THE 1000 BEST SONGS IN THE WORLD EVER.

279- Pérez Prado-Cherry Pink and Apple Blossom White.

1955-Number 1 single.

Best Bit-At 1.01. Perez Prado may have written ‘Mambo No 5,’ but this was definitely Mambo’s Number 1 song.

Pérez Prado was born Dámaso Pérez Prado on December 11th, 1916, in Matanzas, Cuba, he died of complications from a stroke after being in ill health for the previous two years on September 14th, 1989, at the age of 72. In 1949 Prado moved to Mexico where he formed his own band after signing with ‘RCA Victor’ records in Mexico City. Prado had 23 Albums released by that label between 1951-1976, he also provided the soundtrack to eight films in the 1950’s. His most well known compositions and covers include his 1958 American Billboard Hot 100 Number 2 and UK Number 8 single ‘Patricia,’ his 1958 cover of ‘Guaglione,’ which reached Number 2 in the UK in 1995 after it was used for a ‘Guinness’ advert, and also ‘Mambo No 5,’ from 1949. In 1999 ‘Mambo No 5’ was sampled by the German singer Lou Bega for his worldwide hit ‘Mambo No 5 (A Little Bit’) In 2001 the song once again topped the UK chart, when a novelty version by ‘Bob the Builder,’ from the BBC children’s television show, was sung by the British actor Neil Morrissey. Perez Prado who became affectionately known as the ‘King of the Mambo’ performed for the last time in 1987, but his son Perez Jr. continues to direct the Perez Prado Orchestra in Mexico City. In 1999, Pérez Prado was posthumously inducted into the ‘International Latin Music Hall of Fame.’

‘Mambo’ is a genre of Cuban dance music that was developed by the Cuban multi-instrumentalist Orestes Lopez, (1908-1991) his brother Israel ‘Cachao’ Lopez, (1918-2008) and the Cuban flautist Antonio Arcario (1911-1994) in the late 1930’s. By the late 1940’s Mambo had become a dance craze in the United States, with bandleaders such as Perez Prado refining the genre. Prado adapted the fast Mambo rhythm to the American style Big Bands of the 1940’s, distancing the style away from it’s more traditional quieter Cuban roots.

‘Cherry Pink and Apple Blossom White’ is the English version of ‘Cerisiers Roses et Pommiers Blancs’ with the music written by Louis ‘Louiguy’ Guglielmi, (1916-1991) his other most notable composition is ‘La Vie en Rose,’ which became the signature song of Edith Piaf (1915-1963) (see also best songs 178.) The French lyrics to ‘Cherry Pink and Apple Blossom White’ were written by Jacques Larue, (1906-1961) while the English lyrics were written by Mack David, (1912-1993) the older brother of Hal David (1921-2012) (see also best songs 902-832-815-740-644-376 and 224.)

Mack David was born on July 5th, 1912, in New York City, United States, he died on December 30th, 1993, at the age of 81. Mack David is credited with writing lyrics or music or both for over 1000 songs. He is best remembered for his work on the ‘Disney’ films Cinderella, (1950) and Alice in Wonderland, (1951) and for his translation of song lyrics into English. Although Mack David did not write an English translation of Édith Piaf’s lyrics to what would become her signature tune ‘La Vie en rose,’ his words captured the spirit of the song. ‘La Vie en rose’ was recorded by over 80 international singers and musicians, and has been featured in several dozen motion pictures as well. Between 1950-1966, eight of Mack David’s songs received nominations for an ‘Acadamy Award,’ including Bibbidi-Bobbidi-Boo,’ with Jerry Livingston (1909-1987) and Al Hoffman, (1902-1960) from ‘Cinderella,’ (1950) ‘Walk on the Wild Side,’ with Elmer Bernstein, (1922-2004) from ‘Walk on the Wild Side,’ (1962) and ‘Hush, Hush, Sweet Charlotte,’ with Frank De Vol, (1911-1999) from ‘Hush…Hush, Sweet Charlotte’ (1964.) Mack David also had his songs cross over into the ‘Pop’ charts, including ‘I Don’t Care If The Sun Don’t Shine,’ a hit for Patti Page, (1927-2013) (see also best songs 1050) (1950-Billboard Number 8) it was later covered by Elvis Presley (1935-1977) (see also best songs 954-664-442 and 194) as a Rockabilly-styled tune in 1954. Mack David also co-wrote the lyrics for ‘Baby It’s You,’ which has been a hit for the Shirelles, (1961-Billboard Number 8) and the band ‘Smith,’ (1969-Billboard Number 5) and was covered by the Beatles (see also best songs 599-456-319-238-218-141-80-51-10 and 5) on their debut studio Album ‘Please Please Me’ in 1963.

Pérez Prado’s instrumental with his orchestra, of ‘Cherry Pink and Apple Blossom White’ which features the very distinctive trumpet playing of Billy Regis, was first recorded for the 1955 movie ‘Underwater!’ where Jane Russell (1921-2011) can be seen dancing to the song. When released as a single it topped the American chart, and went onto be the best selling single of 1955. The most successful vocal version in America was by Alan Dale, (1925-2002) whose recording made Number 14, also in 1955. In the UK the Perez Prado version spent two weeks at Number 1, while a competing instrumental recording by the British trumpeter Eddie Calvert (1922-1978) also made Number 1, but for four weeks. The song also charted in the UK in 1982 for the British Pop/Salsa group ‘Modern Romance,’ whose vocal version peaked at Number 15.

THE 1000 BEST SONGS IN THE WORLD EVER.

280-Pink Floyd-Another Brick in the Wall (Part 2.)

1979-Number 1 single.

Best Bit-At 2.18. And they say that school days are meant to be the best days of your life.

‘Another Brick in the Wall (Part 2’) was the first single released by Pink Floyd (see also best songs 992) in 11 years. The band felt that the single format didn’t suit their music, as all their songs were parts of concept Albums. It was the groups producer Bob Ezrin who talked the band around to the idea of a single release, even coming up with the idea of giving the song a ‘Disco’ beat, which to a Progressive Rock group would have probably seemed abhorrent at the time. ‘Another Brick in the Wall (Part 2’) went on to top the chart in both America and the UK, and has sold in excess of four million copies. In the UK it was the Christmas Number 1 single of 1979, and also the last Number 1 single of the 1970’s.

