Word Association Wednesday: That’s the Thing to Do

Following Sunday’s Day Dream and rolling right into today’s WAW, my train of thought took a few scenic turns — there are so many songs with “dream” in the title. So why not go straight to Dream, the 1945 classic by Johnny Mercer.

🌙 The First Few Winks

Johnny was one of the bosses at Capitol Records at the time, and he handed the tune to his frequent collaborators The Pied Pipers, who recorded it in late 1944 for release in early ’45.

Let’s spin it:

That record was a huge hit, and it’s easy to hear why — it’s really a dream.

By then, June Hutton had stepped in as the Pipers’ lead singer, replacing Jo Stafford, who was busy becoming a solo star on Capitol.

💫 Frankie's Fantasy

Once the Pied Pipers’ version took off, other labels naturally jumped aboard. Over at Columbia, Frank Sinatra recorded it a little later in 1945:

The song fits young Frankie like a glove. Cue the bobby-soxers!

✨ Martin's Mirage

Singers like Sinatra were starting to take over in 1945, but big bands were still holding strong, so Victor had Freddy Martin cut Dream with vocalist Artie Wayne:

A typically smooth reading from the Martin band with a somewhat haunting vibe.

🌜 Jimmy’s Alto Apparition

Meanwhile, over on Decca, Jimmy Dorsey recorded the tune with Teddy Walters:

Jimmy’s alto floats right through that lush arrangement.

🌠 Castle in the Air

For one more band take, we head to the small Musicraft label, where trumpet star Lee Castle recorded his version with Tony Dexter:

Lovely trumpet work from Lee on that one.

💤 Santo & Johnny's Somnambulism

Plenty of other versions of Dream have appeared over the years. Let’s close out with this 1959 track on the Canadian American label from Santo & Johnny:

They’re in full Sleepwalk mode — and I love it!

Warehouse Whispers

Johnny Mercer was known primarily as a lyricist, and out of the approximately one zillion songs in his catalog, Dream is one of the very few for which he wrote both the lyrics and the music.

Quite a dream!

Threaded Thursday: How They Hypnotize

From yesterday’s detour into the 1938 Mercer/Warren tune that felt like it should’ve been in a Warner Bros. picture (Something Tells Me), we follow the thread to a 1938 Mercer/Warren song that actually was in a Warner Bros. movie: Jeepers Creepers, introduced in Going Places.

The song wasn’t just a hit — it was a big hit, Academy Award–nominated and instantly absorbed into the bloodstream of American pop.

We'll be spinning versions from its 1938–39 moment of peak popularity, let’s drop the needle...

Satchmo Starts the Spell

Louis Armstrong introduced the tune in the film and then cut his Decca version in January 1939:

It’s hard not to treat this as the definitive reading — the one that sets the hypnotic pattern.

Ethel Enters

But Satch wasn’t first in the studio. That honor goes to the wonderful Ethel Waters, who recorded it for Bluebird in November 1938:

I don’t usually slot Ethel into the novelty lane, but she handles the material with real ease.

Ford's Focus

Ford

Victor handed the tune to Larry Clinton, with Ford Leary on the vocal:

Ford was also a trombonist, so he’s similar to the Tex Beneke/Sully Mason side character, but not from the sax section and Ford was his middle name, not a nickname.

Pops' Swing Wing

Jack

Then there’s the king of the singer/trombonists, Jack Teagarden, singing with The Four Modernaires and Paul Whiteman’s Swing Wing for Decca:

Always fascinating to hear the Modernaires before their Miller years.

And yes — this is the version used in the 2001 horror film Jeepers Creepers. Not my beat either.

Paula's Peepers

Future Modernaires partner Paula Kelly sings it with Al Donahue’s band on Vocalion:

I’ll say it again: Paula was an underrated canary.

Leo Leaps In

Leo on left, Gene on right

The wonderfully unpredictable Leo Watson gives a relatively “straight” vocal with Gene Krupa on Brunswick:

“Straight” being a very relative term in Leo‑land! Hear more Leo here.

