| Artist |
Song |
Album |
Label |
Comments |
| Irving Aaronson and HIs Commanders |
Let's Misbehave |
The Golden Age of American Dance Bands |
Jasmine |
Happy birthday Cole Porter! written 1928 for Paris but cut from show in favor of "Let's Do It" |
|
| Robert Joyce |
Old-Fashioned Garden |
The Caswell Collection Vol. 8 (1924-1940) |
Pierian Recording Society |
inst, written 1919 for Hitchy-Koo of 1919, Porter's first hit song on Broadway |
| Ben Bernie & His Orchestra |
I'm in Love Again |
Sweet Georgia Brown and Other Hot Numbers |
Retrieval |
written 1924 for Greenwich Village Follies of 1924 |
| Bing Crosby o/ Dorsey Brothers |
Let's Do It |
Bing Crosby 1926:1940 |
Timeless |
written 1928 for Paris, this recording also 1928. Censors at the time required the song title to be changed to "Let's Do It (Let's Fall in Love)" |
| Fred Astaire |
Night and Day |
Fascinatin' Rhythm |
ASV Living Era |
written 1932 for The Gay Divorce. Title was changed to The Gay Divorcee for the movie b/c movie censor board felt a person could be "gay" (happy) but a divorce could not. Astaire was Porter's favorite male vocalist. Porter wanted Astaire to play him in the biopic but he had to settle for Cary Grant (!) |
| Cole Porter (vocal and piano) |
Anything Goes |
American Songbook Series, Cole Porter |
Smithsonian |
written 1934 for Anything Goes, Porter's biggest smash hit show to date |
| Ethel Merman |
You're the Top |
Art Deco: Lovely Ladies of Stage and Screen |
ASV Living Era |
written 1934 for Anything Goes. Merman was Porter's favorite female vocalist & he wrote many songs specifically for her |
| Billie Holiday o/ Teddy Wilson |
Easy to Love |
Lady Day |
Sony |
written 1934 for Anything Goes, but cut from the show. Premiered in 1936 in movie Born to Dance |
|
| Django Reinhardt |
What Is This Thing Called Love |
Djangologie Vol 5 |
EMI France |
written 1929 for Wake Up and Dream |
| Ella Fitzgerald |
All Through the Night |
The Cole Porter Songbook |
Verve |
written 1934 for Anything Goes |
| Frank Sinatra |
I Get a Kick Out of You |
Songs for Young Lovers |
Capitol |
written 1934 for Anything Goes, this song includes my favorite Porter rhyme "flying so high with some guy in the sky is my idea of nothing to do." Porter was not fond of Sinatra's interpretation of his songs; Porter reportedly hated Sinatra's version of "Night and Day" |
| Julie London |
Love for Sale |
WIld, Cool & Swingin' |
Capitol |
written 1930 for The New Yorkers. This song was controversial b/c it's explicitly about prostitution; radio stations wouldn't play it at first but an instrumental version became a radio hit |
| Rosemary Clooney & Perez Prado |
You Do Something to Me |
A Touch of Tabasco |
Sony UK |
written 1929 for Fifty Million Frenchmen |
| David Byrne |
Don't Fence Me In |
Red Hot + Blue: A Tribute to Cole Porter |
Chrysalis |
written 1934 for Adios Argentina, unproduced movie. the song became a hit 10 years later when Roy Rogers and Bing Crosby did recordings of it |
| Jimmie Lunceford |
Miss Otis Regrets |
s/t |
Swingsation |
written 1934 for Hi Diddle Diddle. Rare fast arrangement of what is usually a ballad. Legend has it the song is the result of a bet Porter made to friends over dinner, that he could write a song about anything. The next words they heard were a waiter telling the next table, "Miss Otis regrets she's unable to lunch today." |
|
| Artie Shaw |
Begin the Beguine |
Begin the Beguine |
Membran |
written 1935 for Jubilee, also appeared in film Broadway Melody of 1940 |
| Louis Armstrong |
