Good morning my dearest Henkie !!!! I hope, you have slept well !!!!!! Thank you for this beautiful medley !!!!! Tennessee waltz is one of my favorites !!!!!! It is very quiet !!!! Earlier people began shooting just after Christmas, but this year it has been forbidden !!!! It is only allowed to shoot New Year`s Eve and 1st January !!!!!! It is good for our animals !!!!! Most of them are terrified !!!!! I remember my dog Mikki - he was shaking every time there was shooting !!!!!!!! My sweet friend, I wish Elly and you a lovely Monday !!!!!! Your eternal friend Jytte
Goodmorning my dearest Jytte !!!!! Welcome in this new musical week !!!!! I thank you that you like my streetorganrecord !!!!! I have slept verry well and I hope that you did the same !!!!! Overhere they are alreddy shooting a couple days !!!! At the yearchange we keep our cat inside !!!!! I wish you a beautiful Monday Jytte !!!! Yours always faithful Henk !!!!!
0:27 *"Tennessee Waltz"* is a popular country music song with lyrics by Redd Stewart and music by Pee Wee King written in 1946 and first released in January 1948. The song became a multimillion seller via a 1950 recording - as "The Tennessee Waltz" - by Patti Page. All versions of the lyrics narrate a situation in which the persona has introduced his or her sweetheart to a friend who then waltzes away with her or him. The lyrics are altered for pronoun gender on the basis of the gender of the singer. The popularity of "Tennessee Waltz" made it the fourth official song of the state of Tennessee in 1965. Page's recording was inducted into Grammy Hall of Fame in 1998. Composition and early recordings Pee Wee King, Redd Stewart, and their fellow Golden West Cowboys members were en route to Nashville "close to Christmas in 1946" when King and Stewart, who were riding in a truck carrying the group's equipment, heard Bill Monroe's new song "Kentucky Waltz" on the radio. Stewart had an idea to write a Tennessee waltz using the melody of King's theme song: "No Name Waltz" and wrote the lyrics on a matchbox as he and King thought up the words. King and Stewart presented "Tennessee Waltz" to music publisher Fred Rose the next day, and Rose adjusted one line in the bridge of Stewart's lyric from "O the Tennessee waltz, O the Tennessee Waltz," to "I remember the night and the Tennessee Waltz." Almost a year passed before Pee Wee King's Golden West Cowboys were able to record "Tennessee Waltz". Their recording, made on December 2, 1947, at the RCA Victor Studio in Chicago was released as Victor (20-2680) the following month. 300,000 copies were sold for this release. Acuff-Rose Music, the publisher, did not immediately register a copyright to the song when it was presented to the company by King and Stewart and did not obtain the "consummate proof of ownership, and the key to protecting a songwriter's property" until February 1948. A version by Cowboy Copas, a former member of the Golden West Cowboys was released by King Records (King 696) two months later in March 1948. 80,000 copies were sold. Both singles became Top Ten C&W hits - the chart was then known as "Best Selling Folk Retail Records" - in the spring and summer of 1948 with respective peaks of No. 3 (Pee Wee King's Golden West Cowboys) and No. 6 (Cowboy Copas). Patti Page version The most successful version of the song was recorded by Patti Page. In October 1950, an R&B version by Erskine Hawkins was released and reviewed on Billboard, and the reviewer Jerry Wexler brought the song to the attention of Page's manager, Jack Rael, and suggested that the song could be a hit for Page. Page and Rael listened to Hawkins' version, and proceeded to record the song quickly despite lacking an arrangement for the song. Page cut "The Tennessee Waltz" in a November 1950 session in New York City with Rael conducting his orchestra: her vocal was cut multitracked with three voices, two voices, and a single voice, and Page herself selected the two-voice multitracked vocal on the released single. Patti Page's recording was originally intended to serve as an obscure B-side to "Boogie Woogie Santa Claus" (Catalog 5534), as the label Mercury Records was more interested in the seasonal single at that time of the year. However, it was "The Tennessee Waltz" that became a hit. After the initial pressings "Boogie Woogie Santa Claus" was replaced as the B-side by "Long Long Ago". "The Tennessee Waltz" entered the Pop Music chart of Billboard dated November 10, 1950 for a 30-week chart run, peaking at number one on the December 30, 1950, chart, and remained at number one for a total of nine weeks. A No. 2 C&W hit, "The Tennessee Waltz" became Page's career record. On the Cash Box charts, "Tennessee Waltz" reached No. 1 on December 30, 1950, with the Patti Page, Jo Stafford, Guy Lombardo and Les Paul/Mary Ford versions being given a single ranking; as such "Tennessee Waltz" remained No. 1 in Cash Box through the February 3, 1951 chart. The song was also ranked No. 1 in England for multiple weeks. Page's recording was reported to have sold 2.3 million copies by May 1951. Page's recording also inspired many other versions, and 4.8 million copies were sold for the various major versions combined, in addition to 1.8 million copies of sheet music sold, which made the song likely the most successful song in the history of pop music up to 1951 in the US. In Japan, the song was the biggest-selling song ever as of 1974. The song was later included on Page's 1957 Mercury album This Is My Song. It was also re-recorded (in stereo, and with a different arrangement) for her 1966 Columbia Records album Patti Page's Greatest Hits. In 2024, the single was added to the National Recording Registry by the Library of Congress as being "culturally, historically, and/or aesthetically significant". Other contemporary versions The success of the Patti Page version led to covers by Les Paul with Mary Ford (Capitol 1316) and Jo Stafford (Columbia 39065) both of which reached the Top Ten - Stafford's at No. 7 and Paul/Ford at No. 6 (the latter was a double-sided hit with "Little Rock Getaway" reaching number 18). Also in 1951, the version by Guy Lombardo and his Royal Canadians (Decca 27336) reached No. 6 in the US. Guy Lombardo's version sold nearly 600,000 copies while Les Paul sold 500,000 copies by May 1951. The Fontane Sisters made their first