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!

Threaded Thursday: Waltzing and Swinging with Cinderella

Following yesterday’s tune, When a Prince of a Fella Meets a Cinderella, we keep the thread going with what might be the fella’s reply — the charming 1938 waltz Cinderella (Stay in My Arms).

British Beginnings

The song comes from British songwriters Jimmy Kennedy and Michael Carr, and it first appeared on record that same year courtesy of Joe Loss on Regal Zonophone, with the velvet‑voiced Chick Henderson:

Very lovely!

Ambrose Takes a Turn with Vera

Another major British bandleader, Ambrose, also took a shine to the tune in 1938. His Decca version features longtime star vocalist Vera Lynn:

It’s interesting that the lyrics weren’t gender‑flipped for Vera — perhaps the rewrite would have felt too clunky on the tongue.

Vera's Verse

Even more interesting: Vera recorded another version, in 1939, again for Decca, this time backed by The Six Debutantes:

This one includes the middle verse, which clarifies that Vera is quoting the fella’s plea to Cinderella rather than addressing Cinderella herself. A neat little narrative pivot tucked inside a pop waltz.

Glenn and Ray Crash the Ball

By 1939 the tune had crossed the Atlantic, and American bands began picking it up. Glenn Miller recorded it for Bluebird with Ray Eberle:

The Miller band was really hitting its stride here — and Glenn even steps forward with a pair of warm, confident trombone solos.

Jack Joins the Party

Of course, Glenn’s trombone was no match for the great Jack Teagarden, who both plays and sings his own version for Brunswick:

By this point the song has been fully de‑waltzed, but what a joyful, easygoing record it becomes in Jack’s hands.

Paula Brings the Pep

We return to a female vocalist with this Vocalion side by Al Donahue featuring Paula Kelly:

Paula really swings it — light on her feet, but with a little kick.

Carmen Cuts In

And for variety, here’s one more version that restores the tune to its waltz roots: Guy Lombardo and His Royal Canadians, with brother Carmen Lombardo on the vocal, for Decca:

It says something about a song when both Jack Teagarden and Carmen Lombardo can sing it as though it were tailor‑made for them!

Final Footnote: A Dance Card Full of Charmers

Cinderella has met a lot of fellas — and a few gals — along the way. Which version waltzes (or swings) its way into your heart?

Friday Fun: Lots of Stairs

We’ve spent the last couple of days with some devilish music and are even currently enduring Friday the 13th, so what better way to climb back up from down below than with a Stairway to the Stars?

I’ve rounded up every version I could find from 1939, the year the song was published after being adapted from Frank Signorelli and Matty Malneck’s 1936 instrumental Park Avenue Fantasy, now with Mitchell Parish’s lovely lyrics. You can read more about the original here.

We have an even dozen, so let’s get started!

Glenn Miller and his Orchestra (Bluebird)

For me, this is the definitive version. The Miller band was hitting on all cylinders at this point. Ray Eberle’s vocal here sounds much more polished than on My Reverie, recorded less than eight months earlier. This song also perhaps suits him better.

Jimmy Dorsey and his Orchestra (Decca)

Always interesting to compare Bob Eberly to his younger brother Ray when they sang the same song. I agree with the general consensus that Bob was the better all‑around singer. I think Bob lifted the J. Dorsey band to greater heights while Ray kind of went along for the ride as the Miller band ascended the heights, you know?

Kay Kyser and his Orchestra (Brunswick)

We catch the Kyser band at the peak of its shticky‑sweet formula, complete with the singing song title. Harry Babbitt saves it with the vocal. Kay was hugely popular at the time and in 1939 starred in the first of several successful movies, RKO’s That’s Right, You’re Wrong!

Swing and Sway with Sammy Kaye (Victor)

Sammy Kaye was even more locked into the sweet‑band formula than Kyser, also employing the singing song title gimmick. While Sammy stayed in this lane, Kyser’s band would eventually prove to be much more versatile. Sweet bands depended on their vocalists and Jimmy Brown was an asset to the Kaye band.

Personally, I don't mind the singing song titles, but I don't care for the spoken introduction of the vocalist during the song. It takes me out of the mood. And this is coming from someone who digs gimmicks!

Ella Fitzgerald and the Chick Webb Orchestra (Decca)

Ella brings us out of the sweet‑band world with a great take. She was fronting the late Chick Webb’s band at this point, just before her solo career really took off.

Al Donahue and his Orchestra (Vocalion)

Al Donahue’s band wasn’t overly sweet, but not really swinging either - a pleasant, middle‑lane outfit. Paula Kelly, though, is always awesome.

Carroll Gibbons and the Savoy Hotel Orpheans (Columbia)

A trip across the pond to England! Vocalist George Melachrino would later find great fame as a conductor, but he certainly had the pipes for this. I like this one quite a bit!

Greta Keller (Decca)

Austrian-born cabaret star Greta Keller brings a wistful, world-weary vibe that adds a touch of sophistication to the climb.

Martha Raye (Brunswick)

You’d think we’d be going from the sublime to the ridiculous here, but Martha plays it straight. She was a talented singer, though her comic gifts (and large mouth) were too great for Hollywood to ignore. Her then‑husband Dave Rose provides the accompaniment.

Chick Bullock and His Levee Loungers (Vocalion)

Prolific session singer Chick Bullock fronts a studio band here. He was a total pro and in-demand for a reason.

Kenny Baker (Victor)

Tenor star Kenny Baker sounds great! He had come to prominence on the Jack Benny radio show but branched out into just about every entertainment field. In 1939, he co‑starred in MGM’s At the Circus with the Marx Brothers. Groucho took the vocal honors in that film with Lydia, the Tattooed Lady, however!

The King’s Men (Vocalion)

We wind up with The King’s Men. Fans of the Fibber McGee and Molly radio show will instantly recognize the quartet’s trademark blend. It’s a treat to hear a Ken Darby vocal arrangement on a ballad rather than their usual novelty fare they performed on the show.

We’ve now climbed twelve flights of the stairway, so we’re well and truly in the stars. Which version elevates you the most?