‘Another Brick in the Wall (Part 2’) was the first of three singles released from ‘The Wall,’ which was the 11th studio Album by Pink Floyd, from November 1979, the song was written by Roger Waters, who also wrote the majority of the other tracks on the Album, with the production being by Roger Waters, Bob Ezrin, David Gilmour, and James Guthrie. ‘The Wall’ is a concept Album, and loosely deals with Roger Waters life as an adolescent growing up after World War II. In 1982 ‘The Wall’ was made into a musical psychological drama film called ‘Pink Floyd – The Wall,’ the screenplay was written by Roger Waters, with Bob Geldof (see also best songs 632 and 455) starring as the Rock Star character ‘Pink.’ The character ‘Pink’ was based on Waters himself, and also his ex-Pink Floyd band mate Syd Barrett (1946-2006.) ‘The Wall’ is one of the best selling Albums of all time, with sales in excess of 30 million copies. The Album is Pink Floyd’s second biggest seller behind their 1973 eighth studio Album ‘The Dark Side of the Moon,’ which has estimated sales of 45 million. ‘Another Brick in the Wall (Part 2’) appears on ‘The Wall’ Album in a slightly different format to the songs single release. On ‘The Wall’ it follows on continuously from ‘Another Brick in the Wall Part 1, and ‘The Happiest Days of Our Lives,’ both of those songs were also written by Waters.

‘Another Brick in the Wall (Part 2′) is a protest song, with Roger Waters relaying the torrid time he had as child at school, where not only was he bullied by other children, but also by his school teachers. Waters has explained,’ You couldn’t find anybody in the world more pro-education than me, but the education I went through in a boys’ grammar school in the 50’s was very controlling and demanded rebellion. The song is meant to be a rebellion against people who have power over you, who are wrong.’ The lyrics attracted controversy, with the ‘Inner London Education Authority’ describing the song as ‘Scandalous,’ and it was also rumoured that Prime Minister Margaret Thatcher (1925-2013) ‘hated it.’

Roger Waters was born George Roger Waters on September 6th, 1943, in Great Bookham, Surrey, England, and was the co-founder of Pink Floyd, following the departure of Syd Barrett (1946-2006) in 1968, he took over as the bands main lyricist. Pink Floyd were formed in London, England in 1965, and are one of the worlds best ever selling artists, with sales in excess of 250 million Albums. It was Syd Barrett who chose the bands name, using the names of his favourite ‘Blues’ artists Pink Anderson, (1900-1974) and Floyd Council (1911-1976.) Waters left Pink Floyd in 1984, and has since released four solo studio Albums between 1984-2018.

‘Another Brick in the Wall (Part 2’) and it’s parent Album ‘The Wall’ was co-produced by Bob Ezrin, who was born Robert Alan Ezrin on March 25th, 1949, in Toronto, Ontario, Canada, he is a music producer, musician and vocalist. Bob Ezrin has produced for many of the world’s top artists, including three studio Albums by Pink Floyd, 15 Albums by Alice Cooper, and Albums by Lou Reed, (1942-2013) Rod Stewart, and many more. Bob Ezrin has been described by Alice Cooper as ‘Our George Martin.’ and was the producer of the Alice Cooper classic track ‘School’s Out,’ (1972-Billboard Number 7 & UK Number 1) so both of Bob Ezrin’s most commercially successful ‘singles’ productions, have had the theme of being at school as their basis. Ezrin was inducted into the ‘Canadian Music Hall of Fame’ in April 2004, and the ‘Canadian Music Industry Hall of Fame’ in March 2006, and in 2022 he was named an ‘Officer of the Order of Canada,’ ‘For his ongoing contributions to music and entertainment production, and for his sustained advocacy of musical education, journalism and environmental justice.’ It was Bob Ezrin who instructed another of this songs co-producers Nick Griffiths to record a children’s choir singing on the track. The children were from ‘Islington Green School,’ Greater London, close to Pink Floyd’s recording studio. The children’s choir in the recording featured 23 students, who practised for about a week to prepare. According to Ezrin, when he played the children’s vocals to Roger Waters, ‘There was a total softening of his face, and you just knew that he knew it was going to be an important record.’ Waters said, ‘It was great, exactly the thing I expected from a collaborator.’

‘Another Brick in the Wall (Part 2’) is about Roger Waters schooldays, but the Album ‘The Wall’ explores his life growing up, including his Rock Star career, and the death of his father. Each event, and the problems that occur in his life, are ‘another brick in the wall.’

‘We don’t need no education, we don’t need no thought control. No dark sarcasm in the classroom, teachers leave those kids alone.’

THE 1000 BEST SONGS IN THE WORLD EVER.

281-Anne Shelton-Blues in the Night.

1942-It has never charted in the UK, there was no UK chart until 1952.

Best Bit-At 0.12. Another of the classic songs from the ‘Great American Songbook.’

The ‘Great American Songbook’ is an imaginary list of songs written and recorded between 1920-1960, often referred to as the ‘Golden Age’ of American music. The genre is created from songs that were popular in Hollywood Musical film, musical theatre, and Broadway theatre. To read about the other 30 songs from the ‘Great American Songbook’ in this countdown see the list at the end of this article.

‘Blues in the Night’ was co-written by the legendary song writing team of Harold Arden, (1905-1986) (see also best songs 934-634 and 68) who wrote the music, and Johnny Mercer, (1909-1976) (see also best songs 45) who wrote the lyrics. Harold Arden and Johnny Mercer had been commissioned to write the entire score for the 1941 American Musical film provisionally called ‘Hot Nocturne,’ based on a play of the same name, but after the success of the song ‘Blues in the Night,’ the film was renamed after the song. Arden and Mercer had been told that the main requirement was to write a ‘Blues’ song which was to be sung in a jail cell, as usual with the way Johnny Mercer worked, he would have the music presented to him, and from there he would write the lyrics. In the film the song is performed by the African/American baritone William Gillespie, (1908-1968) whose appearance at that time was not credited, he later went on to serve in the army in World War II.

‘Blues in the Night’ is considered by some music critics to be a ground breaking moment. The American composer and author Alec Wilder (1907-1980) has said of the song, ‘Blues in the Night’ is certainly a landmark in the evolution of American popular music, lyrically as well as musically.’ The title ‘Blues in the Night’ describe the narrator’s romantic loneliness and frustration, recalling his mother’s warning from childhood, ‘A woman’s a two-face, a worrisome thing, who’ll leave you to sing the blues in the night.’ Harold Arlen has said, ‘The whole thing just poured out. And I knew in my guts, without even thinking what Johnny would write for a lyric, that this was strong, strong, strong! When Mercer wrote Blues in the Night I went over his lyric and I started to hum it over his desk. It sounded marvellous once I got to the second stanza but that first twelve was weak tea. On the third or fourth page of his work sheets I saw some lines, one of them was ‘My momma done tol’ me, when I was in knee pants.’ I said, ‘Why don’t you try that?’ It was one of the very few times I’ve ever suggested anything like that to John. Legend has it that once the song was finished Johnny Mercer called a friend, the singer Margaret Whiting, (1924-2011) and asked if they could come over and play it for her. She suggested they come later because she had dinner guests, Mickey Rooney, (1920-2014) Judy Garland, (1922-1969) (see also best songs 68) Mel Tormé, (1925-1999) and Martha Raye (1916-1994.) Instead, Arlen and Mercer went right over. Margaret Whiting remembered what happened then. ‘They came in the back door, sat down at the piano and played the score of ‘Blues in the Night.’ I remember forever the reaction. Mel got up and said, ‘I can’t believe it.’ Martha couldn’t say a word. Mickey Rooney said, ‘That’s the greatest thing I’ve ever heard.’ Judy Garland said, ‘Play it again.’ We had them play it seven times. Judy and I ran to the piano to see who was going to learn it first. It was a lovely night.’