solo recording cutting "Tennessee Waltz" in a November 1950 session at RCA Victor Studios in New York City; the track would reach the Top 20 in 1951. In addition, the original version - credited to Pee Wee King - was re-released to reach No. 6 C&W in 1951. A further 100,000 copies were sold in addition to the 300,000 copies sold in the previous release. Spike Jones and his City Slickers recorded a parody featuring a duet with singers sporting Yiddish accents, and this version reached No. 13 in January 1951. A version by Anita O'Day & the All Stars Top Songs reached No. 24. Other recordings were made by Petula Clark for the UK market, and by Chiemi Eri for the Japanese market. Later recordings Ivo Robić recorded "Tennessee Waltz" for his 1957 album _Cowboyske Pjesme_ ("Cowboy Songs"). Margaret Whiting recorded the song for her album Margaret in 1958. "Tennessee Waltz" returned to the charts in the fall of 1959 with a rockabilly version recorded by both Bobby Comstock & the Counts and Jerry Fuller: on the Billboard Hot 100 the versions respectively reached No. 52 and No. 63 while Cash Box assigned both versions a joint ranking on its Top 100 Singles chart with a peak position of No. 42. The two versions were co-charted in Canada reaching No. 13. In 1962, Damita Jo had a non-charting single release of "Tennessee Waltz". Patsy Cline also recorded _The Tennessee Waltz_ for Decca records in 1962. In 1964, "Tennessee Waltz" was recorded in a rock and roll ballad style by Alma Cogan; this version was No. 1 in Sweden for five weeks and also reached No. 14 in Denmark while a German language rendering (with lyrics by Theo Hansen) reached No. 10 in Germany. Cogan's version served as template for the arrangement of the 1974 Danish-language rendering "Den Gamle Tennessee Waltz" by Birthe Kjær which spent 17 weeks in the Top Ten of the Danish hit parade with a two-week tenure at No. 1 also spending an additional eight weeks at No. 2. The arrangement of Cogan's version was also borrowed for remakes of "Tennessee Waltz" by Swedish singers Kikki Danielsson (Wizex (on the 1978 album Miss Decibel)) and Lotta Engberg (on the 2000 album Vilken härlig dag) and - with the German lyrics - by Heidi Brühl, Gitte, Renate Kern and Ireen Sheer. Sam Cooke recorded a double-time version of "Tennessee Waltz" for his Ain't That Good News album recorded January 28, 1964, at the RCA Studio in Hollywood. Released 1 March 1, 1964, _Ain't That Good News_ would be the final album release of new material by Cooke, and "Tennessee Waltz", coupled with another album track: "Good Times", would be the final Sam Cooke single released during the singer's lifetime, with "Tennessee Waltz", the original B-side, becoming sufficiently popular to chart at No. 35. Cooke performed "Tennessee Waltz" - and also "Blowin' in the Wind" - as a guest on the premiere of Shindig! broadcast September 16, 1964. The October 1964 live album release _Sam Cooke at the Copa_ also features "Tennessee Waltz". Al Hirt released a version on his 1965 album, Live at Carnegie Hall. A French-language pop version of the song (as "Cette danse") was recorded by Canadian singer Renée Martel in 1965. Ray Brown & the Whispers had a No. 4 hit in Australia in 1966 with a rockabilly version of "Tennessee Waltz" released as "Tennessee Waltz Song". In 1966, Otis Redding recorded a version of "Tennessee Waltz" featuring Booker T & the MGs on his R&B album, _Complete & Unbelievable: The Otis Redding Dictionary of Soul_ cut at the Stax Studio in Memphis, Tennessee: Redding was familiar with "Tennessee Waltz" from the album Sam Cooke at the Copa.
Manfred Mann included a version of the song on their number-one EP in 1966. In 1967, Dobie Gray recorded "Tennessee Waltz" as the B-side of a non-charting version of "River Deep - Mountain High": both sides of the single were produced and arranged by Leon Russell. Johnny Jones - a native of Atlanta who had briefly replaced Sam Cooke in the Soul Stirrers before Johnnie Taylor joined the group - reached No. 49 R&B in 1968 with his deep soul rendition of "Tennessee Waltz" cut for producer Bobby Robinson's Fury Records. In July 1971, Cymarron recorded "Tennessee Waltz" in the sessions for their self-titled album produced by Chips Moman at his American Sound Studio in Memphis. In 1972, American Spring recorded a cover of "Tennessee Waltz" produced by Brian Wilson to open their debut album, _Spring._ David Bromberg includes a live version on his 1972 album, _Demon in Disguise,_ on Columbia Records. Lacy J. Dalton recorded "Tennessee Waltz" for her 1979 self-titled debut album recorded at CBS Studio in Nashville, Tennessee: issued as a single in 1980 Dalton's gritty reworking of the song reached No. 18 on the C&W - the sole C&W charting of "Tennessee Waltz" since 1951. Ultimate hipster Mose Allison featured a "cool jazz" version of the song on his album _Middle Class White Boy_ (1982). In 1983, the song was featured on the James Brown album _Bring It On_ (Churchill Records). American R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1990 album _Singalong with Little Willie Littlefield._ Norah Jones performed "Tennessee Waltz" as an encore during a live show at the House of Blues in New Orleans on August 24, 2002. It is featured as extra material on the following DVD-release of the show. Leonard Cohen released a live version of "Tennessee Waltz" recorded in 1985- one of the few covers he's ever cut - on his 2004 album _Dear Heather;_ this version featured an additional verse written by Cohen himself. Belle and Sebastian used the melody from "Tennessee Waltz" in their song "Slow Graffiti". Other artists who have recorded "Tennessee Waltz" (with the parent album) include: LaVern Baker (Woke Up This Mornin' 1993), Pat Boone (I'll See You in My Dreams/ 1962), Eva Cassidy (Imagine/ 2002), Holly Cole (Don't Smoke in Bed 1993), Connie Francis (Country & Western Golden Hits/ 1959), Emmylou Harris (Cimarron 1981), Tom Jones backed by The Chieftains (Long Black Veil 1995), (1995), Pete Molinari (Today, Tomorrow and Forever 2009), Anne Murray (Let's Keep It That Way 1978), Elvis Presley, Billie Jo Spears (Country Girl 1981), Lenny Welch, Kitty Wells (Kitty's Choice/ 1960), Dottie West (Feminine Fancy/ 1968), Margaret Whiting (Margaret/ 1958), Broadway's Kerry Conte and Mike Rosengarten (An Evening With... Vol. 1/ 