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BABY BLUE SONG THAT CAME ON MY MP3 PLAYER WHO SINGS IT MOVIE
BABY BLUE SONG THAT CAME ON MY MP3 PLAYER WHO SINGS IT FULL

BABY BLUE SONG THAT CAME ON MY MP3 PLAYER WHO SINGS IT MOVIE

BABY BLUE SONG THAT CAME ON MY MP3 PLAYER WHO SINGS IT FULL

It’s meant that only for a little over 50 years out of several centuries’ use, and the “second full moon” meaning is actually the result of a mistake. (By the way, if you think you know what the phrase “blue moon” actually refers to - a second full moon in a single month - think again. Lyrics for “Blue Moon Revisited (Song for Elvis)”:īlue Moon, you knew just what I was there for She makes a couple of passes through the lyrics, broken by a couple of instrumental solos from her sidemen (saxophone and trumpet). I don’t have a copy of that, but this recording by Billie Holiday is from about the same era. I’ll precede each of the five little audio player widgets with a couple of brief notes on the corresponding version.īillie Holiday: The first version of “Blue Moon” recorded as a single was by Connee Boswell, in January, 1935. (Wikipedia lists several dozen.)īelow, I offer five different versions - each unique in some way. Search Amazon for it and you’ll come up with hundreds of versions, by hundreds of performers. In this form (more or less, as I said), “Blue Moon” has been amazingly popular. I heard somebody whisper, “Please adore me.” Life’s little ironies, eh? (As also says, this final version was Lorenz and Hart’s only hit which wasn’t written for stage or screen - just as a one-off number.)Īnd then there suddenly appeared before me, Just to show he could do it, and with a large measure of cynicism, Hart wrote the lyrics to “Blue Moon.” Although he did not personally like the song, it soon became a number one hit, a million-seller in sheet music sales, and, in the end, his most popular song. It was not long after this that music publisher Jack Robbins offered a “deal” to the songwriting team: If Hart would write a more commercial lyric, Robbins would “plug it from one end of the country to the other.” Robbins suggested the song should be one of those Tin Pan Alley love songs with the words June, moon, and spoon. Here’s the summary of how the final lyrics came about in 1935, courtesy of the site: Here are those four lines in this version:īy now you’d think Lorenz Hart was pretty sick of rewriting the damned thing, and who could blame him? But the tune was again remade (and finally appears in the film), this time as “The Bad in Every Man” - in which form Shirley Ross sang it… and it wasn’t discarded this time around. This time around, the tune became the title number, and was also called “It’s Just That Kind of Play.” Here’s a portion of the refrain, which you can compare with the above lyrics for “Blue Moon” and “Prayer”:Īgain, the studio chopped “It’s Just That Kind of Play” from the film. New life came along in the form of another film, 1934’s Manhattan Melodrama (famous as the film which John Dillinger saw right before being shot to death outside Chicago’s Biograph Theatre).

It’s nice (?) to know that writers aren’t the only creative types whose work gets run through the editorial wringer: in the event, Jean Harlow didn’t appear at all in Hollywood Party - and neither did “Prayer”! Below, on the left, are the lyrics from the most familiar passage of what we know as “Blue Moon” on the right, the corresponding lyrics from “Prayer”: Blue moon,

In this form, called “Prayer,” it was meant literally as a prayer to be sung by Harlow’s character. The song was originally written (by Lorenz Hart and Richard Rodgers) to be sung by Jean Harlow - of all performers - in a 1933 MGM film called Hollywood Party. While the music remained unchanged, its lyrics didn’t simply evolve: they mutated almost overnight, going through three versions before finally settling down into their fourth and (more or less) final variation. “Blue Moon” didn’t begin as a classic - not in the form it eventually acquired. Some great songs go through subtle changes over time: the original lyrics are updated to correspond to more modern diction and taste rhymes get improved or dropped altogether refrains are added and subtracted and of course new arrangements can, with the slightest addition of an instrumental passage, change our very understanding of what a song means.