We've updated our Terms of Use. You can review the changes here.

Out with the wrong women

by Benoit Viellefon Swing Trio

Deed I do 03:12
------------------------ DEED I DO - LYRICS ------------------------ Writen by Fred Rose & Walter Hirsch Published 1926 Do I want you? Oh my, do I? Honey, 'deed I do Do I need you? Oh my, do I? Honey, 'deed I do I'm glad that I'm the one who found you That's why I'm always hangin' 'round you Do I love you? Oh my, do I? Honey, 'deed I do ------------------------- ABOUT THIS TRACK ------------------------- "'Deed I Do" is a 1926 jazz standard composed by Fred Rose with lyrics by Walter Hirsch. It was introduced by vaudeville performer S. L. Stambaugh and popularized by Ben Bernie's recording. It was recorded by influential clarinetist and bandleader Benny Goodman as his debut recording in December 1926 with Ben Pollack and His Californians. Ruth Etting's rendition of the song became a top ten hit in 1927 as did the version by Johnny Marvin.
--------------------------------- AIN'T SHE SWEET - LYRICS --------------------------------- Music by Milton Ager, lyrics by Jack Yellen Published 1927 There she is, there she is That's what keeps me up at night Oh gee whiz, oh gee whiz That's why I can't eat a bite Those flaming eyes That flaming youth Oh mister, oh sister Tell me the truth Ain't she sweet? See her coming down that street I ask you confidentially 'ain't she sweet?' Ain't she nice? Look her over once or twice I ask you confidentially 'ain't she nice?' Cast an eye in her direction Oh me, oh my, ain't that perfection I repeat Don't you think that's kind of neat I ask you confidentially 'ain't she sweet?' Tell me where, tell me where Have you seen one just like that? I declare, I declare That sure is worth looking at Oh boy, how sweet those lips be Oh gaze on her, doggoner' Answer me Ain't she sweet? See her coming down that street I ask you confidentially 'ain't she sweet?' Ain't she nice? Look her over once or twice I ask you confidentially 'ain't she nice?' Cast an eye in her direction Oh me, oh my, ain't that perfection I repeat Don't you think that's kind of neat I ask you confidentially 'ain't she sweet?' ------------------------- ABOUT THIS TRACK ------------------------- "Ain't She Sweet" is a song composed by Milton Ager, with lyrics by Jack Yellen. It was published in 1927 by Ager, Yellen & Bornstein, Inc. It became popular in the first half of the 20th century and typified the Roaring Twenties. Like Happy Days Are Here Again (1929), it became a Tin Pan Alley standard. Both Ager and Yellen were elected to the Songwriters Hall of Fame. Milton Ager wrote Ain't She Sweet for his daughter Shana Ager, who in her adult life was known as the political commentator Shana Alexander.
----------------------------------------------------- GEE BABY AIN'T I GOOD TO YOU? - LYRICS ----------------------------------------------------- Music by Don Redman, lyrics by Andy Razaf Published 1929 Love makes me treat you the way that I do Gee baby, ain't I good to you? There's nothing in this world too good For a girl so good and true Gee baby, ain't I good to you? Bought you a fur coat for Christmas A diamond ring A big Cadillac car, and everything What makes me treat you the way that I do? Gee baby, ain't I good to you? Instrumental Break Bought you a fur coat for Christmas A diamond ring A big Cadillac car, and everything What makes me treat you the way that I do? Gee, baby, ain't I good to you? ------------------------- ABOUT THIS TRACK ------------------------- "Gee, Baby, Ain't I Good to You" is a 1929 song written by Andy Razaf and Don Redman. It was recorded by the Redman-led McKinney's Cotton Pickers on Victor on November 5, 1929, as "Gee, Ain't I Good to You." King Cole Trio recording Nat King Cole's King Cole Trio recorded the song on November 30, 1943, during a three-hour recording session at C.P. MacGregor Studios in Hollywood. "Straighten Up and Fly Right," "If You Can’t Smile and Say Yes," and "Jumpin' at Capitol" were recorded during the same session, produced by Johnny Mercer and engineered by John Palladino. The single peaked at number 20 on the national charts and was the group's final number 1 on the Harlem Hit Parade. The A-side of the song, "I Realize Now" peaked at number 9 on the Harlem Hit Parade. It is usually played in E flat. Other notable recordings of the song include versions by: Fats Waller, Dizzy Gillespie, Count Basie, Billie Holiday, Peggy Lee, Ella Fitzgerald, Phineas Newborn Jr.,Stanley Turrentine, Sonny Clark, Art Blakey, Ray Charles, Kenny Burrell, Diana Krall, Lyle Lovett, The Coasters, Bill Wurtz, T-Bone Walker, Dr John and Geoff Muldaur.