2019). Kelly Clarkson performed the song at the 2013 Grammy Awards as part of a tribute to Patti Page The Longest Johns and El Pony Pisador performed this song together on their collaboration album, _The Longest Pony,_ released in March of 2023. Other performances The University of Tennessee Pride of the Southland Band performs Tennessee Waltz at the end of each home game at Neyland Stadium and Thompson-Boling Arena in Knoxville as the fans are filing out of those venues. East Tennessee State University's Marching Bucs perform the song during their pregame show. After every home game, the Appalachian State University Marching Mountaineers and the Middle Tennessee State University Band of Blue perform the song during their post-game show. Baylor University's Golden Wave Band plays the song at the end of each home game, a tradition possibly begun with a request from former head coach Grant Teaff. The Tennessee Waltz is also the corps song of Music City Drum and Bugle Corps, a Drum Corps International World Class corps from Nashville. The UTC Marching Mocs perform the Tennessee Waltz during their pregame show. Use in media The song was also used in an instrumental form in the final scenes of the film _Primary Colors_ where Jack Stanton dances with his wife at his Inauguration Ball. It was also used briefly during the 1983 drama film, _The Right Stuff._ John Huston's 1979 _Wise Blood,_ an adaptation of a Flannery O'Connor novel, uses an instrumental version during the opening montage and as a recurrent musical theme throughout the picture. Also, at the beginning of the French movie _Les Cowboys_ (2015), the song was played by François Damiens. Patti Page's version features in _Zabriskie Point._ The song is also featured in the _Schitt's Creek_ TV series, season 1 episode 12, "Surprise Party" and in the 1999 Japanese film _Poppoya._ In season 2 episode 11, "Triangle" of the original TV series _Dallas_ it is faintly heard being played during a cocktail party. 1:30 *"My Heart Cries for You"* is a popular song, adapted by Carl Sigman and Percy Faith from an 18th-century French melody. The song has been recorded by many singers, the most successful of which was recorded by Guy Mitchell which reached No. 2 on the Billboard chart in 1951. Background The music is based on an old French song believed to date from the time of Louis XVI and Marie Antoinette, "La jardinière du Roi" ("The King's Gardener"), also titled "Chanson de Marie Antoinette" (Marie Antoinette's song) as the music was said to have been written by Marie Antoinette. The French song was published in the US in 1927, and recorded by Lily Pons in 1938. In 1950, Percy Faith (using the alias Peter Mars) adapted the music of the song with Carl Sigman writing new English lyrics for the song.[The lyrics of this version, "My heart cries for you, sighs for you, dies for you..." are original and unrelated to the French song. The song was written in three-quarter waltz time. Guy Mitchell recording The song was recorded in November 1950 by Guy Mitchell with Mitch Miller and his orchestra. Mitch Miller originally had intended "My Heart Cries for You" and "The Roving Kind" to be recorded by Frank Sinatra, however, Sinatra was not interested in the songs chosen for him when he arrived the day the recording was scheduled, and said: "I'm not doing any of that crap". Miller, who had already booked the musicians for the recording session, then looked for a replacement to record the song. He invited a new singer that he liked, Al Cernic, to come to the studio that evening. The recording went well, and Miller then told Cernic that he should change his name as Miller could not pronounce it. Cernic, initially reluctant, then became Guy Mitchell for the record release. The song was released with "The Roving Kind" as its B-side in November 1950 by Columbia Records (catalog number 39067). It became Mitchell's first hit song,[9] reaching number 2 for seven weeks on the Billboard chart in 1951 with over a million copies sold. It was number 1 on Your Hit Parade for two weeks, and number 1 on Cash Box for six weeks. Mitchell released another version of the song in 1958. Other recordings Early versions Many versions of the song were recorded and released in late 1950 and early 1951. A version was first recorded by Dinah Shore with Henri René's Orchestra & Chorus in New York City and released around the same time as Guy Mitchell. (RCA Victor Records catalog number 20-3978 in the US dated October 29, 1950, and EMI on the His Master's Voice in the UK, catalog number B 10026.) It reached number 3 on Billboard's pop chart. Numerous cover versions by other artists quickly followed, including Vic Damone (a number 4 hit on the Billboard chart), Jimmy Wakely (number 12 on pop and number 7 on country), Bill Farrell (number 18), Al Morgan (number 24), Evelyn Knight and Red Foley, a duet which reached number 28 pop and number 6 country, and Victor Young and His Singing Strings (number 29 on pop). Versions of the song were also recorded by Slim Whitman and UK singer Ronnie Carroll. Other versions The composition was also arranged and recorded by John Serry, Sr. and his ensemble for Dot Records as a 33 RPM vinyl recording entitled _Squeeze Play_ in 1956. Subsequently, it was released by Versailles Records as a 45 RPM recording under the title _Chicago Musette - John Serry et son Accordéon_ in 1958. A revival by Ray Charles reached the U.S. top forty in 1964. Connie Francis "bubbled under" the Billboard pop chart in 1967 (number 118) and peaked at number 12 on Billboard Adult Contemporary. She also recorded the song in German as "Mein Herz ruft nach dir" and in French as "Mon cœur pleure pour vous", the latter marking her last French-language recording of the 1960s. Percy Faith himself recorded an instrumental version of this song in the early 1970s. It is on his 1973 album, _Corazón._ On his 2005 comeback album, _The Moon Was Blue,_ country singer Bobby Bare also recorded a version of the song. On her 2006 album _If Your Memory Serves You Well,_ Serena Ryder covers this, as well as many other classics. The album received Gold certification. Harry James released a version in 1981 on his album _For Listening and Dancing_ (Reader's Digest RD4A 213) Margo Smith released a version in 1981 that peaked at number 72 on the Billboard Hot Country Singles chart.