‘Blues in the Night’ has been recorded on numerous occasions down the years, and was a hit on ‘Billboard Magazine’ five times in 1942, for Woody Herman, (Number 1) Dinah Shore, (Number 4) Jimmy Lunceford, (Number 4) Cab Calloway, (Number 8 and Artie Shaw (Number 10.) The other hit version was in 1952 for Rosemary Clooney, which reached Number 29, the song has never charted in the UK. The version of the song I have chosen is the 1942 recording by Anne Shelton OBE. Anne Shelton was born Patricia Jacqueline Sibley on November 10th, 1923, in Dulwich, London, England, she died of a heart attack on July 31st, 1994, at the age of 70. Anne Shelton is remembered for providing inspirational songs for soldiers, in radio broadcasts, and also for making personal appearances at British military bases during World War II. In 1990 she was awarded the OBE for her work with the ‘Not Forgotten Association,’ a charitable organisation for disabled former service personnel from all wars. Anne Shelton got her breakthrough in 1940 at the age of 16, when appearing on the BBC talent radio show ‘Monday Night at Eight.’ The Polish dance-band leader Bert Ambrose (1896-1971) heard her performance, and signed her to sing with his prestigious and popular ‘Ambrose Orchestra.’ She made her first broadcast with Ambrose in June 1940, and then soon after she recorded her first solo record for ‘Rex Records,’ called ‘I Can’t Love You Any More,’ In January 1941 she commenced weekly radio broadcasts with Jack Payne (1899-1969) and his Orchestra. As well as singing and recording, Anne Shelton appeared in several films, including ‘Miss London Ltd.’ (1943), ‘King Arthur Was a Gentleman,’ (1942) and ‘Bees in Paradise’ (1943.) From 1958–1959 she starred in ‘The Anne Shelton Show,’ on ATV, for 11 episodes, and this was followed in 1961 by Ask Anne,’ for BBC TV, which also ran for 11 episodes. The discography of Anne Shelton includes numerous compilation Albums. She has also had two hit singles on the Billboard Hot 100 in America, ‘Be Mine,’ (1949-Number 25) and ‘Galway Bay,’ (1949-Number 25) while in the UK, five of her singles have reached the top 40, with ‘Lay Down Your Arms’ peaking the highest at Number 1 in 1956.

‘My mama done told me, when I was in pigtails. My mama done told me, uuhm. A man’s gonna sweet talk and give you the big eye, but when the sweet talkin”s done, a man is a two face, a worrisome thing, who’ll leave you to sing the blues in the night.’

Here is the list of all 31 songs from the ‘Great American Songbook’ in this ‘1000 Best Songs’ list. (see also best songs 944-934-887-842-808-775-706-687-651-634-567-457-396-385-370-343-321-295-286-277-259-252-231-226-185-100-82-68-73-68 and 45.)

THE 1000 BEST SONGS IN THE WORLD EVER.

282-Mary Mary-Shackles (Praise You.)

2000-Number 5 single.

Best Bit-At 2.34. So good they named them twice.

‘Mary Mary’ are the female American ‘Urban Contemporary Gospel’ duo composed of the sisters Erica Campbell, who was born Erica Monique Atkins, on April 29th, 1972, in Inglewood, California, United States, and Tina Campbell, who was born Trecina Evette Atkins, on May 1st, 1974, also in Inglewood, California, They both married men called Campbell, (who are unrelated) which is why they both have the same surname. The Atkin sisters grew up in a family of eight children, and were brought up by very religious parents, their mother, Thomasina is an Evangelist, and choir director, and their father, Eddie, who died in 2013, was a member of the ‘Church of God in Christ’. On signing their contract to ‘Columbia Records’ in 1999, the sisters decided to perform as ‘Mary Mary,’ taking their name from two famous Mary’s from the Bible, ‘Mary mother of Jesus,’ and ‘Mary Magdalene,’ a follower of Jesus.

The discography of Mary Mary includes five studio Albums released between 2000-2011, and 24 singles released as the lead artist, and a further five singles released as a featured artist between 1998-2016, there is also one official compilation Album, and one ‘Holiday (Christmas) Album available. In America on the Billboard 200 Album chart, there final four studio Albums to date have all reached the top 20, with their fourth ‘The Sound,’ peaking the highest at Number 7 in 2008, while as the lead artist ‘Shackles,’ which reached Number 28 on the Billboard Hot 100 singles chart, remains as their only hit single to date, although they have also appeared on the charity single ‘We Are the World 25 for Haiti,’ released in 2010, which made Number 2. Mary Mary have had great success on the Billboard ‘Hot Gospel Songs’ chart, with 18 of the singles they have appeared on making that charts top 40, with six of those tracks including ‘Shackles’ all reaching Number 1. In the UK, Mary Mary have charted twice within the top 40 singles chart, with ‘Shackles,’ (2000-Number 5) and the follow up ‘I Sings’ (2000-Number 32.) Erica Campbell and Trecina Campbell have both also released solo material. Erica has released three studio Albums between 2014-2023, and Trecina has released two studio Albums between 2015-2017.

‘Shackles’ was the debut singles, and the first of two singles released from ‘Thankful,’ the debut studio Album by Mary Mary, from May 2000, the song was co-written by Erica Atkins, and Trecina Atkins, along with the songs producer Warryn Campbell, who married Erica in 2001. ‘Shackles’ samples the much sampled 1984 track ‘Don’t Look Any Further,’ (1984-Billboard Number 72 & UK Number 45) by Dennis Edwards (1943-2018) (see also best songs 1001-777 and 569) featuring Siedah Garrett, and therefore that songs writers Dennis Lambert, (see also best songs 197) Franne Golde, and Duane Hitchings, also receive writing credits.

‘Shackles’ was produced by Warryn Campbell, who was born Warryn Stafford Campbell, Jr. on August 21st, 1975, in Los Angeles, California, United States, he has worked with a number of ‘Gospel,’ ‘Hip-Hop,’ and ‘R&B’ artists, including Kanye West, (see also best songs 1049-636-477 and 267) Missy Elliott, (see also best songs 691) and Alicia Keys. Warryn Campbell who is the winner of nine ‘Grammy Awards’ for his production work, including for the Mary Mary Album ‘Thankful,’ played all the instruments on ‘Shackles,’ as well as co-writing and producing the song. He married Erica Atkins in 2001, and they have three children. Campbell is currently the Pastor of California Worship Center, of San Fernando, CA.