---------------------------------- IT HAD TO BE YOU (LYRICS) ---------------------------------- Music by Isham Jones, lyrics by Gus Kahn Published 1924 It had to be you It had to be you I wandered around and finally found The somebody who Could make me be true Could make me be blue Or even be glad just to be sad Thinking of you Some others I've seen Might never be mean Might never be cross Or try to be boss But they wouldn't do For nobody else gave me a thrill With all your faults I love you still It had to be you, wonderful you It had to be you Instrumental Break Some others I've seen Might never be mean Might never be cross Or try to be boss They wouldn't do For nobody else gave me a thrill With all your faults I love you still Baby, it had to be you, wonderful you Had to be you ------------------------- ABOUT THIS TRACK ------------------------- "It Had to Be You" is a popular song composed by Isham Jones, with lyrics by Gus Kahn.[5] It was published on May 9, 1924 by Jerome H. Remick & Co. of New York. Isham Jones Orchestra recorded an instrumental version of it on April 24, 1924 at Brunswick Studios, 799 Seventh Avenue, New York City, and it was released in July. By early August, it was the number 1 record in the United States, where it remained for five weeks, finishing as the Number 4 single of the year 1924. It is now in the public domain. A version with lyrics by Gus Kahn, vocal by Marion Harris (she'd signed with Brunswick in 1922) and Phil Ohman, piano was recorded at Brunswick in March 1924.
---------------------------------------- LOVE ME OR LEAVE ME - LYRICS ---------------------------------------- Music by Walter Donaldson, lyrics by Gus Kahn Published 1928 Say, love me or leave me and let me be lonely You won't believe me but I love you only I'd rather be lonely than happy with somebody else You might find the night time the right time for kissing Night time is my time for just reminiscing Regretting instead of forgetting with somebody else There'll be no one unless that someone is you I intended to be independently blue I want your love, don't wanna borrow Have it today to give back tomorrow Your love is my love There's no love for nobody else ------------------------- ABOUT THIS TRACK ------------------------- "Love Me or Leave Me" is a popular song written in 1928 by Walter Donaldson with lyrics by Gus Kahn. The song was introduced in the Broadway musical comedy Whoopee!, which opened in December 1928. Ruth Etting's performance of the song was so popular that she was also given the song to sing in the play Simple Simon, which opened in February 1930. The original version of the song, the biggest-selling at the time, was recorded by Ruth Etting on December 17, 1928. It was issued by Columbia Records as catalog number 1680-D, with the flip side "I'm Bringing a Red, Red Rose", another Donaldson/Kahn composition. The song reached #2 on the charts in 1929. Other versions which also enjoyed popularity at this time were by Guy Lombardo's Royal Canadians, with a vocal by Carmen Lombardo (recorded March 20, 1929, released by Columbia Records as catalog number 1782D, with the flip side "I'm Still Caring") and by Leo Reisman and his orchestra (recorded April 22, 1929, released by Victor Records as catalog number 21966A, with the flip side "Sweet Chewaulka, Land of Sleepy Water". A recording made on December 24, 1947 by Bing Crosby and John Scott Trotter's orchestra was released in 1951 by Decca Records as catalog number 27667. As the song was considered to be one of Etting's biggest hits, its title was chosen for the 1955 biographical movie about her life, in which Doris Day played Etting. Day's recording of the song, from the soundtrack, became a major hit for her. The same year, Sammy Davis Jr. and Lena Horne also experienced success with their versions of the song. Davis's version was released by Decca Records as catalog number 29484, with the flip side "Something's Gotta Give". It first reached the Billboard magazine charts on May 28, 1955 and lasted 12 weeks on the chart. On the Disk Jockey chart, it peaked at #20; on the Best Seller chart, at #12.(However, another source gives the highest position as #9, but lists this as a position for the combined two sides of the record, "Love Me or Leave Me" and "Something's Gotta Give.") Horne's was released by RCA Victor Records as catalog number 20-6073. It reached the Billboard magazine Disk Jockey chart on July 9, 1955, its only week on the chart, at #19. In the United Kingdom, it was released 1955 by HMV Records as catalog number B-309 (78rpm) and 7M-309 (45rpm),. Both releases were with the flip side "I Love To Love". Singer/pianist/songwriter Nina Simone also recorded the song on her debut album Little Girl Blue (1958) and Let It All Out (1966). The version was released as a single in 1959 by Bethlehem Records as catalog number 11021 and by Australian Parlophone Records as catalog number A-8008, with the flip side "I Loves You Porgy". It includes a solo in the style of J.S. Bach's Inventions. Ella Fitzgerald included her rendition on her 1962 Verve release Ella Swings Brightly with Nelson which won a Grammy Award in 1963.