The Dutch street organ *"De Negentiger"* (The Nineties) was built by Orgelfabriek Carl Frei, Breda, The Netherlands around 1930. *Carl Frei* (Schiltach, 4 april 1884 - Waldkirch, 10 mei 1967) was een Duits orgelbouwer, componist en muziekarrangeur. Hij had van 1920 tot 1945 een bedrijf in Breda dat straatdraaiorgels en kermisorgels bouwde en verbouwde. Levensloop Carl Frei werd geboren in Schiltach en studeerde daar muziek vanaf een jonge leeftijd. Op 9-jarige leeftijd studeerde hij harmonie en contrapunt op de Waldkirchse muziekacademie. Vanaf zijn 14e jaar was hij werkzaam bij bekende orgelfabrieken, zoals Bruder, Gavioli, Mortier en De Vreese in Waldkirch, Antwerpen en Parijs. Na het einde van de Eerste Wereldoorlog besloot Frei naar het Nederlandse Breda te verhuizen om daar een eigen draaiorgelbedrijf te starten en vestigde zich als orgelbouwer, componist en muzieknoteur. Het was Carl Frei die de meeste oude Franse en Belgische orgels verbouwde en ze daarbij de klank gaf die nu typerend is voor de straatorgels in Nederland. Bij het zoeken naar een register dat de oude, kwetsbare clarinet- en vox humanaregisters zou kunnen vervangen ontwikkelde hij een nieuw register, dat bestond uit twee rijen gestopte pijpen met zeer helder klankkarakter, waarvan de ene rij een klein beetje hoger gestemd werd dan de andere. Hij noemde dit register ”bourdon celeste”. Als eerste plaatste hij deze innovatie in draaiorgel "De Cello". Dit geluid werd al spoedig geliefd bij een groeiende schare orgelliefhebbers, het glasachtig heldere geluid van de bourdon wordt tegenwoordig door luisteraars als typisch voor een Nederlands straatorgel beschouwd. Naast de grote verdiensten die Frei als arrangeur en componist is hij vooral beroemd geworden door het introduceren van deze nieuwe klankstructuur in de Nederlandse draaiorgels. Behalve het verbouwen van de oude orgels begon Carl Frei nieuwe orgels te verbouwen volgens dit principe. De grootste daarvan, met 90 toetsen. waren ware “straatkastelen”. Vele daarvan bestaan nog, geliefd bij velen in binnen- en buitenland. Na de Tweede Wereldoorlog vertrok hij terug naar Duitsland. Daar zette hij zijn bedrijf voort. Frei stierf in 1967, zijn zoon (Carl Frei jr) zette het bedrijf voort, tot zijn dood in 1997. Hieronder een aantal stukken die door Carl Frei gecomponeerd en gearrangeerd werden: Albert Schweitzer marsch (1956) Amsterdamse jongens mars Amsterdamse mars (1927) Asta Nielsen Waltz Aubadewalzer (1923) Beekje serenade Blumen serenade (1932) Bredase Jongens mars Burgerwacht mars (1938) Cara Mia walzer Cilinderwals (1927) Cinema Royal marsch (1919) Concertwals Corso mars (1935) Der Fidele Harmonikaspieler marsch (1932) Die alte Garde marsch (1934) Ein Kuss in Ehren kann niemand verwehren (1906) Emil Jannings mars (1933) Engelse serenade Erinnerungen an Breda Fest im Takt marsch Freiheits marsch Freundschafts marsch Friedensglocken marsch (1919) Friedrichs marsch Für Marion Geburtstag serenade (1927) Goudamars Gouden Hart Serenade (1930) Grüss an Breda mars Grüss an Den Haag mars (1936) Grüss an Holland mars Haagse Hopjes mars Hans Albers mars Hommerson mars (1929) Huzaren-attack marsch Italiaanse serenade Im Kinematograph marsch (1935) Juli serenade (1933) Kleine Hollandse Jongens mars (1935) Korfbal mars Kronprinz marsch Kunkels Autobahn marsch (1926) Lachendes Mädchen (1938) Leve het pierement mars Liefdesdroom Serenade Louis Holvoet mars Ludovico Gavioli marsch (1934) Mai serenade (1929) Mandoline serenade Max Schmeling marsch Möhlmann-Warnies mars Molto Vivace marsch Mooi Amsterdam mars (1936) Mutterlied (1944) Nachtfluit serenade (1929) Oranjemars Podkoromoje mars (Russische mars) (1918) Pola Negri marsch Prins Bernhard mars Raupenbahnmars Schwarzwälder Bub’n marsch (1956) Schwarzwald serenade Serenade nr. 1 (1925) Serenade nr. 2 (1925) Serenade nr. 3 Serenade nr. 4 (1927) Serenade nr. 5 Serenade nr. 6 Serenade nr. 7 Serenade nr. 8 (1928) Serenade nr. 9 Serenade nr. 10 Serenade nr. 11 Serenade nr. 12 Serenade nr. 13 Serenade nr. 14 Serenade nr. 15 Serenade nr. 16 Shimmy Palace walzer Sint Nicolaaswals no. 1 (1928) Sint Nicolaaswals no. 2 (1929) Sint Nicolaaswals no. 3 (1930) Sint Nicolaaswals no. 4 (1932) Spanien marsch (1933) Spanischer Reiter marsch (1935) Stresemann marsch (De Negentigermars) Tesoro Mio wals Verboden Wals (1927) Vlaamse serenade no. 1 Vlaamse serenade no. 2 Vlaamse serenade no. 3 Vlaamse serenade no. 4 Voetbalmars Völkerbund Marsch Vrolijke Muzikanten Wals Walspotpourri nr. 1 (1929) Walspotpourri nr. 2 (1930) Weisse Rosen serenade (1934) Wilder Wind Galopp Wolkenkratzer marsch (1930) Yo yo wals (1930) Zeehelden mars
Mooie medley en een draaiorgel met een mooie klank
Dankjewel, Jos !!!!