The Mills Make Eyes

A terrific Mills Brothers version — issued by Brunswick only in England at the time:

It sounds exactly like what the Mills Brothers singing Jeepers Creepers in 1939 should sound like!

Ambrose & Evelyn Abroad

While we’re in England, here's Ambrose and his Orchestra with Evelyn Dall on British Decca:

A sharp, stylish arrangement — very Ambrose.

Hot Club Creeping

Then to France for the Quintette of the Hot Club of France:

Django and Grappelly never miss!

A Four‑Vocalist Free‑for‑All

We close with a Benny Goodman Camel Caravan aircheck from January 17, 1939 — four vocalists, each taking a turn. I won't spoil who they are, Johnny Mercer will let you know:

You can probably guess who I think walked away with it.

And One More Cartoon Thread

Before we leave the hypnotic spell of this tune: I have to mention that there was a 1939 Looney Tune titled Jeepers Creepers. A fun watch — and another place where the song’s DNA seeped into the culture.

And yet, after all this spinning…we're still no closer to knowing where those peepers came from!

Word Association Wednesday: Telling Something

For today’s WAW spin‑off from Something to Live For, the logical landing point — at least for me — is the 1938 Johnny Mercer–Harry Warren tune Something Tells Me.

It had a surprisingly busy little year, popping up across labels, bands, and even an animated operating room.

Fats Starts the Conversation

The first version out of the gate was Fats Waller’s Victor recording:

Fats gives it that patented sly, side‑eye delivery — but he’s not mocking the song. He’s just letting it wink.

Bluebird Brightness: Jan Savitt & Bon Bon

Recorded just after Fats but released a bit earlier was the Bluebird entry by Jan Savitt and his Top Hatters, featuring George “Bon Bon” Tunnell:

I’ve said it before and I’ll say it again: Bon Bon was one of the best band vocalists of the era!

Kay’s “Sassy” Sully Session

Kay Kyser brought the tune to Brunswick with Sully Mason on the vocal:

Maybe it’s my imagination, but it always sounds like Kay introduces him as “Sassy” Sully Mason.” Sully is a prime example of one of my favorite side characters — the sax‑section guy with a fun nickname who steps up to the mic for a novelty vocal!

Sweet Bands and Bell Music

Even more gimmicky than Kyser’s late‑’30s outfit were Bert Block and his Bell Music, who cut the tune for Vocalion with Bill Johnson singing:

These late‑1930s sweet bands have a charm all their own — a kind of earnest, slightly sugary optimism.

Decca Doubles: Will Osborne & Louis Armstrong

Decca issued two versions. First up: Will Osborne with canary Janice Todd:

Those wonderfully slurpy trombones are pure period flavor too!

And then, the heavy hitter: Louis Armstrong:

Satch gives the song a little grit and credibility after all that sweetness while still keeping it fun.

Across the Pond: Silvester Steps In

For one more spin, let's hop over to England for Victor Silvester and his Ballroom Orchestra:

Silvester made mountains of dance‑oriented records, and you can practically see a couple quick‑stepping across a parquet floor to this one.

A 1938 Time Capsule

The song didn’t travel far beyond its debut year, but it remains a delightful artifact — a snapshot of how a mid‑tier pop tune could ripple across labels, bands, and styles in the late ’30s.

Warehouse Whispers

You’d think a Johnny Mercer–Harry Warren song published by Warner Bros. would’ve come from a movie. Something tells me it was probably part of a stack of tunes written by the pair — some destined for films, some left to float around the publishing department.

But all was not lost: The tune did find a second life in several Warner Bros. cartoons, most notably 1938’s The Daffy Doc:

Recognizing popular songs in Carl Stalling’s scores for Looney Tunes and Merrie Melodies never stops being a thrill — like catching a familiar face in a crowd of animated chaos!

Threaded Thursday: The Giant Typewriter

We’ve spent the last few days counting Three Little Words and hearing how Ev'ryone Says 'I Love You', even adding P.S. I Love You to a letter! But today, we finally find ourselves completely speechless with a song that claims the English dictionary simply isn't big enough: "Too Marvelous for Words."

