The Music Goes Round and Round

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"The Music Goes Round and Round" is a popular song written in 1935.

[edit] History

The music was written by Edward Farley and Mike Riley, the lyrics by Red Hodgson, and was published in 1935. The song was recorded by Tommy Dorsey and became a hit in 1936.[1] The song was the musical interlude for the Columbia movie "The Music Goes 'round" in 1936. The New York Times wrote: "If we really wanted to be nasty about it, we could say that this Farley-Riley sequence is the best thing in the new picture. At least it makes no pretense of being anything but a musical interlude dragged in by the scruff of its neck to illustrate the devastating effect upon the public of some anonymous young busybody's question about the workings of a three-valve sax horn. Like the "March of Time," it preserves in film the stark record of a social phenomenon—in this case, the conversion of a song hit into a plague, like Japanese beetles or chain letters."[2] It has since been recorded by many other artists and has become a pop and jazz standard.

[edit] References

  1. ^ "'Music Goes Round and Round' Perpetrated by 'Red' Hodgson. Author of Dizzy Tune Settles Controversy With Farley, Riley; Only a Variation of 'Dinah,' He Asserts.". Washington Post. February 7, 1937. "Chicago (Associated Press) Less than a year ago the gayer circles of the country were in the throes of a bit of musical mania wherein the song and the singer went round and round deliriously." 
  2. ^ "The Music Goes 'round (1936). Notes for the Record on 'Music Goes 'Round,' at the Capitol, and Other Recent Arrivals.". New York Times. February 22, 1936. http://movies.nytimes.com/movie/review?res=9C03EEDA153FEE3BBC4A51DFB466838D629EDE. Retrieved on 2008-10-02. "If we really wanted to be nasty about it, we could say that this Farley-Riley sequence is the best thing in the new picture. At least it makes no pretense of being anything but a musical interlude dragged in by the scruff of its neck to illustrate the devastating effect upon the public of some anonymous young busybody's question about the workings of a three-valve sax horn. Like the "March of Time," it preserves in film the stark record of a social phenomenon—in this case, the conversion of a song hit into a plague, like Japanese beetles or chain letters." 
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