Good morning my dearest Henkie !!!! I hope, you have slept well !!!!!! Thank you for this beautiful medley !!!!! Tennessee waltz is one of my favorites !!!!!! It is very quiet !!!! Earlier people began shooting just after Christmas, but this year it has been forbidden !!!! It is only allowed to shoot New Year`s Eve and 1st January !!!!!! It is good for our animals !!!!! Most of them are terrified !!!!! I remember my dog Mikki - he was shaking every time there was shooting !!!!!!!! My sweet friend, I wish Elly and you a lovely Monday !!!!!! Your eternal friend Jytte
Goodmorning my dearest Jytte !!!!! Welcome in this new musical week !!!!! I thank you that you like my streetorganrecord !!!!! I have slept verry well and I hope that you did the same !!!!! Overhere they are alreddy shooting a couple days !!!! At the yearchange we keep our cat inside !!!!! I wish you a beautiful Monday Jytte !!!! Yours always faithful Henk !!!!!
Als klein kind hoorde ik het kermis orgel al heel graag
En nog steeds gr Lies
Dank voor je leuke reactie Lies !!!!
0:27 *"Tennessee Waltz"* is a popular country music song with lyrics by Redd Stewart and music by Pee Wee King written in 1946 and first released in January 1948. The song became a multimillion seller via a 1950 recording - as "The Tennessee Waltz" - by Patti Page.
All versions of the lyrics narrate a situation in which the persona has introduced his or her sweetheart to a friend who then waltzes away with her or him. The lyrics are altered for pronoun gender on the basis of the gender of the singer.
The popularity of "Tennessee Waltz" made it the fourth official song of the state of Tennessee in 1965. Page's recording was inducted into Grammy Hall of Fame in 1998.
Composition and early recordings
Pee Wee King, Redd Stewart, and their fellow Golden West Cowboys members were en route to Nashville "close to Christmas in 1946" when King and Stewart, who were riding in a truck carrying the group's equipment, heard Bill Monroe's new song "Kentucky Waltz" on the radio. Stewart had an idea to write a Tennessee waltz using the melody of King's theme song: "No Name Waltz" and wrote the lyrics on a matchbox as he and King thought up the words. King and Stewart presented "Tennessee Waltz" to music publisher Fred Rose the next day, and Rose adjusted one line in the bridge of Stewart's lyric from "O the Tennessee waltz, O the Tennessee Waltz," to "I remember the night and the Tennessee Waltz."
Almost a year passed before Pee Wee King's Golden West Cowboys were able to record "Tennessee Waltz". Their recording, made on December 2, 1947, at the RCA Victor Studio in Chicago was released as Victor (20-2680) the following month. 300,000 copies were sold for this release.
Acuff-Rose Music, the publisher, did not immediately register a copyright to the song when it was presented to the company by King and Stewart and did not obtain the "consummate proof of ownership, and the key to protecting a songwriter's property" until February 1948.
A version by Cowboy Copas, a former member of the Golden West Cowboys was released by King Records (King 696) two months later in March 1948. 80,000 copies were sold.
Both singles became Top Ten C&W hits - the chart was then known as "Best Selling Folk Retail Records" - in the spring and summer of 1948 with respective peaks of No. 3 (Pee Wee King's Golden West Cowboys) and No. 6 (Cowboy Copas).
Patti Page version
The most successful version of the song was recorded by Patti Page. In October 1950, an R&B version by Erskine Hawkins was released and reviewed on Billboard, and the reviewer Jerry Wexler brought the song to the attention of Page's manager, Jack Rael, and suggested that the song could be a hit for Page. Page and Rael listened to Hawkins' version, and proceeded to record the song quickly despite lacking an arrangement for the song. Page cut "The Tennessee Waltz" in a November 1950 session in New York City with Rael conducting his orchestra: her vocal was cut multitracked with three voices, two voices, and a single voice, and Page herself selected the two-voice multitracked vocal on the released single.
Patti Page's recording was originally intended to serve as an obscure B-side to "Boogie Woogie Santa Claus" (Catalog 5534), as the label Mercury Records was more interested in the seasonal single at that time of the year. However, it was "The Tennessee Waltz" that became a hit. After the initial pressings "Boogie Woogie Santa Claus" was replaced as the B-side by "Long Long Ago".
"The Tennessee Waltz" entered the Pop Music chart of Billboard dated November 10, 1950 for a 30-week chart run, peaking at number one on the December 30, 1950, chart, and remained at number one for a total of nine weeks. A No. 2 C&W hit, "The Tennessee Waltz" became Page's career record. On the Cash Box charts, "Tennessee Waltz" reached No. 1 on December 30, 1950, with the Patti Page, Jo Stafford, Guy Lombardo and Les Paul/Mary Ford versions being given a single ranking; as such "Tennessee Waltz" remained No. 1 in Cash Box through the February 3, 1951 chart. The song was also ranked No. 1 in England for multiple weeks.
Page's recording was reported to have sold 2.3 million copies by May 1951. Page's recording also inspired many other versions, and 4.8 million copies were sold for the various major versions combined, in addition to 1.8 million copies of sheet music sold, which made the song likely the most successful song in the history of pop music up to 1951 in the US. In Japan, the song was the biggest-selling song ever as of 1974.
The song was later included on Page's 1957 Mercury album This Is My Song. It was also re-recorded (in stereo, and with a different arrangement) for her 1966 Columbia Records album Patti Page's Greatest Hits. In 2024, the single was added to the National Recording Registry by the Library of Congress as being "culturally, historically, and/or aesthetically significant".
Other contemporary versions
The success of the Patti Page version led to covers by Les Paul with Mary Ford (Capitol 1316) and Jo Stafford (Columbia 39065) both of which reached the Top Ten - Stafford's at No. 7 and Paul/Ford at No. 6 (the latter was a double-sided hit with "Little Rock Getaway" reaching number 18). Also in 1951, the version by Guy Lombardo and his Royal Canadians (Decca 27336) reached No. 6 in the US. Guy Lombardo's version sold nearly 600,000 copies while Les Paul sold 500,000 copies by May 1951.
The Fontane Sisters made their first solo recording cutting "Tennessee Waltz" in a November 1950 session at RCA Victor Studios in New York City; the track would reach the Top 20 in 1951. In addition, the original version - credited to Pee Wee King - was re-released to reach No. 6 C&W in 1951. A further 100,000 copies were sold in addition to the 300,000 copies sold in the previous release.
Spike Jones and his City Slickers recorded a parody featuring a duet with singers sporting Yiddish accents, and this version reached No. 13 in January 1951. A version by Anita O'Day & the All Stars Top Songs reached No. 24.