The Association: "Words"

Written in 1937 by lyricist Johnny Mercer with composer Richard Whiting, this tune is a masterclass in clever writing. It’s the ultimate "word" song because it’s about the failure of words to do the job! Johnny Mercer was the goods!

The song was introduced in the Warner Brothers movie Ready, Willing and Able, where it was featured as part of a famous musical number performed on a giant typewriter. Naturally, the record labels were ready and willing to get this one onto wax immediately.

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The First Out: The Casa Loma Orchestra (1937)

The first act to record the tune was Glen Gray and the Casa Loma Orchestra. When we last checked in, vocalist Kenny Sargent was adding the P.S., but now he's at a loss for words!

Let's spin the Decca Record:

The Big Hit: Bing Crosby (1937)

The most popular version at the time came from Bing Crosby (also for Decca), backed by Jimmy Dorsey and his Orchestra. Bing was at the peak of his powers here, proving why he was the king of the "croon" for the decade.

I do like how Bing includes the verse, a luxury allowed to a solo singing star that band singers did not enjoy in 1937!

The Radio Star: Phil Harris (1937)

I'm kind of partial to this version on Vocalion by Phil Harris. Phil had joined Jack Benny's radio show just the year before; while he would eventually become known for his comedic timing, at this point, he was still very much established as a top-tier musician and bandleader.

The "Hot" Take: Chu Berry & Hot Lips Page (1937)

For a really fun, contemporary take on the song, we turn to a studio group headed by tenor sax great Chu Berry on Variety Records. This one features the legendary trumpeter Hot Lips Page supplying the vocal, giving the "marvelous" lyrics a bit more grit and swing.

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They're all just too marvelous! Do you prefer the polished Casa Loma sound, or does the Chu Berry "Hot" take win the day?

Word Association Wednesday: The Postscript

We’ve spent the last few days hearing those Three Little Words (1930) and seeing how Ev’ryone Says ‘I Love You’ (1932). Today, we move into 1934 to see what happens when you decide to commit those words to paper.

The Association: "Words"

Written by the legendary Johnny Mercer and Gordon Jenkins, P.S. I Love You is a masterclass in the power of the "written word." Mercer had a genius for the mundane; the song is structured like a casual letter - mentioning the weather and such - only to drop the real message in the postscript!

The Original: Rudy Vallée (1934)

Rudy Vallée and his Connecticut Yankees took this straight to the top of the charts in 1934. Rudy’s signature croon—often delivered through his famous megaphone—was the perfect fit for a song that feels like an intimate, private letter meant for only one set of eyes. 

Let's spin his Victor record:

Rudy's career went on for decades after 1934, but he was getting past his peak as a romantic singing star, getting shoved aside by the Crosby and Columbo types.

The "Everyone is Saying It" Connection: Eddie Stone (1934)

Remember Eddie Stone? On Monday, we heard him with Isham Jones's orchestra proving that "everyone" was saying those three little words in 1932. By 1934, Eddie was leading his own band on the Bluebird label, and he seems to have decided that some things are better put in writing. 

I really like Eddie Stone's vocals. He's got his own distinctive style. Kind of a sly, conversational delivery with a touch of humor. No one else sounded quite like him!

The Casa Loma Letter: Glen Gray (1934)

Finally, we have Glen Gray and the Casa Loma Orchestra on Decca. This version features a smooth, heartfelt vocal by Kenny Sargent. 

Kenny's another singer who had his own delivery that set him apart from the typical band vocalists of the day. You always know it's him when you drop the needle on a Casa Loma record!

The Casa Loma band, now officially billed with Glen Gray as leader, was featuring more vocals by this point, contrasting with their earlier fast-paced instrumentals like Casa Loma Stomp. 

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Do you still find yourself reaching for a pen and paper to say what's on your mind, or has the "Postscript" become a lost art in the age of the text message?

