Blueberry Hill

"Blueberry Hill" is best known today for Antoine "Fats" Domino's 1956 R&B hit, but it had been a hit for others over fifteen years earlier. Written in 1940 by Vincent Rose, Larry Stock, and Al Lewis, its first release was a fox trot rendition by Sammy Kaye's big band. The first hit version was by the Glen Miller Orchestra, also in 1940, on the RCA subsidiary Bluebird Records. (Note: Bluebird may be best remembered today for its early blues releases by Blind Willie McTell, Tampa Red, Memphis Minnie, Washboard Sam, and others. I didn't know until researching "Blueberry Hill" that big bands also recorded for Bluebird.) Louis Armstrong also had a hit with "Blueberry Hill" in 1949, with the Gordon Jenkins Orchestra, which was sort of a transitional version that influenced Domino. (Another note: Gordon Jenkins seemed to make a habit of recording with diverse artists, including the Weavers' English translation of "Tzena Tzena" in 1950.) There have been numerous covers, virtually all of the Fats Domino version, including an unexpected one by an infamous amateur at the bottom of the post.

This short clip is the earliest one I could find. I will include a longer one later in the post.

Johnny Hallyday was known as the "French Elvis"

And here is The King himself:

Despite my misgivings, this is too bizarre to leave out.

 

Comments

[Richard Zitrin]

Fats Domino is one of my very favorite musicians, and to me, underrated in the pantheon. When he played, turning to his right to face the audience with a big smile, it makes me smile in turn. It's interesting he actually stands up on the Sullivan show. I think that's the only video I've seen of him standing! Though I went to see him live twice, I never did - he cancelled both times.

I think his label talked him into the covers - Blueberry, My Blue Heaven, and so on. He was best with his originals - Blue Monday, I'm Gonna Be a Wheel, Whole Lotta Lovin', many more, mostly with Herb Hardesty on tenor. I understand that he pioneered a triplet figure on piano that became standard in New Orleans' sound, and was called in at the last minute to play piano on Lloyd Price's seminal Lordy Miss Clawdy.