Other recordings were made by Petula Clark for the UK market, and by Chiemi Eri for the Japanese market.
Later recordings
Ivo Robić recorded "Tennessee Waltz" for his 1957 album _Cowboyske Pjesme_ ("Cowboy Songs").
Margaret Whiting recorded the song for her album Margaret in 1958.
"Tennessee Waltz" returned to the charts in the fall of 1959 with a rockabilly version recorded by both Bobby Comstock & the Counts and Jerry Fuller: on the Billboard Hot 100 the versions respectively reached No. 52 and No. 63 while Cash Box assigned both versions a joint ranking on its Top 100 Singles chart with a peak position of No. 42. The two versions were co-charted in Canada reaching No. 13.
In 1962, Damita Jo had a non-charting single release of "Tennessee Waltz". Patsy Cline also recorded _The Tennessee Waltz_ for Decca records in 1962.
In 1964, "Tennessee Waltz" was recorded in a rock and roll ballad style by Alma Cogan; this version was No. 1 in Sweden for five weeks and also reached No. 14 in Denmark while a German language rendering (with lyrics by Theo Hansen) reached No. 10 in Germany. Cogan's version served as template for the arrangement of the 1974 Danish-language rendering "Den Gamle Tennessee Waltz" by Birthe Kjær which spent 17 weeks in the Top Ten of the Danish hit parade with a two-week tenure at No. 1 also spending an additional eight weeks at No. 2. The arrangement of Cogan's version was also borrowed for remakes of "Tennessee Waltz" by Swedish singers Kikki Danielsson (Wizex (on the 1978 album Miss Decibel)) and Lotta Engberg (on the 2000 album Vilken härlig dag) and - with the German lyrics - by Heidi Brühl, Gitte, Renate Kern and Ireen Sheer.
Sam Cooke recorded a double-time version of "Tennessee Waltz" for his Ain't That Good News album recorded January 28, 1964, at the RCA Studio in Hollywood. Released 1 March 1, 1964, _Ain't That Good News_ would be the final album release of new material by Cooke, and "Tennessee Waltz", coupled with another album track: "Good Times", would be the final Sam Cooke single released during the singer's lifetime, with "Tennessee Waltz", the original B-side, becoming sufficiently popular to chart at No. 35. Cooke performed "Tennessee Waltz" - and also "Blowin' in the Wind" - as a guest on the premiere of Shindig! broadcast September 16, 1964. The October 1964 live album release _Sam Cooke at the Copa_ also features "Tennessee Waltz".
Al Hirt released a version on his 1965 album, Live at Carnegie Hall.
A French-language pop version of the song (as "Cette danse") was recorded by Canadian singer Renée Martel in 1965.
Ray Brown & the Whispers had a No. 4 hit in Australia in 1966 with a rockabilly version of "Tennessee Waltz" released as "Tennessee Waltz Song".
In 1966, Otis Redding recorded a version of "Tennessee Waltz" featuring Booker T & the MGs on his R&B album, _Complete & Unbelievable: The Otis Redding Dictionary of Soul_ cut at the Stax Studio in Memphis, Tennessee: Redding was familiar with "Tennessee Waltz" from the album Sam Cooke at the Copa.
Manfred Mann included a version of the song on their number-one EP in 1966.
In 1967, Dobie Gray recorded "Tennessee Waltz" as the B-side of a non-charting version of "River Deep - Mountain High": both sides of the single were produced and arranged by Leon Russell.
Johnny Jones - a native of Atlanta who had briefly replaced Sam Cooke in the Soul Stirrers before Johnnie Taylor joined the group - reached No. 49 R&B in 1968 with his deep soul rendition of "Tennessee Waltz" cut for producer Bobby Robinson's Fury Records.
In July 1971, Cymarron recorded "Tennessee Waltz" in the sessions for their self-titled album produced by Chips Moman at his American Sound Studio in Memphis.
In 1972, American Spring recorded a cover of "Tennessee Waltz" produced by Brian Wilson to open their debut album, _Spring._
David Bromberg includes a live version on his 1972 album, _Demon in Disguise,_ on Columbia Records.
Lacy J. Dalton recorded "Tennessee Waltz" for her 1979 self-titled debut album recorded at CBS Studio in Nashville, Tennessee: issued as a single in 1980 Dalton's gritty reworking of the song reached No. 18 on the C&W - the sole C&W charting of "Tennessee Waltz" since 1951.
Ultimate hipster Mose Allison featured a "cool jazz" version of the song on his album _Middle Class White Boy_ (1982).
In 1983, the song was featured on the James Brown album _Bring It On_ (Churchill Records).
American R&B and boogie-woogie pianist and singer Little Willie Littlefield recorded a version for his 1990 album _Singalong with Little Willie Littlefield._
Norah Jones performed "Tennessee Waltz" as an encore during a live show at the House of Blues in New Orleans on August 24, 2002. It is featured as extra material on the following DVD-release of the show.
Leonard Cohen released a live version of "Tennessee Waltz" recorded in 1985- one of the few covers he's ever cut - on his 2004 album _Dear Heather;_ this version featured an additional verse written by Cohen himself.
Belle and Sebastian used the melody from "Tennessee Waltz" in their song "Slow Graffiti".
Other artists who have recorded "Tennessee Waltz" (with the parent album) include: LaVern Baker (Woke Up This Mornin' 1993), Pat Boone (I'll See You in My Dreams/ 1962), Eva Cassidy (Imagine/ 2002), Holly Cole (Don't Smoke in Bed 1993), Connie Francis (Country & Western Golden Hits/ 1959), Emmylou Harris (Cimarron 1981), Tom Jones backed by The Chieftains (Long Black Veil 1995), (1995), Pete Molinari (Today, Tomorrow and Forever 2009), Anne Murray (Let's Keep It That Way 1978), Elvis Presley, Billie Jo Spears (Country Girl 1981), Lenny Welch, Kitty Wells (Kitty's Choice/ 1960), Dottie West (Feminine Fancy/ 1968), Margaret Whiting (Margaret/ 1958), Broadway's Kerry Conte and Mike Rosengarten (An Evening With... Vol. 1/ 2019).