‘Shackles’ is an ‘Urban Contemporary Gospel’ song, the genre is also known as ‘Urban Gospel Music,’ ‘Urban Gospel Pop,’ or just simply ‘Urban Gospel,’ and is a modern sub-genre of Gospel music. It is Protestant hymns and African-American spirituals that make up the basic source material for traditional black Gospel music, which in turn is the most significant source of Urban/Contemporary Gospel. Urban/Contemporary Gospel has kept the spiritual focus of the traditional black Gospel music, but uses modern musical forms. ‘Shackles (Praise You’) can be considered a ‘boundary breaking’ song. It’s message is from the ‘Gospel’ genre, but it became a crossover hit because of it’s R&B melody. The song is one of only a few that has received extensive exposure on ‘MTV,’ and significant airplay on many ‘Contemporary Christian Music’ radio stations across America. As with many other contemporary Gospel songs ‘Shackles (Praise You’) received a lot of criticism, with many citing the song as too modern, and not staying true to it’s Gospel roots. ‘Mary Mary’ have hit back by saying, ‘It’s music that everybody in any style of music can relate to. It’s universal, but the lyrics are undeniably Gospel.’

‘Take the shackles off my feet so I can dance, I just want to praise you. You broke the chains now I can lift my hands, and I’m gonna praise you, I’m gonna praise you.’

THE 1000 BEST SONGS IN THE WORLD EVER.

283-The Dubliners with The Pogues-The Irish Rover.

1987-Number 8 single.

Best Bit-At 3.30. The songs narrator appears to embellish the facts, perhaps he has had one or two many Guinness’.

The Dubliners were an Irish Folk band formed in 1962, in Dublin, Ireland, they were initially called ‘The Ronnie Drew Ballad Group,’ and remained active until 2012. The group was founded by Ronnie Drew, (1934-2008) (vocals, and guitar) Luke Kelly, (1940-1984) (vocals, and banjo) Barney McKenna, (1939-2012) (Irish tenor banjo, mandolin, melodeon, and vocals) and Ciaran Bourke, (1935-1988) (vocals, guitar, and tin whistle) they were joined by John Sheahan in 1964, (fiddle, mandolin, tin whistle, and concertina) and soon after they became ‘The Dubliners.’ In total there were 11 different members come and go during the bands 50 year career, with those five considered the classic line-up. It was after the death of Barney McKenna in 2012 that after 50 years of recording and touring The Dubliners finally disbanded. The Dubliners were by far the leading force in popularising Irish Folk music in Europe, influencing generations of Irish bands such as The Pogues, (see also best songs 35) and the Dropkick Murphys. They are held in the highest regard in Ireland, where their covers of traditional Irish ballads are regarded as the definitive versions.

The discography of The Dubliners includes 17 studio Albums released between 1967-1996, and 23 singles released between 1964-2013, there are also 26 official compilation Albums, and 13 live Albums available. In Ireland on the Republic of Ireland’s ‘Irish Singles Chart,’ The Dubliners have had 17 top 40 hits with four of those tracks including ‘The Irish Rover’ make the Number 1 position, while in the UK, three of their singles have reached the top 40, with ‘Seven Drunken Nights,’ (1967-Number 7 ) and ‘Black Velvet Band’ (1967-Number 15.) charting 20 years before their final chart entry ‘The Irish Rover.’ Despite their success in Europe, The Dubliners never managed to achieve commercial success in the United States.

‘The Irish Rover’ was the first of three singles released from The Dubliners 14th studio Album ’25 Years Celebration,’ from 1987, and was produced by Eamonn Campbell, (1946-2017) who was also a member of The Dubliners at that time. ’25 Years Celebration,’ has 30 tracks, of which two are collaborations with The Pogues, the other track they recorded together is the traditional Irish Folk song ‘Mountain Dew.’ ‘The Irish Rover’ is also a traditional Irish Folk song, dating back to around the early 1800’s, the authorship is uncertain, but it has been attributed to J.M. Crofts. Others have come to the conclusion that it was probably written by a sailor, as there are nautical references.

The lead vocals on ‘The Irish Rover’ were shared between Ronnie Drew of The Dubliners, and Shane MacGowan (1957-2023) of The Pogues. Ronnie Drew was born Joseph Ronald Drew on September 16th, 1934, in Dún Laoghaire, County Dublin, Ireland, he died of throat cancer on August 16th, 2008, at the age of 73. Nathan Joseph (1939-2005) who was the founder of ‘Transatlantic Records,’ and Folkways Records,’ described Ronald Drew’s voice as being ‘like the sound of coke being crushed under a door.’ Ronnie Drew who was a founding member of The Dubliners left the group in 1974, then rejoined in 1979, but left for good in 1995, though he did reunite with the group in 2002 for a 40th anniversary celebration. From 1995 onwards Ronald Drew pursued a solo career, and also performed live as a solo artist. In total as a solo artist he released 13 Albums between 1975-2008, and three singles within the same time period. His 1995 Album ‘Dirty Rotten Shame’ reached Number 1 in Ireland, and his 1994 single ‘Spanish Lady’ feat Dustin, The Saw Doctors, made Number 1 on the Irish singles chart.

‘The Irish Rover’ is an Irish ‘traditional music’ song, which is also known as ‘Irish trad,’ or ‘Irish folk’ music, it is a genre of folk music that developed in Ireland. Like all traditional music, Irish folk music has changed slowly, with most folk songs being less than 200 years old. One measure of a songs age is the language used, with most modern Irish songs having being written in English and Irish, whilst most of the oldest songs and tunes are rural in origin, and come from the older Irish language tradition. The lyrics to ‘The Irish Rover’ describe an unrealistically large 27 masted ship carrying a very colourful crew, and various types of cargo in impossible enormous amounts. The probability is that the amount of cargo carried has been exaggerated more and more down the years, for example ‘The Irish Rover’ carries ‘one million bags of the best Sligo rags,’ and travels with ‘five million hogs,’ and six million dogs,’ which I think even ‘Noah’s Ark’ would have been jealous of. After seven years the voyage ends disastrously, when the crew contract measles, the ship loses it’s way in the fog, strikes a rock, and leaves the songs narrator as the only survivor, so there is no one else alive to contradict his tale.

‘On the fourth of July eighteen hundred and six we set sail from the sweet cove of Cork. We were sailing away with a cargo of bricks for the Grand City Hall in New York.’

THE 1000 BEST SONGS IN THE WORLD EVER.

284-The Four Seasons-Big Girls Don’t Cry.

1962-Number 13 single.

Best Bit-At 2.04. In the interest of gender equality 10CC whispered loudly that ‘Big boys also don’t cry’ (see also best songs 154.)