"Winter Wonderland" - Part 3 - The Revival!

So, we heard a bunch of versions of "Winter Wonderland" from the song's initial period of popularity that followed its publication in 1934.

It seems that the song was then largely forgotten, as is the case with most popular songs of the day, as new songs came along. It certainly was a long way from becoming the perennial seasonal standard that it's become.

In fact, I don't the song was recorded for another ten years or so after 1935, but it came back in a big way after WWII was over.

For some reason (maybe post-war audiences were nostalgic?), 1946 saw three new popular versions of "Winter Wonderland" on major labels!

Leading the way was Johnny Mercer on Capitol Records. We heard it back here, but let's listen again:

Nice, mellow vibe from Johnny with the Pied Pipers and Paul Weston's orchestra.

Perry Como had the swingiest take on the song on RCA Victor, which we first heard back here, but it's definitely worth another listen:

That's probably my favorite vintage version. I like how the Satisfiers are billed right up there with Perry!

Decca Records also got in on the act with the original "Winter Wonderland" hit-maker, Guy Lombardo, teamed with the Andrews Sisters:

This was the flipside of "Christmas Island," making for a popular record.

I think the Lombardo band sounds less Lombardo-ish here, giving a nice background for the Sisters.

They include the rarely heard verse in the middle, which is fun!

With these three records all selling well and the business of seasonal records getting bigger and bigger, "Winter Wonderland" was on its way to becoming a seasonal perennial!

RCA Victor was back in 1947 with Sammy Kaye's recording as part of the ten-inch album "Year 'Round Favorites":

That's old school "Swing and Sway" with the singing song title at the beginning and vocalist introduction by Sammy in the middle!

Also in 1947, as we heard here, the small Signature label released a great version by Johnny Long and his Orchestra with vocalist Francey Lane:

Love it!

It took a couple of years for the other major record label, Columbia, to get with the program, but in 1949 they released this fine version by Buddy Clark:

Good backing from the Girl Friends and Ted Dale's orchestra.

This was paired with "Merry Christmas Waltz" and was also recorded at Buddy's last studio date.

Lots of good music in the post-war Winters!

"Jingle Bells" - Part 15 - Johnny Mercer!

While we're still hanging around Capitol Records digging up "Jingle Bells" recordings, we come across Johnny Mercer!

Johnny Mercer was one of the greatest lyricists in pop music history with an incredible list of hit songs over 30 or so years.

Johnny Mercer (left) with Capitol Records co-founders Glenn Wallichs and B.G. DeSylva

Along the way, he also co-founded Capitol Records in 1942 and recorded several successful singles for the company.

For our current purposes, Johnny recorded an extremely snappy version of "Jingle Bells" in 1947 with the Pied Pipers vocal group and Paul Weston's studio orchestra:

Presumably Johnny was responsible for the updated lyrics which add to the fun! 

And props for questioning what "up sot" means!

And was the inevitable flipside of this record? Naturally:

More updated lyrics with such a great 1940s sound!

The year before, Johnny recorded a mellow version of "Winter Wonderland" along with his frequent collaborators, the Pied Pipers and Paul Weston:

That track was reissued a couple of times with different non-holiday flipsides.

So, I think Johnny Mercer only had those three holiday/seasonal recording, so he never did get the EP treatment from Capitol!

The Pied Pipers did get this non-holiday EP in 1956 with a cool, ever-so 1956 cover:

The title song, "Dream," was written by Johnny Mercer and was a huge hit for the Pied Pipers in 1945:

That's as dreamy as a record named "Dream" should be!

June Hutton with the Pied Pipers

Jo Stafford had been the lead singer for the Pied Pipers when they came to prominence with Tommy Dorsey's band and when they first signed with Capitol Records, but June Hutton had replaced her when Jo started her own hugely successful solo career.

Hey, let's throw in a June Hutton recording of a sort-of "Jingle Bells"-esque song with backing from Axel Stordahl:

June and Axel were married at the time, as were Jo Stafford and Paul Weston!

Romance in the air at Capitol Records!