Kelly Clarkson performed the song at the 2013 Grammy Awards as part of a tribute to Patti Page
The Longest Johns and El Pony Pisador performed this song together on their collaboration album, _The Longest Pony,_ released in March of 2023.
Other performances
The University of Tennessee Pride of the Southland Band performs Tennessee Waltz at the end of each home game at Neyland Stadium and Thompson-Boling Arena in Knoxville as the fans are filing out of those venues. East Tennessee State University's Marching Bucs perform the song during their pregame show. After every home game, the Appalachian State University Marching Mountaineers and the Middle Tennessee State University Band of Blue perform the song during their post-game show. Baylor University's Golden Wave Band plays the song at the end of each home game, a tradition possibly begun with a request from former head coach Grant Teaff. The Tennessee Waltz is also the corps song of Music City Drum and Bugle Corps, a Drum Corps International World Class corps from Nashville. The UTC Marching Mocs perform the Tennessee Waltz during their pregame show.
Use in media
The song was also used in an instrumental form in the final scenes of the film _Primary Colors_ where Jack Stanton dances with his wife at his Inauguration Ball. It was also used briefly during the 1983 drama film, _The Right Stuff._ John Huston's 1979 _Wise Blood,_ an adaptation of a Flannery O'Connor novel, uses an instrumental version during the opening montage and as a recurrent musical theme throughout the picture. Also, at the beginning of the French movie _Les Cowboys_ (2015), the song was played by François Damiens. Patti Page's version features in _Zabriskie Point._ The song is also featured in the _Schitt's Creek_ TV series, season 1 episode 12, "Surprise Party" and in the 1999 Japanese film _Poppoya._ In season 2 episode 11, "Triangle" of the original TV series _Dallas_ it is faintly heard being played during a cocktail party.
1:30 *"My Heart Cries for You"* is a popular song, adapted by Carl Sigman and Percy Faith from an 18th-century French melody. The song has been recorded by many singers, the most successful of which was recorded by Guy Mitchell which reached No. 2 on the Billboard chart in 1951.
Background
The music is based on an old French song believed to date from the time of Louis XVI and Marie Antoinette, "La jardinière du Roi" ("The King's Gardener"), also titled "Chanson de Marie Antoinette" (Marie Antoinette's song) as the music was said to have been written by Marie Antoinette. The French song was published in the US in 1927, and recorded by Lily Pons in 1938.
In 1950, Percy Faith (using the alias Peter Mars) adapted the music of the song with Carl Sigman writing new English lyrics for the song.[The lyrics of this version, "My heart cries for you, sighs for you, dies for you..." are original and unrelated to the French song. The song was written in three-quarter waltz time.
Guy Mitchell recording
The song was recorded in November 1950 by Guy Mitchell with Mitch Miller and his orchestra. Mitch Miller originally had intended "My Heart Cries for You" and "The Roving Kind" to be recorded by Frank Sinatra, however, Sinatra was not interested in the songs chosen for him when he arrived the day the recording was scheduled, and said: "I'm not doing any of that crap". Miller, who had already booked the musicians for the recording session, then looked for a replacement to record the song. He invited a new singer that he liked, Al Cernic, to come to the studio that evening. The recording went well, and Miller then told Cernic that he should change his name as Miller could not pronounce it. Cernic, initially reluctant, then became Guy Mitchell for the record release.
The song was released with "The Roving Kind" as its B-side in November 1950 by Columbia Records (catalog number 39067). It became Mitchell's first hit song,[9] reaching number 2 for seven weeks on the Billboard chart in 1951 with over a million copies sold. It was number 1 on Your Hit Parade for two weeks, and number 1 on Cash Box for six weeks.
Mitchell released another version of the song in 1958.
Other recordings
Early versions
Many versions of the song were recorded and released in late 1950 and early 1951. A version was first recorded by Dinah Shore with Henri René's Orchestra & Chorus in New York City and released around the same time as Guy Mitchell. (RCA Victor Records catalog number 20-3978 in the US dated October 29, 1950, and EMI on the His Master's Voice in the UK, catalog number B 10026.) It reached number 3 on Billboard's pop chart.
Numerous cover versions by other artists quickly followed, including Vic Damone (a number 4 hit on the Billboard chart), Jimmy Wakely (number 12 on pop and number 7 on country), Bill Farrell (number 18), Al Morgan (number 24), Evelyn Knight and Red Foley, a duet which reached number 28 pop and number 6 country, and Victor Young and His Singing Strings (number 29 on pop). Versions of the song were also recorded by Slim Whitman and UK singer Ronnie Carroll.
Other versions
The composition was also arranged and recorded by John Serry, Sr. and his ensemble for Dot Records as a 33 RPM vinyl recording entitled _Squeeze Play_ in 1956. Subsequently, it was released by Versailles Records as a 45 RPM recording under the title _Chicago Musette - John Serry et son Accordéon_ in 1958.
A revival by Ray Charles reached the U.S. top forty in 1964.
Connie Francis "bubbled under" the Billboard pop chart in 1967 (number 118) and peaked at number 12 on Billboard Adult Contemporary. She also recorded the song in German as "Mein Herz ruft nach dir" and in French as "Mon cœur pleure pour vous", the latter marking her last French-language recording of the 1960s.
Percy Faith himself recorded an instrumental version of this song in the early 1970s. It is on his 1973 album, _Corazón._
On his 2005 comeback album, _The Moon Was Blue,_ country singer Bobby Bare also recorded a version of the song.
On her 2006 album _If Your Memory Serves You Well,_ Serena Ryder covers this, as well as many other classics. The album received Gold certification.
Harry James released a version in 1981 on his album _For Listening and Dancing_ (Reader's Digest RD4A 213)
Margo Smith released a version in 1981 that peaked at number 72 on the Billboard Hot Country Singles chart.
The Dutch street organ *"De Negentiger"* (The Nineties) was built by Orgelfabriek Carl Frei, Breda, The Netherlands around 1930.