The Four Seasons (see also best songs 739) were formed as ‘The Four Lovers’ in Newark, New Jersey, United States, in 1956, they would retain that stage name until settling on ‘The Four Seasons’ in 1960, with the recognised early 1960’s classic line up of Franki Valli, (vocals) Bob Gaudio, (vocals, keyboards, and guitar) Tommy DeVito, (1928-2020) (vocals, and guitar) and Nick Massi (1927-2000) (vocals, and bass.) These were the four musicians who played on this song, and also The Four Seasons debut studio Album ‘Sherry & 11 Others,’ from 1962. The Four Seasons are one of Pop musics longest active acts, and continue to tour to this day, with only Frankie Valli (see also best songs 83) from the original line up still performing. In total there are 12 members in the touring band at the time of writing, but since the bands inception a further 18 artists have been official group members at some point. They have also released music under 17 different names, including ‘Frankie Valley,’ ‘The Wonder Who?,’ ‘The Variatones,’ and ‘The Village Voices.’

The discography of The Four Seasons in all of their different guises, includes 19 studio Albums released between 1956-2008, and 74 singles released between 1956-1994, there are also 25 official compilation Albums, and two live Albums available. For the solo discography of Frankie Valli see best songs 83. In America on the Billboard Hot 100, The Four Seasons have had 31 top 40 singles, with five of those tracks including ‘Big Girls Don’t Cry’ making the Number 1 position, while in the UK, 17 of their singles have reached the top 40, with ‘December, 1963 (Oh, What a Night’) peaking the highest at Number 1 in 1975.

‘Big Girls Don’t Cry’ was the second and final single released from The Four Seasons debut studio Album ‘Sherry & 11 Others,’ from September 1962, the song was co-written by the legendary songwriting team of Bob Crewe, (1930-2014) (see also best songs 914-863-739-499-393-164-112 and 83) and Bob Gaudio (see also best songs 1007-914-863-739-499-393-164 and 112.) ‘Big Girls Don’t Cry’ was released as the follow up to their Billboard Number 1 single ‘Sherry,’ which had spent five weeks at Number 1, and repeated the fete by also spending five weeks at the top, making The Four Seasons the first group in the ‘Rock N’ Roll’ era to achieve back to back Number 1’s on the Billboard Hot 100 with their first two hits.

Bob Gaudio was born Robert John Gaudio on November 17th, 1942, in the Bronx, New York, United States, he is a songwriter, singer, musician, record producer, and the keyboardist and backing vocalist of The Four Seasons. He has written or co-written the vast majority of The Four Seasons best known songs, and although he no longer performs with the group, he and lead singer Frankie Valli remain co-owners of The Four Seasons brand. Bob Gaudio first rose to fame as a member of ‘The Royal Teens,’ co-writing their hit ‘Short Shorts’ (1958-Billboard Number 3.) In 1958 while he and the group were promoting the single, they met Frankie Valli and his group the Four Lovers as they prepared to perform on a local television programme. It would be a further year until Gaudio would join the Four Lovers. In 1960, after a failed audition at a bowling establishment in Union Township, New Jersey, called the ‘4 Seasons,’ Bob Gaudio shook hands with lead singer Franki Valli and formed the Four Seasons Partnership, with Gaudio, Valli, Tommy DeVito, (1928-2020) and Nick Massi (1927-2000) becoming The Four Seasons. The group took their new stage name from that venue at which they had failed their audition. In 1990 the quartet were inducted into the ‘Rock and Roll Hall of Fame,’ and then in 1999 to the ‘Vocal Group Hall of Fame,’ and in 2017 into the ‘New Jersey Hall of Fame,’ which also inducted Joe Long (1932-2021) who had replaced Nick Massi in 1965, and was a group member until 1975.

Away from The Four Seasons other career highlights of Bob Gaudio include producing six of Neil Diamond’s (see also best songs 536-426 and 13) studio Albums, and the movie soundtrack Albums for Diamond’s ‘The Jazz Singer,’ (1980) and ‘Little Shop of Horrors,’ (1986) he also produced ‘You Don’t Bring Me Flowers’ for Barbra Streisand and Neil Diamond, a duet that reached Number 1 on the Billboard Hot 100 in 1978, for which he received a Grammy Award nomination. Bob Gaudio was instrumental in the development of ‘ ‘Jersey Boys,’ a musical play based on the lives of The Four Seasons, which first opened on Broadway on November 6th, 2005. In 2006, the play won four Tony Awards, including Best Musical. In 2007, it won a Grammy in the Best Musical Show Album category, and in June 2014, Warner Bros. released the film version of Jersey Boys, which was directed by Clint Eastwood.

There are contrasting stories as to who came up with the song title ‘Big Girls Don’t Cry.’ According to Bob Gaudio he was falling asleep while watching a movie called ‘Tennessee’s Partner,’ (1955) when he was jolted awake by the on-screen noise of John Payne (1912-1989) slapping Rhonda Flemming, (1923-2020) whose character replied, ‘Big girls don’t cry.’ Gaudio claims he immediately wrote down the iconic line on a scrap of paper, before falling asleep again. When he woke the next morning he started writing the song. The problem with that story is that the line big girls don’t cry is never uttered in that film. According to the other songs writer Bob Crewe, he was also dozing off when he awoke to see Payne attacking Fleming, although he claims he had also been watching the movie ‘Slightly Scarlet,’ (1956) in which the line does actually appear. Frankie Valli tells a different tale. ‘It was taken from a Clark Gable (1901-1960) movie, then he tells a girl he’s leaving, and says that big girls don’t cry.’

‘Told my girl we had to break up, hoped that she would call my bluff. Then she said to my surprise, big girls don’t cry.’

THE 1000 BEST SONGS IN THE WORLD EVER.

285-Pulp-Common People.

1995-Number 2 single.

Best Bit-At 4.38. A lyrical fanfare for the common man.

‘Common People’ was the first of four singles released from ‘Different Class,’ which was the fifth studio Album by Pulp, (see also best songs 605) from October 1995, the songs writing was credited to all five band members at that time, with the production being by Chris Thomas (see also best songs 721-576-316-92 and 27.) Pulp were not an overnight success as ‘Common People’ was their 15th single release, and their first to break into the UK top 10. It was already a big hit before the other 11 tracks from ‘Different Class’ had been written, but the success of ‘Common People’ would inspire the band, and give them confidence, for the discography of Pulp, see best songs 605.

Jarvis Cocker has explained in detail over the years how ‘Common People’ came to fruition. ‘It all started with me getting rid of a lot of Albums at the ‘Record and Tape Exchange’ in Notting Hill. With the credit I went into the second hand bit and bought this Casio keyboard. When you buy an instrument, you run home and want to write a song straight away. So I went back to my flat and wrote the chord sequence for ‘Common People,’ which isn’t such a great achievement because it’s only got three chords, I thought it might come in handy for our next rehearsal.’ It is said that when Jarvis Cocker first played the melody to the rest of the band, the bass player Steve Mackey burst out laughing, saying, ‘It sounds like Emerson Lake and Palmer’s ‘Fanfare for the Common Man (1977- UK Number 2.) On the writing of the songs lyrics, Jarvis Cocker has said, ‘I always thought the word ‘common’ was an interesting thing. It would be used in ‘Fanfare for the Common Man’ as this idea of the noble savage, whereas it was a real insult in Sheffield (Cocker’s hometown) to call someone common. That set off memories of this girl that I met at college. She wanted to go and live in Hackney and be with the common people. She was from a well-to-do background, and there was me explaining that that would never work. I hated all that cobblers you got in films and magazines in which posh people would ‘slum it’ for a while. Once I got that narrative in my head it was easy to write, lyrically.’

