz


The Blues

Blues America - Woke Up This Morning - Part 1 of 2

Blues America - Bright Lights, Big City - Part 2 of 2

History Detectives - Lost Musical Treasure, Part 1 - Paramount Records

Lost Musical Treasure Part 2 - Paramount Records

Howlin' Wolf & Eric Clapton ~ ''Goin' Down Slow''&''I Want To Have A Word With You''1970

Howlin' Wolf - Back Door Man


Mr. Tambourine Man (Live at the Newport Folk Festival. 1964)

Don McLean- American Pie (with Lyrics

Don McLean - Vincent ( Starry, Starry Night) With Lyrics

Emmylou Harris & Robert Duvall - I Love To Tell The Story

Bachman Turner Overdrive-Taking Care of Business

The Air That I Breath - The Hollies

The Air That I Breathe - The Hollies(1975)

☀ Web Pages By Michael Shea ☀ Redlands  ☀ California ☀ 2012 ☀