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Glenn Miller - In The Mood

Glenn Miller - In The Mood Lyrics and Youtube Music Videos

Album: In The Mood
Released: 1939

In The Mood Lyrics

Who's the loving daddy with the beautiful eyes
What a pair o' shoes, I'd like to try 'em for size
I'll just tell him, "Baby, won't you swing it with me"
Hope he tells me maybe, what a wing it will be
So, I said politely "Darling may I intrude"
He said "Don't keep me waiting when I'm In The Mood"

First I held him lightly and we started to dance
Then I held him tightly what a dreamy romance
And I said "Hey, baby, it's a quarter to three
There's a mess of moonlight, won't you share it with me"
"Well" he answered "Baby, don't you know that it's rude
To keep my two lips waiting when they're in the mood"

In the mood, that's what he told me
In the mood, and when he told me
In the mood, my heart was skipping
It didn't take me long to say "I'm in the mood now"

In the mood for all his kissing
In the mood his crazy loving
In the mood what I was missing
It didn't take me long to say "I'm in the mood now"

So, I said politely "Darling may I intrude"
He said "Don't keep me waiting when I'm in the mood"

"Well" he answered "Baby, don't you know that it's rude
To keep my two lips waiting when they're in the mood"

Who's the loving daddy with the beautiful eyes
What a pair o' shoes, I'd like to try 'em for size
I'll just tell him, "Baby, won't you swing it with me"
Hope he tells me maybe, what a wing it will be
So, I said politely "Darling may I intrude"
He said "Don't keep me waiting when I'm in the mood"

First I held him lightly and we started to dance
Then I held him tightly what a dreamy romance
And I said "Hey, baby, it's a quarter to three
It's a mess of moonlight, won't you share it with me"
"Well" he answered "Baby, don't you know that it's rude
To keep my two lips waiting when they're in the mood"

Writer/s: HUNTLEY, ALEXANDER PAUL KAPRANOS / MCCARTHY, NICHOLAS JOHN / HARDY, ROBERT / THOMPSON, PAUL ROBERT
Publisher: Universal Music Publishing Group, SHAPIRO BERNSTEIN & CO. INC.
Lyrics licensed and provided by LyricFind

In The Mood

This is one of the most recognizable and popular big band songs. Miller recorded it in 1939 and the song became wildly popular in early 1940, shortly before Billboard began publishing its "Music Popularity Chart." This makes it hard to gauge the song's appeal at the time, but it helped Miller become the top bandleader in the world - in that first Billboard chart he held down three of the Top 10 places.

"In The Mood" is an expression that indicates a desire to have sex. It's pretty innocent now, but was a little racy at the time.

This song was written by the Tin Pan Alley composers Joe Garland (music) and Andy Razaf (lyrics). Garland was the tenor sax player and arranger with Edgar Hayes and his Orchestra. The Hayes band recorded "In The Mood" for Decca Records in February 1938, 18 months before Miller recorded the tune. Later in 1938, Artie Shaw played the tune on the air in a 6-minute-plus, rather plodding arrangement. Glenn Miller reworked the arrangement, first played it in late July 1939 (a version is extant on CD), and recorded it for Bluebird on August 1, 1939 (Bluebird B-10416-A). The rest is history; he played it quite often on the air, featured it in his first film Sun Valley Serenade (1941), and continued to play it when he disbanded and joined the Army Air Corps (the 418th AAF Training Command Orchestra).

This was based on a song called "Tar Paper Stomp" which was recorded in 1930 by Joseph "Wingy" Manone, who was a bandleader from New Orleans. Manone later had his own remake called "Jumpy Nerves" on Bluebird (the label on which Miller's "In The Mood" was first issued).

In 1977, The Henhouse Five Plus Two (an alias of novelty singer Ray Stevens) had a top 40 hit in both the UK and US with his version of this song, which was basically Stevens imitating chickens clucking the tune.