Tiger rag 03:07
------------------------------- THE TIGER RAG - LYRICS ------------------------------- Writen by Nick LaRocca, Eddie Edwards, Henry Ragas, Tony Sbarbaro, and Larry Shields in 1917. Published 1917 Where's that tiger! Where's that tiger! Where's that tiger! Where's that tiger! Hold that tiger! Hold that tiger ! Hold that tiger! Hello Kitty Kitty Kitty Kitty Kitty Where's that tiger? Where's that tiger? Where oh where can he be? Low or highbrow, they all cry now "Please play that Tiger Rag for me" ------------------------- ABOUT THIS TRACK ------------------------- "Tiger Rag" is a jazz standard that was recorded and copyrighted by the Original Dixieland Jass Band in 1917. It is one of the most recorded jazz compositions. In 2003, the 1918 recording of "Tiger Rag" was entered into the U.S. Library of Congress National Recording Registry. The song was first recorded on August 17, 1917 by the Original Dixieland Jass Band for Aeolian-Vocalion Records. The band did not use the "Jazz" spelling in its name until 1917. The Aeolian-Vocalion sides did not sell well because they were recorded in a vertical-cut format which could not be played successfully on most contemporary phonographs. But the second recording on March 25, 1918 for Victor, made by the more common lateral-cut recording method, was a hit and established the song as a jazz standard. The song was copyrighted, published, and credited to band members Eddie Edwards, Nick LaRocca, Henry Ragas, Tony Sbarbaro, and Larry Shields in 1917. AUTHORSHIP. "Tiger Rag" was first copyrighted in 1917 with music composed by Nick LaRocca. In subsequent releases, the ODJB members received authorship credit. This authorship has never been challenged legally. According to author Frank Tirro, But even before the first recording, several musicians had achieved prominence as leading jazz performers, and several numbers of what was to become the standard repertoire had already been developed. "Tiger Rag" and "Oh, Didn't He Ramble" were played long before the first jazz recording, and the names of Buddy Bolden, Jelly Roll Morton, Bunk Johnson, Papa Celestin, Sidney Bechet, King Oliver, Freddie Keppard, Kid Ory, and Papa Laine were already well known to the jazz community. Other New Orleans musicians claimed that the song, or at least portions of it, had been a standard in the city before it was recorded. Others copyrighted the melody or close variations of it, including Ray Lopez under the title "Weary Weasel" and Johnny De Droit under the title "Number Two Blues". Members of Papa Jack Laine's band said song was known in New Orleans as "Number Two" before the Dixieland Jass Band copyrighted it. In one interview, Laine said that the composer was Achille Baquet. In his book Jazz: A History, Frank Tirro states, "Morton claims credit for transforming a French quadrille that was performed in different meters into ‘Tiger Rag’". The Italian musicologist Vincenzo Caporaletti has shown how the authorial self-attributions of Jelly Roll Morton are not reliable, by means of an analysis conducted on the first complete transcription in musical notation of Morton's Library of Congress performances (1938) with conclusions defined by Bruce Boyd Raeburn "justifiably compelling" on a scientific level. Furthermore, Caporaletti has accurately identified the "floating folk strains" that Nick La Rocca assembled to create "Tiger Rag". According to writer Samuel Charters, "Tiger Rag" was worked out by the Jack Carey Band, the group which developed many of the standard tunes that were recorded by the Original Dixieland Jazz Band. According to Tirro, the song was known as "Jack Carey" by the black musicians of the city. "It was compiled when Jack's brother Thomas, 'Papa Mutt', pulled the first strain from a book of quadrilles. The band evolved the second and third strains in order to show off the clarinetist, George Boyd, and the final strain ('Hold that tiger' section) was worked out by Jack, a trombonist, and the cornet player, Punch Miller."
----------------------------------------------- LES FEUILLES MORTES - LYRICS) (English lyrics version: The autum leaves) ----------------------------------------------- Music by Joseph Kosma, lyrics Jacques Prévert Published 1945 Oh! je voudrais tant que tu te souviennes Des jours heureux où nous étions amis En ce temps-là la vie était plus belle Et le soleil plus brûlant qu'aujourd'hui Les feuilles mortes se ramassent à la pelle Tu vois, je n'ai pas oublié... Les feuilles mortes se ramassent à la pelle Les souvenirs et les regrets aussi Et le vent du nord les emporte Dans la nuit froide de l'oubli Tu vois, je n'ai pas oublié La chanson que tu me chantais C'est une chanson qui nous ressemble Toi, tu m'aimais et je t'aimais Et nous vivions tous deux ensemble Toi qui m'aimais, moi qui