*Carl Frei* (Schiltach, 4 april 1884 - Waldkirch, 10 mei 1967) was een Duits orgelbouwer, componist en muziekarrangeur. Hij had van 1920 tot 1945 een bedrijf in Breda dat straatdraaiorgels en kermisorgels bouwde en verbouwde.
Levensloop
Carl Frei werd geboren in Schiltach en studeerde daar muziek vanaf een jonge leeftijd. Op 9-jarige leeftijd studeerde hij harmonie en contrapunt op de Waldkirchse muziekacademie. Vanaf zijn 14e jaar was hij werkzaam bij bekende orgelfabrieken, zoals Bruder, Gavioli, Mortier en De Vreese in Waldkirch, Antwerpen en Parijs.
Na het einde van de Eerste Wereldoorlog besloot Frei naar het Nederlandse Breda te verhuizen om daar een eigen draaiorgelbedrijf te starten en vestigde zich als orgelbouwer, componist en muzieknoteur. Het was Carl Frei die de meeste oude Franse en Belgische orgels verbouwde en ze daarbij de klank gaf die nu typerend is voor de straatorgels in Nederland.
Bij het zoeken naar een register dat de oude, kwetsbare clarinet- en vox humanaregisters zou kunnen vervangen ontwikkelde hij een nieuw register, dat bestond uit twee rijen gestopte pijpen met zeer helder klankkarakter, waarvan de ene rij een klein beetje hoger gestemd werd dan de andere. Hij noemde dit register ”bourdon celeste”. Als eerste plaatste hij deze innovatie in draaiorgel "De Cello". Dit geluid werd al spoedig geliefd bij een groeiende schare orgelliefhebbers, het glasachtig heldere geluid van de bourdon wordt tegenwoordig door luisteraars als typisch voor een Nederlands straatorgel beschouwd. Naast de grote verdiensten die Frei als arrangeur en componist is hij vooral beroemd geworden door het introduceren van deze nieuwe klankstructuur in de Nederlandse draaiorgels.
Behalve het verbouwen van de oude orgels begon Carl Frei nieuwe orgels te verbouwen volgens dit principe. De grootste daarvan, met 90 toetsen. waren ware “straatkastelen”. Vele daarvan bestaan nog, geliefd bij velen in binnen- en buitenland.
Na de Tweede Wereldoorlog vertrok hij terug naar Duitsland. Daar zette hij zijn bedrijf voort. Frei stierf in 1967, zijn zoon (Carl Frei jr) zette het bedrijf voort, tot zijn dood in 1997.
Hieronder een aantal stukken die door Carl Frei gecomponeerd en gearrangeerd werden:
Albert Schweitzer marsch (1956)
Amsterdamse jongens mars
Amsterdamse mars (1927)
Asta Nielsen Waltz
Aubadewalzer (1923)
Beekje serenade
Blumen serenade (1932)
Bredase Jongens mars
Burgerwacht mars (1938)
Cara Mia walzer
Cilinderwals (1927)
Cinema Royal marsch (1919)
Concertwals
Corso mars (1935)
Der Fidele Harmonikaspieler marsch (1932)
Die alte Garde marsch (1934)
Ein Kuss in Ehren kann niemand verwehren (1906)
Emil Jannings mars (1933)
Engelse serenade
Erinnerungen an Breda
Fest im Takt marsch
Freiheits marsch
Freundschafts marsch
Friedensglocken marsch (1919)
Friedrichs marsch
Für Marion
Geburtstag serenade (1927)
Goudamars
Gouden Hart Serenade (1930)
Grüss an Breda mars
Grüss an Den Haag mars (1936)
Grüss an Holland mars
Haagse Hopjes mars
Hans Albers mars
Hommerson mars (1929)
Huzaren-attack marsch
Italiaanse serenade
Im Kinematograph marsch (1935)
Juli serenade (1933)
Kleine Hollandse Jongens mars (1935)
Korfbal mars
Kronprinz marsch
Kunkels Autobahn marsch (1926)
Lachendes Mädchen (1938)
Leve het pierement mars
Liefdesdroom Serenade
Louis Holvoet mars
Ludovico Gavioli marsch (1934)
Mai serenade (1929)
Mandoline serenade
Max Schmeling marsch
Möhlmann-Warnies mars
Molto Vivace marsch
Mooi Amsterdam mars (1936)
Mutterlied (1944)
Nachtfluit serenade (1929)
Oranjemars
Podkoromoje mars (Russische mars) (1918)
Pola Negri marsch
Prins Bernhard mars
Raupenbahnmars
Schwarzwälder Bub’n marsch (1956)
Schwarzwald serenade
Serenade nr. 1 (1925)
Serenade nr. 2 (1925)
Serenade nr. 3
Serenade nr. 4 (1927)
Serenade nr. 5
Serenade nr. 6
Serenade nr. 7
Serenade nr. 8 (1928)
Serenade nr. 9
Serenade nr. 10
Serenade nr. 11
Serenade nr. 12
Serenade nr. 13
Serenade nr. 14
Serenade nr. 15
Serenade nr. 16
Shimmy Palace walzer
Sint Nicolaaswals no. 1 (1928)
Sint Nicolaaswals no. 2 (1929)
Sint Nicolaaswals no. 3 (1930)
Sint Nicolaaswals no. 4 (1932)
Spanien marsch (1933)
Spanischer Reiter marsch (1935)
Stresemann marsch (De Negentigermars)
Tesoro Mio wals
Verboden Wals (1927)
Vlaamse serenade no. 1
Vlaamse serenade no. 2
Vlaamse serenade no. 3
Vlaamse serenade no. 4
Voetbalmars
Völkerbund Marsch
Vrolijke Muzikanten Wals
Walspotpourri nr. 1 (1929)
Walspotpourri nr. 2 (1930)
Weisse Rosen serenade (1934)
Wilder Wind Galopp
Wolkenkratzer marsch (1930)
Yo yo wals (1930)
Zeehelden mars
Dank voor dit prachtige verhaal over Carl Frei en de lijst met zijn composities !!!!!
Thank you for this magnificent story about the Tennessee Waltz and his performers !!!! Henri you are AMAZING !!!!!
And thank you for this gigantic See of information Henri !!!! Have a nice afternoon !!!! Yours Henk !!!!