Beatles producer George Martin had the orchestra play a little bit of this song at the end of "All You Need Is Love." (thanks, Chet - Greenfield Center, NY)

Glenn Miller - When the Swallows Come Back to Capistrano

Glenn Miller - When the Swallows Come Back to Capistrano Lyrics and Youtube Music Videos

Album: Greatest Hits
Released: 1939

When the Swallows Come Back to Capistrano Lyrics

When the Swallows Come Back to Capistrano
That's the day you promised to come back to me
When you whispered, "Farewell" in Capistrano
T'was the day the swallows flew out to the sea

All the mission bells will ring
The chapel choir will sing
The happiness you'll bring
Will live in my memory

When the swallows come back to Capistrano
That's the day I pray that you'll come back to me!

Writer/s: RENE, LEON T.
Publisher: Warner/Chappell Music, Inc., SHAPIRO BERNSTEIN & CO. INC.
Lyrics licensed and provided by LyricFind

When the Swallows Come Back to Capistrano

This song was written by Leon René, who also composed the Jazz standard "When It's Sleepy Time Down South" and "Rockin' Robin," which was a hit for both Bobby Day and Michael Jackson.

René was based in Los Angeles, and about 50 miles away from San Juan Capistrano, where a flock of swallows famously returns to a mission church every March, departing in October. René built the return of the swallows into the storyline of the song, as his heartbroken singer prays for the return of his love, who had promised that she would come back with the swallows, but never did.

Leon René came up with the idea for this song when he was in bed one morning recovering from tuberculosis. His wife had not brought him his morning meal, so he quipped, "Maybe when the swallows come back to Capistrano, I'll get my breakfast."

He thought this could make a good line for a song, and started composing his story. When his wife brought him his breakfast, she told him that she liked the idea, and Leon completed the song.

After Leon René wrote this song, he had a hard time getting a publisher to take it. Shapiro, Bernstein & Co., which was one of the major publishing houses, asked him to change the title to "When the Swallows Come Back to Alabama," since they figured nobody would know where Capistrano was. René refused to change it, and eventually the publishing arm at Warner Brothers took the song, giving René a much-needed $500 advance.

The investment paid off for Warner Brothers, as the song was recorded by many big names and sold very well as sheet music. In addition to Glenn Miller, the song was also recorded by the Ink Spots, Pat Boone and Elvis Presley.

Frank Sinatra - All Or Nothing At All

Frank Sinatra - All Or Nothing At All Lyrics and Youtube Music Videos

Album: All Or Nothing At All
Released: 1939

All Or Nothing At All Lyrics

All Or Nothing At All
Half a love, never appealed to me
If your heart, never could yield to me
Then I'd rather have nothing at all

All or nothing at all
If it's love, there is no in between
Why begin then cry, for something that might have been
No I'd rather have nothing at all

Oh please don't bring your lips so close to my cheek
Don't smile or I'll be lost beyond recall
The kiss in your eyes and the touch of your hand makes me weak
And my heart may go dizzy and fall

And if I fell under the spell of your call
I would be, caught in the undertow
And so you see, I've got to say no, no
All or nothing at all

All or nothing at all

Writer/s: ARTHUR ALTMAN, JACK LAWRENCE
Publisher: CARLIN AMERICA INC
Lyrics licensed and provided by LyricFind

All Or Nothing At All

A songwriter named Arthur Altman wrote the music for this in 1939. The song needed lyrics, so music publishing mogul Lou Levy asked his friend Jack Lawrence to help out. Lawrence had written many popular songs, including "Foolin' Myself" for Billie Holiday, "What Will I Tell My Heart?" for Bing Crosby, and "If I Didn't Care" for The Ink Spots. He agreed and added lyrics to the song. Altman made a few changes to the melody to accommodate the lyrics.