Just One of Those Things |
Night and Day: The Cole Porter Songbook |
Verve |
written 1935 for Jubilee |
| Anita O'Day |
Why Shouldn't I? |
Anita O'Day Swings Cole Porter with Billy May |
Verve |
written 1935 for Jubilee |
| Mel Torme |
It's De-Lovely |
The Bethlehem Years |
Bethlehem Archive |
written 1935 for Red Hot and Blue |
| Sammy Davis |
In the Still of the Night |
Live at the Cocoanut Grove |
Rhino |
Written 1937 for Rosalie |
| Eartha Kitt |
My Heart Belongs to Daddy |
Legendary |
BMG |
written 1938 for Leave it To Me! |
|
| Illinois Jacquet |
I Love You |
Bosses of the Ballad: Illinois Jacquet Plays Cole Porter |
Universal Japan |
written 1944 for Mexican Hayride |
| Peggy Lee w/ George Shearing |
Do I Love You? |
Beauty and the Beat! |
Capitol |
written 1939 for DuBarry Was a Lady |
| Frank Sinatra & Antonio Carlos Jobim |
I Concentrate On You |
Frank Sinatra & Antonio Carlos Jobim |
Reprise |
written 1940 for film Broadway Melody of 1940 |
| Patti Page o/ Pete Rugolo |
I've Got My Eyes on You |
In the Land of Hi-Fi |
Universal Japan |
written 1940 for film Broadway Melody of 1940 |
| Blossom Dearie |
Always True to You in My Fashion |
Night and Day: The Cole Porter Songbook |
Verve |
written 1948 for Kiss Me Kate. This show was a hugely successful comeback for Porter, he described it and Anything Goes as his two "perfect shows" |
| Anita O'Day |
From This Moment On |
Anita O'Day Swings Cole Porter with Billy May |
Verve |
written 1951 for Out of This World but cut from show |
|
| Nelson Riddle Orchestra |
C'est Magnifique |
Oklahoma/Can-Can |
EMI Europe |
written 1953 for Can-Can. One of Porter's longest-running shows show, it ran for almost 900 performances |
| Kay Starr |
I Love Paris |
Cocktails with Cole Porter |
Capitol |
written 1953 for Can-Can |
| Peggy Lee |
It's All Right With Me |
Black Coffee & Other Delights |
Capitol |
written 1953 for Can-Can |
| Annie Ross |
All of You |
Annie Ross Sings a Song with Gerry Mulligan |
DRG |
written 1955 for Silk Stockings, musical remake of Ninotschka |
| Frank Sinatra and Celeste Holms |
Who Wants to Be a Millionaire? |
The Complete Capitol Singles Collection |
Capitol |
written 1956 for High Society, musical remake of The Philadelphia Story |
| Frank Sinatra and Bing Crosby |
Well, Did You Evah! |
Frank Sinatra in Hollywood |
Capitol |
written 1939 for DuBarry Was a Lady but best known from High Society |
|
| Benny Goodman |
Ridin' High |
Big Band Jazz Vol II |
|
written 1935 for Red Hot and Blue |
| Fred Astaire w/ Delta Rhythm Boys |
SInce I Kissed My Baby Goodbye |
Let's Face the Music and Dance |
|
written 1941 for You'll Never Get Rich, nominated for Best Song Oscar 1942 |
| Julie London |
You'd Be So Nice to Come Home To |
Wild, Cool & Swingin' |
Capitol |
written 1943 for Something to Shout About, nominated for Best Song Oscar 1944 |
| Dean Martin |
True Love |
This Time I'm Swingin'/Pretty Baby |
Reprise |
written 1956 for High Society, nominated for Best Song Oscar 1957 |
| Dinah Washington |
I've Got You Under My Skin |
First Issue: The Dinah Washington Story |
Mercury |
written 1936 for Born to Dance, nominated for Best Song Oscar 1937 |
| Ella FItzgerald |
Too Darn Hot |
The Cole Porter Songbook |
Verve |
written 1948 for Kiss Me Kate, won Best Score Tony |
| Tito Puente & Buddy Morrow |
So In Love |
Revolving Bandstand |
RCA |
written 1948 for Kiss Me Kate, won Best Score Tony |
| Sammy Davis Jr. w/ Laurindo Almeida |
Ev'ry Time We Say Goodbye |
Yes I Can! |
Rhino |
written 1944 for Seven Lively Arts |