Jarvis Cocker had met the girl who had given him the idea for the songs lyrics at St Martin’s College, London, when they were both on a sculpture course around 1988. Cocker has said that he was having a conversation with the girl at the bar at college because he was attracted to her, although he found some aspects of her personality unpleasant. He remembered that at one point she had told him she ‘Wanted to move to Hackney and live like common people.’ In 2012 the ‘BBC’ set about locating the woman who had inspired the song, but they couldn’t find her. In 2015 the Greek newspaper ‘Athens Voice’ suggested that the woman who inspired the song is Danae Stratou, the wife of a former Greek Finance minister, Stratou had studied at St Martins between 1983-1988, and is the eldest daughter of a wealthy Greek businessman. Stratou has said, ‘I think the only person who knows for whom the song was written is Jarvis himself.’

Jarvis Cocker was born Jarvis Branson Cocker, on September 19th, 1963, in Sheffield, West Riding of Yorkshire, England, he is a
singer, musician, songwriter, radio presenter, and is the one constant member of the ‘Britpop,’ ‘Art Rock,’ and ‘Indie Pop’ group Pulp. His father Mac Cocker (1941-2016) left the family and moved to Sydney, Australia, when Cocker was seven, and had no contact with his son or daughter, Saskia, until Jarvis was in his thirties. Mac Cocker was a radio DJ in Sydney, with Double J (later renamed Triple J) in the 1970’s and 1980’s. By the time of his son’s visit, Mac Cocker had moved to a hippie commune in Darwin, Northern Territory. Jarvis Cocker said he forgave his father for abandoning them, saying, ‘I don’t feel any bitterness towards him at all. I feel sorry for him.’

Jarvis Cocker made the front pages of the newspapers after invading the stage at the ‘1996 Brit Awards’ with a former member of Pulp, Peter Mansell. Cocker was incensed by Michael Jackson’s (1958-2009) (see also best song 812-511-249-191 and 137) performance of his hit song ‘Earth Song,’ while surrounded by children and a rabbi. Cocker invaded the stage ‘mooning’ Jackson, although Cocker denied it, saying that he merely waved his (clothed) bottom. Cocker was detained and interviewed by the police on suspicion of assault, and later released without charge. Cocker said ‘My actions were a form of protest at the way Michael Jackson sees himself as some kind of Christ-like figure with the power of healing. I just ran on the stage. I didn’t make any contact with anyone as far as I recall.’ Cocker also clarified that his actions were nothing personal against Jackson and he was even a fan of his music. Michael Jackson said, ‘I’m sickened, saddened, shocked, upset, cheated and angry, but immensely proud that the cast remained professional and the show went on.’

As a solo artist Jarvis Cocker has released six studio Albums between 2006-2022, and 12 singles between 2006-2021, there are also two extended plays, (EP’s) and one remix Album available. In the UK, three of his solo Albums have reached the top 40, with ‘Beyond the Pale,’ from 2020 peaking the highest at Number 11, while his only top 40 solo hit single is ‘Don’t Let Him Waste Your Time,’ which made Number 36 in 2007. Jarvis Cocker has never charted in America on Billboard.

Anyone who has read about a number of the songs in this countdown will know that I am a great believer that nothing in ‘Pop Music’ is totally original. I urge you to take a listen to the 1988 song by the Spanish Pop band Mecano, called ‘Los amantes,’ it’s similarity to ‘Common People’ will raise your eyebrows high.

‘She came from Greece she had a thirst for knowledge. She studied sculpture at St Martins College, that’s where I caught her eye.’

THE 1000 BEST SONGS IN THE WORLD EVER.

286-Ella Fitzgerald and Louis Armstrong-They Can’t Take That Away from Me.

1956-It has never been released as a single in the UK.

Best Bit-At 1.32. When you have the music of George Gershwin, the lyrics of Ira Gershwin, and the mesmerising vocals of Ella Fitzgerald and Louis Armstrong, the hard part isn’t trying to find a 1000 songs to fill this list, it’s having to choose which ones to leave out.

‘They Can’t Take That Away from Me’ was one of the songs written by George Gershwin (1898-1937) (music) and his brother Ira Gershwin (1896-1983) (see also best songs 231) (lyrics) for the 1937 Musical Comedy ‘Shall We Dance,’ starring Fred Astaire, (1899-1987) (see also best songs 385) and Ginger Rodgers (1911-1995.) In the film the song is sung by Astaire to Rodgers, who remains silent throughout the performance, there is also no dance sequence performed. Fred Astaire and Ginger Rodgers did perform a dance routine to the song when appearing in their 10th and final movie together in 1949, in ‘Barkleys of Broadway.’ This was also the only song that Astaire performed more than once in any of his movies.

George Gershwin (see also best songs 231) was born Jacob Gershwine on September 26th, 1898, in Brooklyn, New York City, United States, he died from a malignant brain tumour on July 11th, 1937, at the age of 38. Gershin was a prolific writer of music, composing several orchestral pieces including ‘Rhapsody in Blue’ (1924.) His Opera’s include ‘Blue Monday,’ (1922) and ‘Porgy and Bess,’ (1935) he also composed the music for 19 Broadway, and London Musicals, as well as the original scores for five films. George Gershwin showed no interest in music until the age of 10 when he heard a friend playing a violin. At about the same time, George’s parents had bought a piano for his older brother Ira. To his parents surprise though, and to Ira’s relief, it was George who spent more time playing it. In 1913 at the age of 15 George Gershwin left school to work as a ‘song plugger’ on New York City’s Tin Pan Alley, (see also best songs 669-535-443-412 and 397) earning $15 a week. His first published song was ‘When You Want ‘Em, You Can’t Get ‘Em, When You’ve Got ‘Em, You Don’t Want ‘Em’ in 1916. His first song to appear on Broadway was ‘Making of a Girl,’ written in 1916 with Sigmund Romberg, (1887-1951) with lyrics by Harold Atteridge, (1886-1938) it was sung in ‘The Passing Show’ of 1916. In 1919, Gershwin scored his first big national hit with his song ‘Swanee,’ with words by Irving Caesar, (1895-1996) after hearing Gershwin perform it, Al Jolson (1886-1950) (see also best songs 310) put it into his show ‘Sinbad,’ and recorded it in 1920, the song would become one of Jolson’s signature tunes. It was in 1924 that George Gershwin composed his first major work, ‘Rhapsody in Blue,’ It was orchestrated by Ferde Grofé, (1892-1972) and premiered by Paul Whiteman’s (1890-1967) (see also best songs 82) Concert Band, in New York. It subsequently went on to be his most popular work, and established Gershwin’s signature style and genius in blending vastly different musical styles, including Jazz and Classical, in revolutionary ways.

Ella Fitzgerald (1917-1996) (see also best songs 944-231 and 100) and Louis Armstrong (1901-1971) (see also best songs 1039-767-231 and 100) had recorded together in the 1940’s for the Decca Records label. In 1956 they recorded the first of a further three Albums together, this time for the ‘Verve’ label. Their version of
‘They Can’t Take That Away from Me’ is featured on ‘Ella and Louis,’ with the production being by Norman Granz (1918-2001) (see also best songs 231) and was released in October 1956. The musicians who played on this song, and it’s parent Album, were the ‘Oscar Peterson Quartet,’ who were Oscar Peterson, (1925-2007) (piano) Herb Ellis, (1921-2010) (guitar) Ray Brown, (1926-2002) (bass) and Buddy Rich, (1917-1987) (drums) as well as sharing the vocals, Louis Armstrong also played the trumpet. In 1959 Ella Fitzgerald recorded the song again, this time as a solo artist, for her acclaimed Album ‘Ella Fitzgerald Sings the George and Ira Gershwin Song Book.’

They Can’t Take That Away from Me,’ and it’s parent Album ‘Ella and Louis’ were produced by Norman Granz, who was born on August 6th, 1918, in Los Angeles, California, United States, he died of cancer on November 22nd, 2001, at the age of 83. Norman Granz was a music producer who is acknowledged as ‘The most successful impresario in the history of Jazz.’ He was the founder of five record labels, including ‘Verve Records’ in 1956, which was the label that the ‘Ella and Louis’ Album was released on. Granz was also Ella Fitzgerald’s, and Oscar Peterson’s manager. Many other giants of Jazz, including Charlie Parker, (1920-1955) Art Tatum, (1909-1956) and Lester Young (1909-1959) also had their recordings issued on the ‘Verve’ record label. Granz was a champion of racial equality, insisting, for example, on integrating audiences at the concerts he promoted. Granz opposed racism and fought many battles for his artists, many of whom were black. Oscar Peterson recounted how Granz once insisted that white cabdrivers take his black artists as customers, while a policeman pointed a loaded pistol at his stomach. Norman Granz also was among the first to pay white and black artists the same salary, and to give them equal treatment even in minor details such as dressing rooms. He insisted on equal treatment for Ella Fitzgerald, in both pay and hotel accommodations.

‘The way your smile just beams, the way you sing off key. The way you haunt my dreams, no, no, they can’t take that away from me.’

THE 1000 BEST SONGS IN THE WORLD EVER.

287-Gary’s Gang-Keep on Dancin.’

1979-Number 8 single.

Best Bit-At 3.42. This Gary will not want to be confused with the other Gary, who was the leader of a completely different, and infamous gang.

‘Gary’s Gang’ who were a ‘Disco,’ ‘R&B,’ ‘Rock,’ and ‘Pop’ group were formed in 1977, in Queens, New York, United States, by Eric Matthew, (vocals and guitar) Gary Turnier, (percussion) Al Lauricella, (keyboards) Bob Forman, (saxophone and flute) Jay Leon, (trombone) and Bill Catalano, (percussion) Catalano is not the same William Catalano (1934-2005) who was a renowned Jazz trumpet player. They remained active util parting ways in 1985. The discography of Gary’s Gang includes two studio Albums which were both issued in 1979, the first was called ‘Keep on Dancin,” which peaked at Number 42 in America on Billboard, while the other was called ‘Gangbusters,’ which failed to chart. Gary’s Gang also released nine singles between 1978-1990, and although none of them reached the Billboard Hot 100, two of them ‘Keep on Dancin” and ‘Let’s Lovedance Tonight,’ both made Number 1 on the Billboard ‘Dance Club Songs’ chart. In the UK, their only top 40 single is ‘Keep On Dancin,” which reached Number 8, although two of their other tracks ‘Let’s Lovedance Tonight,’ (1979-Number 49) and ‘Knock Me Out,’ (1982-Number 45) just missed out on being hits. In 1990 a remix of ‘Keep On Dancin” called ‘Keep On Dancin’ 1990,’ made Number 98 in the UK.

‘Keep On Dancin” was the debut release, and the first of three singles released from the debut studio Album by Gary’s Gang of the same name, from 1979, ‘Keep On Dancin” was co-written and co-produced by the groups members Eric Matthew, and Gary Turnier. Eric Matthew was born Joseph William Tucci in 1953, in Queens, New York, United States, he is a record label owner, music producer, engineer, songwriter and guitarist, Eric Matthew started his career in music performing at weddings and other celebrations in the New York area. It was after producing a demo with fellow band member Gary Turnier, that he landed a record deal with the indie label ‘SAM Records.’ After the success of Gary’s Gang, Matthew established his own record label called ‘Radar Records,’ to write and produce for other artists, which included Toney Lee, France Joli, and Sharon Redd (1945-1992.) On a personal note I would highly recommend the 1982 song ‘Beat the Street’ by Sharon Redd,’ which Matthew co-wrote, and co-produced with the American music producer Darryl Payne.

‘Keep on Dancin’ can firmly be filed under the musical genre of ‘Disco.’ ‘Disco’ is a genre of ‘Dance Music’ that emerged in the late 1960’s from the United States’ urban nightlife scene. Disco was mostly developed from music that was popular on the dance floor in clubs that had started playing records instead of having a live band. These clubs were initially known as ‘discotheques,’ the term ‘disco’ is shorthand for the word discothèque, a French word for ‘library of phonograph records,’ derived from ‘bibliothèque.’ Discothèque became used in French for a type of nightclub in Paris, after they had resorted to playing records during the Nazi occupation in the early 1940’s. It was the Belgium born singer and nightclub impresario Régine Zylberberg, (1929-2022) who claimed to have started the first discotheque, and to have been the first club DJ in 1953, in the ‘Whisky à Go-Go’ in Paris. She installed a dance floor with coloured lights and two turntables so she could play records without having a gap in the music.

Disco music as a genre started as a mixture of music from venues popular among African Americans, Latino Americans, and Italian Americans, in New York City, and Philadelphia during the late 1960’s to the mid-to-late 1970’s. Disco can be seen as a reaction by the 1960’s counterculture to both the dominance of ‘Rock’ music and the stigmatisation of dance music at the time. Several dance styles were developed during the period of 1970’s Disco’s popularity in the United States, including ‘The Bump,’ ‘The Hustle,’ (see also best songs 690) and ‘The Bus Stop’ (see also best songs 798.) As with all popular genres of music, commercialism steps in, diluting the original product on occasions, for consumption by the masses. During the mid to late 1970’s when Disco was at it’s peak it seemed that everybody was jumping on the bandwagon, including ‘Rock Royalty’ of the calibre of The Rolling Stones (Miss You) (see also best songs 160) and Rod Stewart (Da Ya Think I’n Sexy?) Disco hit it’s peak in 1977 with the release of ‘Saturday Night Fever,’ an American dance drama film, and it’s soundtrack Album (see also best songs 211-184 and 35.)

What goes up must come down. In the late 1970’s Disco music received a major backlash from Rock music fans. Known as ‘Disco Demolition Night,’ on July 12th, 1979, at 6:00,pm CDT, at Comiskey Park, Chicago, Illinois, United States, at the end of a Major League Baseball game between Chicago White Sox, and the Detroit Tigers, a crate filled with Disco records was blown up on the field. The Chicago ‘shock jock’ and ‘anti-disco’ campaigner Steve Dahl was hired for the promotion. Dahl’s sponsoring radio station was ‘WLUP,’ 97.9 FM, and admission was discounted to 98 cents for attendees who turned up with a Disco record. Dahl was to destroy the collected vinyl in an explosion. A crowd of around 20,000 was expected, but it was closer to 50,000 that attended. Many of the records were not collected by staff and were thrown like flying discs from the stands. After Steve Dahl blew up the collected records, thousands of fans stormed the field and remained there until dispersed by riot police. Thankfully no one was killed, although there was in the region of 30 injuries. A second Baseball game planned for later in the evening had to be postponed. ‘Disco Demolition Night’ preceded, and may have helped precipitate, the decline of Disco in late 1979. Some scholars and disco artists have debated whether the event was expressive of racism and homophobia. ‘Disco Demolition Night’ remains well known as one of the most extreme promotions in ‘MLB’ history.

‘Keep on Dancin’ is one of the classic dance songs of the 1970’s Disco era. You wouldn’t be too far wide of the mark if you described the song as ‘cheesy-ish,’ but it is for all that, still definitely cool to like. The lyrics tell us that the narrator is really enjoying dancing to the music, but things would be even better if his love interest would join him on the dance floor.

‘Touch my body, make it Funky, got a feeling like I wanna fly, will you love me tonight. Dancin’ baby, don’t say maybe, don’t you really wanna fly with me, will you get high with me tonight.’

THE 1000 BEST SONGS IN THE WORLD EVER.

288-Lew Stone And His Band (Vocal Chorus by Sam Browne)-I Get Along Without Very Well (Except Sometimes.’)

1939-It has never charted in the UK. There was no UK chart until 1952.

Best Bit-At 0.09. The lyrics were written 15 years before the music was added, and the lyricist died before hearing or seeing the songs success.

‘I Get Along Without You Very Well (Except Sometimes’) was co-written by Hoagy Carmichael, (music) and Jane Brown Thompson, (lyrics) Carmichael based the main melodic theme on the ‘Fantaisie-Impromptu’ in C sharp minor, by Frederick Chopin (1810-1849.) In 1924 a friend of Carmichael’s showed him a magazine clipping of a poem he thought he might like, Carmichael did, and scribbled it down on the back of an envelope. 15 years later while having a clear out he came across the envelope, and this time decided to write music to the words, but he couldn’t release it until tracking down the poems author. Hoagy Carmichael asked his friend, the American radio presenter Walter Winchell (1897-1972) to broadcast on air a plea to find whoever had written the songs lyrics. Winchell said on air, ‘Attention, poets and songwriters! Hoagy Carmichael, whose songs you love has a new positive hit, but he cannot have it published. Not until the person who inspired the words communicates with him and agrees to become his collaborator. I hope that person is a listener now,’ Winchell then went on to quote some of the lines from the original 1923 poem. Around a month later two former employees of the now disbanded ‘Life’ magazine where the poem had first appeared came forward, and the author who was now a 71 year old widow living in a nursing home was found. Her name was Jane Brown-Thompson (1868-1939) who signed a contract where she would receive 3 cents per copy sold. The sad post-script to the story is that the song made it’s debut on the Dick Powell (1904-1963) radio show on January 19th, 1939, but unfortunately Mrs Thompson died the day before on January 18th, so never knew of her songs great success.

Hoagy Carmichael (see also best songs 185) was born Hoagland Howard Carmichael on November 22nd, 1899, in Bloomington, Indiana, United States, he died of a heart attack on December 27th, 1981, at the age of 82. Hoagy Carmichael who was named after a circus troupe called the ‘Hoaglands’ that had stayed at the Carmichael house during his mother’s pregnancy, was one of the most successful ‘Tin Pan Alley’ (see also best songs 669-535-443-412 and 397) songwriters of the 1930’s and 1940’s, and was among the first singer-songwriters to utilise new communication technologies such as old-time radio broadcasts, television, microphones, and sound recordings. Carmichael who wrote several hundred songs, is remembered as one of the most gifted songwriters of the 20th Century. Two of his best known compositions are ‘Stardust,’ written in 1927, which is now considered as a standard, and part of the ‘Great American Songbook,’ (see also best songs 281) and ‘Georgia on My Mind,’ (see also best songs 185) a song he wrote the music for in 1930. The music historian Ivan Raykoff described Hoagy Carmichael as ‘One of America’s most prolific songwriters,’ and an ‘Iconic pianist.’ his work appeared in more than a dozen Hollywood films, including his performances in classic films such as ‘To Have and Have Not, (1951) and ‘The Best Years of Our Lives’ (1946.)

‘I Get Along Without You Very Well (Except Sometimes’) has been covered numerous times over the years, with the best selling recording being by ‘Red Norvo (1908-1999) and his Orchestra, with vocals by Terry Allen (1916-1981) from 1939. The version I have chosen is the 1939 recording by Lew Stone, who was born Louis Stone on May 28th, 1898, in London, England, he died on February 13th, 1969, at the age of 70, Stone is best remembered as one of the most innovative, and imaginative musical arrangers of his era. The vocals on the track were provided by Sam Browne who was born on March 26th, 1898, in London, England, he died on March 2nd, 1972, at the age of 73, recording over 2000 songs during his career. Browne was a go to vocalist for several of the top bands of the 1930’s, and early 1940’s, including ‘Alfredo, and his Orchestra,’ and ‘Ambrose and his Orchestra.’ Sam Browne was often featured in radio broadcasts, and he had his own 15 minute programme called ‘Sing with Sam’ in 1947, on the ‘BBC Light programme.’ Browne was also featured in several British films, including Calling All Stars, (1937) Variety Parade, (1936) and Hi Gang, (1941) as well as on numerous film shorts. On November 3rd, 1941, he was travelling by train to fulfil an engagement in Bristol, when something crashed through the window and he fell to the floor. It was found that he had been shot in the jaw and neck. When the train reached Bath, Browne was taken to hospital and an operation was performed to remove a bullet.

The following lyrics are from the original poem written by Jane Brown Thompson in 1923.

‘I get along without you very well, of course I do
Except sometimes when soft rain falls
And dripping off the trees recalls
How you and I stood deep in mist
One day far in the wood, and kissed
But now I get along without you-well, of course I do’.