t'aimais Mais la vie sépare ceux qui s'aiment Tout doucement, sans faire de bruit Et la mer efface sur le sable Les pas des amants désunis ------------------------- ABOUT THIS TRACK ------------------------- "Autumn Leaves" is a popular song and jazz standard composed by Joseph Kosma in 1945 with original lyrics by Jacques Prévert in French (original French title: "Les Feuilles mortes"), and later by Johnny Mercer in English. An instrumental version by pianist Roger Williams was a number one best-seller in the US Billboard charts of 1955. Kosma was a native of Hungary who was introduced to Prévert in Paris. They collaborated on the song Les Feuilles mortes ("The Dead Leaves") for the 1946 film Les Portes de la nuit (Gates of the Night) where it was sung by Irène Joachim and Yves Montand. The poem was published, after the death of Jacques Prévert, in the book "Soleil de Nuit" in 1980. Kosma was influenced by a piece of ballet music, "Rendez-vous" written for Roland Petit, performed in Paris at the end of the Second World War, large parts of the melodies are exactly the same, which was itself borrowed partially from "Poème d'octobre" by Jules Massenet. The first commercial recordings of "Les Feuilles mortes" were released in 1950, by Cora Vaucaire and by Yves Montand. Johnny Mercer wrote the English lyric and gave it the title "Autumn Leaves". Mercer was a partner in Capitol Records at the time, and Capitol recording artist Jo Stafford made the first English-language recording in July, 1950. As a jazz standard, "Autumn Leaves" has accumulated more than a thousand commercial recordings. The song was recorded steadily throughout the 1950s by leading pop vocalists including Steve Conway (1950),[9] Bing Crosby (1950), Nat King Cole (1955), Doris Day (1956), and Frank Sinatra (1957). It was also quickly adopted by instrumental jazz artists including Artie Shaw (1950), Stan Getz (1952), Erroll Garner and Ahmad Jamal (separately in 1955), Duke Ellington (1957), Cannonball Adderley and Miles Davis, Vince Guaraldi (all 1958), and John Coltrane (1962, maybe earlier). Roger Williams made the song a number-one hit in the U.S. in 1955, the first piano instrumental to reach number one. Composer Terry Riley has written a contrafact of the song (1965), using the same principle of small repetitive cells of melody and rhythm first put in use in his breakthrough piece, In C (1964). In 2012, jazz historian Philippe Baudoin called the song "the most important non-American standard" and noted that "it has been recorded about 1400 times by mainstream and modern jazz musicians alone and is the eighth most-recorded tune by jazzmen." The song is heavily referenced in "La Chanson de Prévert", a song by Serge Gainsbourg.
------------------------- ABOUT THIS TRACK ------------------------- Music by Luiz Bonfá, lyrics Antônio Maria. Published 1959 "Manhã de Carnaval" ("Carnival Morning"), often referred to as "Black Orpheus", is a song by Brazilian composer Luiz Bonfá and lyricist Antônio Maria. "Manhã de Carnaval" appeared as a principal theme in the 1959 Portuguese-language film Orfeu Negro by French director Marcel Camus. The film's soundtrack also included songs by Antônio Carlos Jobim and Vinícius de Moraes, as well as the composition by Bonfá "Samba de Orfeu". "Manhã de Carnaval" appears in the film, including versions sung or hummed by both the principal characters (Orfeu and Euridice), as well as an instrumental version, so that the song has been described as the main musical theme of the film. In the portion of the film in which the song is sung by the character Orfeu, portrayed by Breno Mello, the song was dubbed by Agostinho dos Santos. The song was initially rejected for inclusion in the film by Camus, but Bonfá was able to convince the director that the music for Manhã de Carnaval was superior to the song Bonfá composed as a replacement. Orfeu Negro was an international success (winning, for example, an Academy Award in 1960), and brought the song to a large audience. "Manhã de Carnaval" became one of the first Bossa Nova compositions to gain popularity outside Brazil.[3] Particularly in the United States, the song is considered to be one of the most important Brazilian Jazz/Bossa songs that helped establish the Bossa Nova movement in the late 1950s. "Manhã de Carnaval" has become a jazz standard in the U.S., while it is still performed regularly by a wide variety of musicians around the world in its vocalized version or just as an instrumental one. In the U.S., the song is also known as "A Day in the Life of a Fool", "Carnival", "Theme from Black Orpheus", or simply "Black Orpheus". In France, the song is also known as "La Chanson d'Orphée". All versions of foreign texts were written by lyricists other than Antônio Maria, using Bonfá's original music.