After this was written, Lou Levy found three prominent orchestras to record it. One of the orchestras was led by Freddy Martin, another by Jimmy Dorsey (with vocals by Bob Eberly), and the third by Harry James. James had recently discovered a 24-year-old vocalist from Hoboken, New Jersey, named Frank Sinatra, who sang this in his version. Despite strong renditions from big-name orchestras, all three singles disappeared without a hint of public interest. Even though this was a flop, Sinatra's career took off. He joined Tommy Dorsey, the most successful bandleader of the early '40s, and became the featured vocalist on 39 Top-20 singles. He was a heartthrob sensation, headliner and show business icon. He was the most talked-about performer in the music industry and signed a deal with Columbia Records, one of the biggest labels in the business.

In 1943, in order to obtain both more pay and benefits for its members, the American Federation Of Musicians instituted a "Record Ban" that prohibited professional musicians from all recording activities. At first, the record companies weren't worried. They thought the public wouldn't know, or (especially in current wartime conditions) care whether skilled musicians were performing on the records they purchased. The market was soon flooded with unaccompanied singing groups, amateur accordion players, kazoo bands, bagpipe recitals and harmonica combos. As is the case whenever the public is underestimated, the market was soon drowning in unsold recordings. At Columbia Records, panic prevailed. They had the hottest new singer in show business on their roster and could not record him. Lou Levy came up with the solution for both this particular problem and for the music business in general - since the musician's union was restricting only current recording, they could reissue previous failed recordings by current stars. They found Sinatra's 1939 recording of this song and changed the label credit from "The Harry James Orchestra with vocal by Frank Sinatra" to "Frank Sinatra" with "accompanied by Harry James Orchestra" in small print. This time, the song was a huge hit. It stayed near the top of the charts for half a year and was followed by another 116 Top 40 songs by Sinatra over the next four decades.

In a 1944 interview, Sinatra said: "That was the song, a few days after Harry James and myself recorded it, that gave us our walking papers out of the old Victor Hugo Cafe (a major entertainment venue of the 1930s) on the Sunset Strip in Hollywood. The manager came up and waved his hands for us to stop. He said Harry's trumpet playing was too loud for the joint and my singing was just plain lousy and fired Harry, me and the entire band on the spot. He said the two of us couldn't draw flies as an attraction, and I guess he was right - the room was as empty as a barn. It's a funny thing about that song. The recording we made of it five years ago is now one of the top spots among the best sellers. But it's the same old recording. It's also the song I auditioned with for Tommy Dorsey, who signed me on the strength of it. And now it's my first big record."

In 1954, and obscure singer named Joe Foley hit #28 with his version.

In 2000, Jack Lawrence accepted an invitation by the Sheet Music Magazine bimonthly to write an article on song verses. He realized that this and some of his other enduring songs didn't have verses, so he wrote new lyrics to correct the oversight.

This remains one of the most recorded American song standards. It has been recorded by vocalists Sarah Vaughan, Ella Fitzgerald and Perry Como, as well as Jazz musicians like John Coltrane, George Shearing, Count Basie and Chet Baker. Other artists to record it include Barry Manilow, Diana Krall, Little Jimmy Scott, Al Jarreau and Little Anthony And The Imperials. (Thanks to Carlin America publishing. For more, check out www.carlinamerica.com )

Charles Pignone, Vice President of Frank Sinatra Enterprises, told us that Sinatra often called this song his first hit and would return to it again and again, reworking it as a ballad and as an uptempo number with a Nelson Riddle arrangement for Strangers in the Night. "That was a song that he continued to sing up until he retired in 1995," Pignone recalled. "And that song came in and out of his concert repertoire through the years, and he always spoke of it very fondly."

Max Steiner - Tara's Theme

Max Steiner - Tara's Theme Lyrics and Youtube Music Videos

Album: Gone With The Wind
Released: 1939

Tara's Theme Lyrics

Tara's Theme Song Chart

"Tara's Theme" is the opening music from and the main theme of the epic film Gone With The Wind. Composed by Max Steiner, it would later have lyrics added by Mack David to become "My Own True Love." (thanks, Alexander Baron - London, England)