---------------------------------------------- I'M IN THE MOOD FOR LOVE - LYRICS ---------------------------------------------- Music by Jimmy McHugh, lyrics by Dorothy Fields Pulished 1935 I'm in the mood for love Simply because you're near me. Funny, but when you're near me I'm in the mood for love. Heaven is in your eyes Bright as the stars we're under Oh! Is it any wonder I'm in the mood for love? Why stop to think of whether This little dream might fade? We've put our hearts together Now we are one, I'm not afraid! If there's a cloud above If it should rain we'll let it But for tonight, forget it! I'm in the mood for love ------------------------- ABOUT THIS TRACK ------------------------- "I'm in the Mood for Love" is a popular song published in 1935. The music was written by Jimmy McHugh, with the lyrics by Dorothy Fields. The song was introduced by Frances Langford in the movie Every Night at Eight released that year. It became Langford's signature song. Bob Hope, who frequently worked with Langford entertaining troops in World War II, later wrote that her performance of the song was often a show-stopper. Other popular recordings in 1935 were by Little Jack Little, Louis Armstrong and Leo Reisman and his Orchestra with vocals by Frank Luther. The song was in the 1936 Our Gang (Little Rascals) short film The Pinch Singer where it was performed by Darla Hood and Carl "Alfalfa" Switzer (on separate occasions). Switzer also performed the song in the 1936 film Palm Springs. In a 1954 episode of The Spike Jones Show, Billy Barty sang it while impersonating Liberace, complete with toy piano. In the 1963 Jerry Lewis film The Nutty Professor, it is one of the songs Buddy Love sings to try to win the affections of Stella (Stella Stevens).
--------------------------------- CALL THE POLICE - LYRICS --------------------------------- Writen by Nat King Cole (Trio) Published ? Callin' all cars! Callin' all cars! Police! Police! Call the police, hurry, hurry! Won't you call the police, quick quick quick! Call the police, hurry, hurry! 'Cause the guy has stole my gal from me! Call the police, hurry, hurry! Won't you call the police, quick quick quick! Call the police, hurry, hurry! 'Cause the guy has stole my gal from me! Her name was Lucy May She went out into the garden to play, to play Along came a guy with high drape pants And snatched little Lucy away! Call the police, hurry, hurry! Won't you call the police, quick quick quick! Call the police, hurry, hurry! 'Cause the guy has stole my gal from me!
--------------------------------------------------- OUT WITH THE WRONG WOMEN - LYRICS --------------------------------------------------- Writen by Big Bill Bronzy Published ? I went to a party last night, I was dressed to kill When the people found who I was dancing with, I guess they laughing still It was the wrong woman, It was the wrong woman It was the wrong woman, I was out with that night I looked up at her face, I looked down at her feet She was built like an automobile, but didn't have no rumble seat It was the wrong woman, It was the wrong woman It was the wrong woman, I was out with that night Now I got her home with me, I got into bed When she pulled off her dress, she says daddy cover up your head It was the wrong woman, It was the wrong woman It was the wrong woman, I was out with that night I bought myself a bottle of booze, I went to drink it to myself But when I turned it up to my head, here comes somebody else It was the wrong woman, It was the wrong woman It was the wrong woman, I was out with that night I went to her place last night, I knocked upon the door When that lady opened that door, I said I'll never do this no more It was the wrong woman, It was the wrong woman It was the wrong woman, I was out with that night


Subscribers get this album and 6 other albums for free!

First album of the Benoit Viellefon Trio - October 2019
(5th release of Benoit viellefon)
Sorry, there are no CD or LP pressed for that recording, Digital only!


released October 21, 2019

Recorded in 1 day in the autumn of 2017 at Porcupine Studio London.
Engineered by Nick Taylor.
Produced by Benoit Viellefon & Nick Taylor.

Benoit Viellefon - Lead Vocals, Guitar
Andrew Oliver - Piano & Backing vocals
David O'Brien - Double bass & Backing vocals


all rights reserved



Benoit Viellefon London, UK

Benoit Viellefon is a French singer and guitarist established in the UK. Specialised in 1920's 1930's and 1940's music, Benoit is resident at Ronnie Scotts and other famous clubs. Benoit appears in many Hollywood films, TV and radio productions, festivals, and performed for VIP such as Madonna, the Queen, or the Kremlin. He often tours with his 3 bands: The Orchestra, the Hot Club, the trio. ... more

contact / help

Contact Benoit Viellefon

Streaming and
Download help

Shipping and returns

Report this album or account

Benoit Viellefon recommends:

If you like Out with the wrong women, you may also like: